Writing For Independent Film Is there any difference between writing an independent film and a commercial film? In theory, no. But as we all know, theory and practice are two entirely different beasts. (Posted: 05/28/2008) The Heart and Soul of Screenwriting: Writing good dialogue and description Writing dialogue and description is writing a screenplay. You can argue about format and tab margins and what to capitalize and what not. I won’t. Dialogue and description is where the experience of screenplay for your reader lives. We write screenplays to make movies. They are not literature. They are directions for people to make motion pictures. Our story is told in the dialogue and description, and by focusing on allowing them to work for your goals of production will illuminate where how your story goes. (Posted: 11/27/2007) You're an Idiot: Making Value from Reaction to your Screenwriting If you're like me, if someone doesn't like something about my screenplay, my very first reaction is always the same. You're not as smart as me. If you knew what I knew, you would understand what I wrote. And you don't understand what I wrote, because you don't know as much as I do. About everything, in general. In short, life. You know, people. Planet Earth. (Posted: 02/20/2007) The Rogue Knight of Cinema: Why Screenplay Contests Matter Screenplay contests are changing cinema. Coming from a person who runs one, your first reaction to this statement is most likely, “The only reason you’re saying that is you want me to enter yours.” Or more frankly, “You just want my money.” Well, coming from one who runs one, I’ll say you’re right. Sorta. (Posted: 02/13/2007) You are the Box Office Smash: The Personal Screenplay Right this very second, in the heart of every struggling, undiscovered screenwriter, in the dark, hidden corner deep within, there is a voice, a clear whisper, saying one thing: You’re never gonna figure this out. (Posted: 02/06/2007) The Screenwriter's Secret Weapon Often a script will get "bumped up" in a screenplay competition as a result of attention-grabbing subject matter, but won't become a finalist because the story gets lost somewhere in the second act. Keep in mind that Strong Character Motivation will hold the story together and sustain a reader's interest because the reader will begin to relate to the protagonist(s) needs, and want to know if they will be fulfilled in the end. Use what your lead character(s) wants as a secret weapon to determine which conflict choices are strongest. Never forget what is motivating your characters, especially the lead - this should be clear either before, or as a result of the Inciting Incident. Rich dialogue and captivating plot points will begin to flow when a writer understands the various levels of motivation by which his or her characters can potentially be driven. (Posted: 08/04/2006) Writing the Classic Movie Ending (How to Finish your Screenplay!) I’ve only finished so many screenplays in my life. Writing a script all the way to the very last page is always an extremely significant, personal achievement for me. A large part of its significance is the reality that I actually wrote an ending, or, at the very least, typed “THE END.” Trying to finish a screenplay and effectively pay something off-----this is arguably the hardest part of great screenwriting and often a major breaker of screenplays. (Posted: 02/23/2006) How to Start a Screenplay: Treatment or Free Fall? Starting a screenplay can sometimes be as hard as finishing one. Impatient to pull up to the front door of a classic motion picture, I want to get everything right so quickly. This impatience challenges my trust in the work, the creative process of screenwriting. What exactly does trust mean? If I don’t trust my writing, then what am I? Frightened. This is the battle. If I’m scared that everything I’m typing is worthless, then what? My hands find something else to do. So trust is good and important and essential to beginning this journey, alone, a trip that will eventually take what comes out of you into millions of people. But it’s just you now. And your trust. (Posted: 02/14/2006) Screenwriting Tips from a Screenplay Contest Judge After cracking hundreds of screenplays sent into the BlueCat Screenplay Competition, the same problems in the execution of the story and script continue to emerge. Here is a general overview of these persistent issues. (Posted: 01/23/2006) Competition Director Offers Contest Submission Advice This year, I had the pleasure of directing the annual San Diego Film Festival Screenplay Contest. My background would naturally have led me to this: I’ve been a writer for about twenty years, and in 2002 I co-wrote a film directed by one of the festival’s founders, Karl Kozak (“Out of the Black” with Sally Kirkland, Dee Wallace Stone and Tyler Christopher). Today, I own a publishing company, but the filmmaking ventures continue. (Posted: 10/11/2005) A Compelling Read: Linda Seger on Scripts that Get Made into Movies A renowned script consultant and author of nine published books, Dr. Linda Seger needs no introduction. Now working on yet another book (this one analyzes three Academy Award® winning films), screenwriters often know her best for book number one, "Making a Good Script Great." A sample from her worldwide list of studio and network clients includes ABC, CBS, NBC, Disney, Turner Network Television, ZDF Network (Frankfurt), Rai Television (Rome), and Swedish Television. She has consulted on countless feature films including "Beyond Rangoon," "Braindead" (six New Zealand Academy Awards), "Midnight in the Garden of Good and Evil," "Stargate," and "Universal Soldier." A sought-after speaker, she has lectured on screenwriting topics in more than 20 countries. Her books and lectures are clear and easy to follow for the uninitiated and they expand into topics that serve advanced readers and writers as well. (Posted: 10/11/2005) 7 Easy Ways to Improve Your Chances of Winning Suzanne Jones of the Applause Screenwriting competition checks in with seven simple guidelines. (Posted: 01/02/2005) The Plot Problem, by Nicole Berger aka 'Scriptslut'. The majority of screenplays being submitted to festivals and agents are either character or plot driven. The irony is that these seemingly unrelated areas are in fact quite interdependent. (Posted: 12/18/2004) Oops! (Another Nine Faux Pas Of Screenwriting Contestants) Another handful of faux pas, along with the lowdown on how they are really judged by a Hollywood reader. (Posted: 11/30/2004) More Festival Secrets from script reader Nicole Berger, aka ‘Scriptslut’ Screenwriting contest judge Nicole Berger has a little known fact to share with burgeoning screenwriters - The scripts most likely to be “bumped up” are those whose authors made decisive choices with their characters, and theme. (Posted: 09/14/2004) Money, Schmoney With today’s plethora of contests, picking the right one can be confusing. Which one is right for your script? (Posted: 07/11/2004) Technical Foul! (Another Ten Faux Pas Of Screenwriting Contestants) If you are guilty of these sins, change your wicked ways NOW! (Posted: 06/15/2004) Insider Tips on Screenplay Competitions from Nicole Berger aka 'Scriptslut' The Director of the IFP/West Filmmaker Labs calls Nicole Berger “Scriptslut,” because she reads for so, so many screenwriting competitions. Among them are Final Draft’s Big Break, and Slamdance. (Posted: 05/31/2004) Screenwriting Contest Advice, by Lynne Pembroke of CoverScript.com There are many screenplay contests available to the aspiring screenwriter. These contests can be a good avenue to getting one’s work noticed and/or make a sale. So, it’s important to make certain that you have written your screenplay to the best of your ability and according to industry standards. (Posted: 04/06/2004) Tools for Success to Become a Professional Screenwriter The Director of the Telluride and Keywest IndieFests shares some thoughts about becoming a professional screenwriter. (Posted: 02/23/2004) Penalty! (Ten More Faux Pas Of Screenwriting Contestants) Freelance story analyst/critic Elizabeth Stevens has just completed yet another tower of scripts for a prestigious screenwriting competition, and checks in with 10 more easy-to-avoid errors to considere when preparing your script for a screenwriting competition. (Posted: 09/02/2003) No Contest! (Ten Faux Pas of Screenwriting Contestants) Freelance story analyst/critic Elizabeth Stevens has just completed reading a towering stack of screenplays for a widely-known screenwriting contest, and checks in here with her "Ten Faux Pas of Screenwriting Contestants." (Posted: 02/11/2003) Scriptapalooza Interviews ... Scriptapalooza Scriptapalooza asks and answers six tough questions. (Posted: 10/04/2002)

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