Archive for the 'QandA' Category

e 2 Variant cover artwork
Since you released “The Variant” independently, how’d you get the nifty cover art?
e 6 Cablevision and the Supreme Court
The Supreme Court refused to hear an appeal on the Cablevision case, allowing the Second Circuit Court’s decision to stand. Cablevision can begin introducing its service.
e 17 On rich plumbers and eggheads
It’s easy to pick numbers that show how a plumber who saves diligently will out-earn an egghead saddled with student debt.
e 5 On adaptations and picking projects
MakingOf has an interview up with me in which I talk a bit about my writing process, the challenge of adaptations, and why one’s career is often as much about the scripts you didn’t write.
e 24 Per-screen average
Indies have high per-screen averages because they’re on so few screens, not despite it.
e 4 When is it brown-nosing?
Any sort of application, whether it’s for a grant, for college or for a job, needs to do exactly three things.
e 27 Learning story as a director
Film is a hundred different skills and disciplines, and no one person is going to be great at all of them.
e 28 The only one who has seen the movie
At a screenwriting panel last week, Robin Swicord said something that reframed the issue in a very helpful way.
e 43 What does a showrunner’s assistant do?
Jonny Sommers has a job many readers want — or at least, think they want: the assistant to a successful and busy TV showrunner.
e 10 Terminated
Josh Friedman recounts the cancellation of his excellent show Terminator: The Sarah Connor Chronicles.
e 14 How to format an on-screen note
First, avoid it if possible. But if you have to, here’s how.
e 18 How much does a short story earn in a magazine?
I really had no idea what people were getting paid for short stories, so I asked Matt to dig up some numbers.
e 20 Pixar
I flew up to Oakland yesterday for lunchtime lecture and Q&A at Pixar. And wow. It’s really nice up there.
e 83 Kurtzman and Orci on Trek and writing together
Story lessons from Star Trek, from the mouths and minds of the writers.
e 20 Leftover questions
Some readers had questions they didn’t get to ask on the call-in show last night, so I answered them this morning.
e 43 Take away the questions
You shouldn’t just answer questions. Get rid of them before they’re asked.
e 36 Same script, different day
Do you ever get sick of working with the same script that you are loathe to even look at it anymore? Yes.
e 18 When do you move on?
I can’t reduce it to some simple “He’s Just Not That Into You” formula, but two months is far beyond the limit.
e 12 How to include sign language
Italics are a good choice for sign language.
e 23 Not my problem
Alvin Sargent’s advice: If you have a problem, give it to the character.
e 35 What does “execution dependent” mean?
What makes one high-concept idea more execution-dependent than another?
e 12 Video from Rancho Mirage Q&A
Synthian Sharp taped my Q&A in Rancho Mirage, and has it available on Vimeo.
e 38 You only have to destroy the Death Star
Your hero doesn’t have to fix The Big World Problem by the time the end credits roll.
e 49 When writing partners disagree
While it’s great to have an extra brain helping to write a script, you’re unlikely to always agree, and compromises may not always make sense.
e 55 Spanish or Mandarin
At the gym yesterday, we were discussing which language would be the best foreign language for a native English speaker to learn. Specifically, can you make a compelling case for any language other than Spanish or Mandarin?
e 46 Inspiration, creativity and showing up
Writer Elizabeth Gilbert discussing healthier ways to look at the creative process.
e 33 Inner struggle is not plot
Many great movies feature characters struggling against their demons, or attempting to find themselves. But that’s not plot.
e 15 Are glossaries a good idea?
Generally, no. Try to make terms understandable in context.
e 9 Why aren’t adaptations ok for competitions?
With an adapted screenplay, it’s not altogether obvious what awesomeness came from the screenwriter, and what came from the underlying material.
e 26 Pilot School
A site featuring tons of TV pilot scripts.
e 22 Twitchforks
I almost invented this word today. But didn’t.
e 109 On accident, by accident
If you say “on accident,” you’re very likely under 30 years old. In fact, among Americans in that age group, it’s more becoming more common than the traditional “by accident.”
e 21 Referring to famous people
Yes, you can have characters talk about people like Michael Bay without getting permission.
e 20 Not great news at Blockbuster
They filed with SEC, noting “substantial doubt” about their ability to continue.
e 15 Gender-specific douchery
We rarely refer to women as assholes.
e 40 On the present tense
The present progressive tense can be your friend.
e 114 Writing better scene description
A YouTube lesson on making more-readable scene description.
e 30 Redbox, video and economics
An article about Redbox, whose kiosks rent DVDs for a dollar a day, isn’t quite the beacon of doom it’s made out to be.
e 45 On square miles
A correction in the LA Times points to a deeper flaw in English.
e 30 Should I write a straight-to-DVD knockoff?
Don’t turn up your nose to actual paid writing for a company that makes movies.
e 34 Why do LA people suck?
Is one reader’s frustration indicative of the Hollywood culture, or specific to him? Likely both.
e 26 Growing sentences
With a few simple instructions, you can turn nay normal sentence into a David Foster Wallace super-sentence.
e 16 Cams, rips and release dates
I’ve been asking around to find more information about studios’ anti-piracy efforts.
e 9 How to handle a body-switching protagonist
Readers will follow you down almost any rabbit hole provided you can convince them something rewarding awaits.
e 15 Are writing groups a good idea?
They’re not a terrible idea, as long as they’re approached with the right expectations.
e 30 Show your work
Screenwriting continues to be the most transparent and opaque part of moviemaking.
e 11 Based on an idea by…
“Based on an idea by” is a rare credit, for good reason.
e 14 Tony Gilroy in The New Yorker
The New Yorker has a terrific piece about screenwriter-director Tony Gilroy.
e 10 Raiders story conference
Lessons on screenwriting in action, straight from George, Steven and Larry.
e 19 What should I do in a general meeting?
Taking generals: how to turn a get to know you meeting into paid work.
e 9 Movie speak
Terms that will save you some embarrassment on set, unless — writer — you start throwing them around like you know what you’re talking about.
e 21 The Kindle is not good for screenplays
Kindle 2: great for books, but not ready for screenplays.
e 18 Answer Finder
Answer Finder is a new way to navigate through the hundreds of answered questions on this site.
e 67 Notes on the state of the industry
Matt gives the full report from a WGA panel about the film industry.
e 25 Authors’ Guild vs. Kindle
Cory Doctorow makes many of the points I would about the Authors’ Guild’s grumpiness over the Kindle’s text-to-speech function.
e 9 Script to greenlight panel
WGA hosts a panel and Q&A on studio feature development.
e 13 When writing teams break up
Don’t just think about who “owns” what. There are more practical considerations.
e 18 Can I go beyond DAY and NIGHT?
Sluglines can be more specific, but only when it’s important for the reader.
e 11 How to handle unknown narrators
Do you give them a name, even if they haven’t shown up on-screen yet?
e 50 Pride and Predator
Traditional period costume drama + alien crash landing = the definition of high concept.
e 26 Which project should I write?
I’d recommend writing the one that has the best ending.
e 24 Nice to meet you. Again. Maybe.
The Kevin Williamson Problem, explained.
e 9 The biggest TiVo in the world
The thin line between unlimited DVR and video-on-demand.
e 9 Comic book grammar
Great lesson in how comic books distinguish action, dialogue, and all the rest.
e 18 Be like MacGyver
My advice to recent film school grads. What did you do today to get closer to your goals?
e 15 Alaska: The Satchel Boy
A clip from my 2003 pilot, directed by Kim Manners.
e 9 Kim Manners
Mourning one of TV’s great directors: Kim Manners.
e 69 Preacher
I might as well confirm the news: I’m writing a big-screen version of Preacher.
e Comments Off Presidential punctuation
After eight long years in hiding, the semicolon’s glorious return.
e 33 Slumdog Coincidentalist
A reader writes in requesting a reexamination of my post “The Perils of Coincidence” in light of an acclaimed movie which is already a screenwriting award contender:

This weekend, I saw Slumdog Millionaire, a story that is succinctly described by the equation: “I knew the answer to this obscure question because this farfetched event happened to [...]
e 4 How do I show simultaneity?
A couple of techniques for letting the audience know that two things are happening at the same time.
e 8 How do I include animated sequences?
Clear sluglines help to weave in and out of animation.
e 13 Do I need a caveat?
Hollywood folk are savvy enough to realize that the guys who wrote Saw aren’t any sicker than most screenwriters.
e Comments Off No, really, everything is fine.
Hey SAG, back away from the crazy.
e 65 Cablevision and the infinite TiVo
How technology could upend the economics of filmed entertainment.
e 6 Today’s word: Oleaginous
It’s a lovely word, and a nice alternative to the similar unctuous.
e 12 Why is joining the WGA mandatory?
If it were optional, the studio would make sure you didn’t take that option.
e 48 ‘Wherefore’ does not mean where
A pet peeve and a losing battle with popular meaning.
e 37 Charlie Brown, advertising, and whatever comes after postmodernism
What a mash-up indicates about genres and modern storytelling.
e 43 VHS, RIP
Thanks and good riddance.
e 57 Money 101 for screenwriters
Read this before you cash that first check.
e 4 USC at Sundance/Slamdance
Connect with your Trojan brethren.
e 14 Rewriting the rewriter
Sometimes there’s good reasons why original writers leave and return to their projects.
e 17 On the radio
Formatting radio chatter.
e 45 How long should it take to write a script?
Knowing the answer is part of the craft, just like a cabinetmaker promising a delivery date.
e 31 Bailing on an idea
Knowing when to cut and run.
e 7 Including an important symbol
Is it okay to put a drawing into a script?
e 5 Sending out to multiple agents
Rifle or shotgun approach to getting an agent?
e 19 The Nines, recut
An editing class will recut The Nines from scratch. Final film unseen.
e 8 Indie film, cont’d
How some are navigating distribution of indie fare.
e 29 Your first time
Your first script is like the first time you have sex. It’s not the best sex you’re ever going to have. In fact, it would be sad if it were.
e 12 Two from the file
Old questions, dusted off and answered.
e 42 One. Million. Dollars.
Do millionaires dream of being billionaires?
e 20 Things We Think About Games
On storytelling in games.
e 19 On creating emotion
How the writer, actor, director and audience work together.
e 45 The purpose of drama, and its relationship to Cameron Diaz’s ass
David Mamet argues that even high-minded goals like social commentary ultimately become Cameron Diaz’s swirling ass — attractive distractions that ultimately lessen a movie. And he’s got a point.
e 18 How to handle a phone meeting
A play by play of how it should go down.
e 16 Shouldn’t I get credit for the outline?
Explorations of ownership in a corporate environment.
e 5 What do you do when the buzz fades?
You made a movie. Get the most you can out of it, then get cracking on doing the next project.
e 11 Keeping track of time
Ways to keeping the reader engaged and clear when you’re skipping around in time.
e 40 Aquaman is a Pescepublican
Superhero politics should remain abstract.
e 13 Time jumps and oil drilling
Two unrelated questions answered. 1. Clarifying young and old versions of characters. 2. How much research to do before writing.
e 12 Handling a character’s POV shot
Formatting for a specific character’s point of view.
e 22 Using a pseudonym
You can do it, but know the facts and consequences.
e 34 Five quick questions
One writer, five questions.
e 1 WGA Board election preview
A plug for staying involved in WGA politics.
e 38 Simple is better than accurate
Simplicity is not the same as idiocy, or pandering.
e 20 Making unnecessary and possibly horrible changes
Making your movie. Keeping your soul.
e 47 Writers need actors
The survival of dayplayers benefits us all.
e 8 Short questions, short answers
Why did Edward Bloom leave Ashland? Does beginners luck exist? Shocking answers revealed, inside!
e 18 Writing unspoken things
Llittle choices are what form your style, and developing a narrative voice is a crucial part of your career as a writer.
e 81 Sundance, The Nines, and the death of independent film
A long hard look at distributing independent films.
e 15 Characters for an epic tale
A useful visual reference for that adventure tale you can’t work out.
e 36 How to cut pages
Just as important, what NOT to do when trying to cut length. Don’t cheat.
e 30 If film studios developed videogames
Why is Puzzle Farter so gassy?
e 22 Looking at the credit proposals
Challenges and fixes to the WGA arbitration process.
e 48 The triumph of product integration
The brand to content relationship has come full circle.
e 18 Question sprint
Killing backstories, writing out lyrics and why you will always want to be writing something else (amongst other topics), explored.
e 50 Lessons of the summer, so far
Let’s look at what we can learn from the first batch of summer movies.
e 26 Are animated specs worth the time?
Short answer: yes. But be realistic about the chance of it getting made.
e 25 Writing silent scenes
Always treat your readers like audience members, and think about it from their perspective.
e 97 Does a screenwriter have to be well-read?
If I’ve only read 38 on the list of 1001 “Books You Must Read Before You Die,” does that mean I’ll live a long time?
e 16 Does a working writer keep improving?
Dedicate one day a week to disassembling good movies.
e 18 Secret history of the Kleinhardt Gambit
Done just right, jargon helps ground characters in their setting, much the way medical-ese makes you think those pretty people on TV could actually be doctors.
e 20 The six-hour scene
Having trouble with a scene? Here’s six questions to ask yourself.
e 19 When friends read your script
You need good readers. Here’s how to choose and keep them.
e 50 Were I to seek examples of the subjunctive…
When the subjunctive shows up, there’s almost always drama.
e 26 How to Meet
Moment by moment; what to expect and how to behave in meetings.
e 19 James Cameron on 3-D
A pioneer explains how 3-D changes (or doesn’t) cinema.
e 5 HBO
My agent leaves me to head HBO. Yeah Sue!
e 22 Northeaster
I spent five days in Maine, writing and researching my next project.
e 25 One-sided dialogue
Sometimes, you only see one side of a conversation. That’s okay.
e 49 Rethinking motivation
Try replacing the question of what the character wants/needs with, “Why is the character doing what he’s doing?”
e 5 Shot an indie pilot. What’s next?
How to expose, fund and distribute your pilot appropriately.
e 77 How to explain quantum mechanics
Answering the tricky questions elegantly, so your audience can remain focussed on the story.
e 14 Test screening questionnaires
DIY audience screenings help your product and save you money. Here’s what to ask.
e 25 Scripting a short film
A short film, like a short story, can’t waste any time. Here’s what to include, and what to leave out.
e 11 When a character has two names
How to format when characters have mysterious beginnings and change identities.
e 20 You know, like in that other movie
Don’t be lazy and stupid by relying on existing scenes to visualize your own.
e 10 Changing horses mid-stream
I generally caution that rewriting is the enemy of finishing, but sometimes it’s necessary.
e 11 Mysteries of Pittsburgh
The story behind former assistant Rawson Thurber’s second feature.
e 59 On horseshit, and the New York Times
Taking issue with a mischaracterization in the paper of record.
e 22 Characters who are not yet important
How to treat characters we’ll meet later but don’t hear from right away.
e 17 For Your Consideration
How some scripts get an awards push.
e 16 Including the unknowable
The rules for slipping in unknowable lines in your screenplay.
e 13 Short answer sprint
Nine second answers to nine burning questions. Ready…go!
e 6 Strike, day 29
The strike gives you time to write fantasy mash-up scripts, if only in your head.
e 14 The History Boys
A writer can get away with quite a few things on stage that are tough to pull off in movies.
e 57 Should I change my name?
As a writer who legally changed his difficult-to-pronounce German name, I gotta say yes.
e 4 In other news
USC Film School getting a whole new set up. The spoiled bastards.
e 26 What to do with a mediocre short film
If there’s an idea that really is phenomenal at the heart of the short, you’re better off writing it as a script again.
e 100 Why writers get residuals
Why you don’t get residuals for old spreadsheets but you do for screenplays.
e 23 Using “we” in scene description
Handling perspective in your action lines.
e 11 The Office is closed
Video courtesy of THE OFFICE writers.
e 102 Pencils down
Why the WGA was forced to strike.
e 22 Heroes: Origins: Gone
The WGA strike kills a spin-off, and my episode with it.
e 13 What does he want?
Often, the best answer is the simplest: something physical and achievable.
e 26 Advice for terrible writers
Confronted with a bad script, step back and ask the right questions.
e 13 Pre-Lap
Using dialogue to bridge a cut. (Warning: some readers are haters)
e 20 They love it and they’re passing
Capitalize on people’s affection for your script to find something that pays money.
e 8 From Russia with Questions
What are the pitfalls for a foreigner trying to break into Hollywood?
e 14 Script Cops
Video link.
e 36 Heroes: Origins
How I got the gig to write and direct an episode of the (now defunct) HEROES spin-off.
e 4 Mom and Dad are fighting
Some families, like the WGA, just have a lot of Big Drama, and once you accept that, it’s much less uncomfortable.
e 25 Calling on the hive mind: Writing the future
A call to contribute to a lecture on authorship in the digital age.
e 3 Strike authorization vote
Solidarity equals leverage in negotiations.
e 26 2007 Insomnia Film Festival
Advice for hasty filmmakers.
e 30 Skipping drama class
Oh to be 16 and anxious…
e 58 Quitting, and the age question
A tough question. Here are some signs that you should quit or stick with it.
e 32 Moving to LA (via NYC)
Sage advice from a fresh transplant who took the plunge.
e 15 Is it risky to spec something in the public domain?
Not if it will get you read and your expectations are adjusted.
e 51 Starting out in Hollywood
First person account of the glorious drudgery of starting at the bottom in Hollywood.
e 56 The big Fox deal
The key ingredient is mutual benefit. Both sides have a lot to gain from making it work.
e 8 INT. BOOKSTORE, or something better?
How specific to get in your sluglines.
e 23 Selling novel rights
Steps a publisher can take to offer up properties to moviemakers.
e 2 Filmmaking, permitted
Update on New York City’s struggle with what to charge productions.
e 5 Student Films Across America
Apologies and congratulations to the filmmakers, I had to bolt.
e 11 Permitted filmmaking
If it’s you and a buddy with a tiny camera, should you really have to register with a governmental agency? I say no.
e 29 Look out! He is a Spider-Pig
MPAA carries water for The Simpsons movie.
e 5 Economics of Screenwriting
Who gets paid what, when and how. Broken down.
e 14 My role in Transformers
Why I can’t say definitively that I’m not in Transformers.
e 6 Split screens
Split screens aren’t always spelled out in scripts, but you can get the idea across.
e 4 September 11th
How to write when it suddenly seems to become a trivial pursuit.
e 17 Linear writing for non-linear films
How to outline and structure a non-linear story.
e 6 Where to begin a script
You don’t have to know everything about your story and characters before you begin. Discovery is the best part of the writing process.
e 75 Her least favorite mistake
An episode of Grey’s Anatomy might have the same title as your spec. That’s not even close to being plagiarism.
e 23 Should I direct my spec?
How to avoid being talked out of your dreams.
e 5 Changes while directing
When the shoot begins, the real world comes to play.
e 13 The Unnecessary General
In Final Draft, what do you use the “General” element for? The manual describes its function negatively, saying only that it’s for whatever doesn’t fit into the other elements. Personally, I haven’t found a use for it yet and was wondering what the pros use it for.

– Richard Budd

As far as I know, [...]
e 10 Interview up at cecil vortex
Link to an interview on creativity.
e 34 Based on your own novel
Titles matter.
e 7 I talk with my hands
Video links explaining how film and television writers should approach promoting themselves and their work through the media.
e 12 An intern with a script
Every intern has a script. So tread lightly.
e 25 Giving credit where it’s due
In a collaboration, how to identify contributions and distinguish contributors.
e 14 Screenwriters’ dinner
A read-out from the first WGAw Screenwriters’ Dinner.
e 34 Should I write a novel or a script?
If you’re looking to put your story out into the world, paper beats film, hands down.
e 50 Inconvenient brilliance
Obey the muse, whatever the timing, or risk her departure.
e 31 Hello, Residuals
How I earned $86.50 a second.
e 20 What is a script doctor?
There’s no shortcut around becoming a “screenwriter” to becoming a “script doctor.”
e 95 The perils of coincidence
The big villain in Spider-Man 3 was a plague of coincidence. Here’s how they could have avoided it.
e 21 Being typecast as a writer
Your (excellent) suspenseful thriller spec will find a receptive readership no matter what your ethnicity.
e 56 Finding out if a book has been optioned
Easy steps to tracking down rights.
e 162 Make your introduction
Scene Challenge! Give me your best dry-cleaner intro.
e 53 Comments for Jane Espenson
A correction for Jane’s awesome website.
e 44 How to introduce a character
One of the most difficult and important lessons to learn. Here’s some great examples and helpful guidance.
e 9 Renumbering when moving a scene
It takes both a letter and an omit.
e 28 How do you become successful?
Ground your notion of Hollywood. While it seems glamorous and lucrative, if you’re coming to the film industry looking to get rich, you’re wasting your time.
e 23 TV in movies
Some rules to using TV for exposition in screenplays.
e 22 Writer/Directors and Co-Ops
When writers direct and a screenwriters’ co-op, discussed.
e 11 Publicity 101
It would be nice if the general public had some sense that movies are actually written, and that the actors aren’t making up their dialogue.
e 68 Masturbating to Star Trek
Scene Challenge! The first (and dirtiest) ever!
e 31 Writing for the very small screen
The iPod and mobile phone media will demand their own unique ways of telling a story.
e 23 That’s a pretty expensive pad of paper
You really don’t need fancy paper for hand-writing drafts.
e 25 Pause vs. beat
Most times, dialogue reads fine without any special indicators, so save them for when they’re truly needed.
e 5 What if my agent doesn’t like my idea?
Knowing the market isn’t the same thing as taste, and everyone’s taste is different.
e 44 How to write dialogue
Seven steps to writing meaningful, entertaining dialogue while handling exposition.
e 27 Trusting your audience
Kudos to the writers of HEROES for letting the audience connect the dots.
e 19 What is independent film?
Should the independently financed Star Wars prequels count?
e 20 The Hollywood Standard
All you need to know about formatting a screenplay, right here (for sale anyway). Second opinions included.
e 13 Scribble version, final version
Examples of the differences between the sketch and the full scene.
e 24 Clarification on point one
Update on “How to write a scene” post. Does the character drive the story or the storyteller?
e 48 How to write a scene
The steps I take and questions I ask myself in order to write a scene.
e 11 The Queen on a silver platter
The 2007 Oscar screeners.
e 14 Four for four, or Hooray for Chad
Another assistant makes his way.
e 7 Ands and Ampersands
The decision about which writers’ names are listed in the credits, and what the conjunctions mean between them.
e 15 Little Children, a little late
2007 Screeners update.
e 7 For My Consideration
Coming across the accidental debris of celebrities — or better yet, quasi-celebrities — is strangely fascinating.
e 33 Is Scriptblaster worth trying?
Your money would be better spent elsewhere. Such as Vegas.
e 10 Lost Rooms and American Zombies
When other people have the same ideas and act on them, it helps me clear my slate.
e 1 Should I worry about a competing project?
When to sell and when to hold.
e 4 Because nothing says quality like a cow
No studio push for an Academy Award for your film? David Lynch inspires to get creative.
e 5 Follow up: What job should I beg for?
A blog reader helps steer another reader towards his dream job.
e 98 Clive Cussler really, really dislikes Sahara
An author rails against his Hollywood adaptation.
e 11 When should I panic?
How to deal with the waiting cycle. The good/bad news: no screenwriter, at any level, is immune.
e 20 Workshops: An invitiation to idea theft?
Get over it. No one wants to steal your crappy idea.
e 4 Why isn’t The Nines in competition at Sundance?
I was wondering if you could explain the difference/reason for competitive and non-competitive categories at Sundance and why you chose the latter?

– Steve Lakeland, FL

It’s the Festival’s call. They decide whether or not they want to show the movie, then which category they’re going to put it in. They don’t explain their logic, but [...]
e 32 Retcon
New (to me) term for a useful device in serial fiction.
e 5 When do you walk away?
Often, the only power a screenwriter has is to walk away, and the decision whether to do it is almost never straightforward.
e 6 Follow up: Advice not taken
The cavalcade of follow ups continues today with this guy, who got conflicting advice and chose to ignore all of it. And somehow still ended up okay. If anything, it’s encouraging to see that my guidance isn’t necessarily that crucial. Most people who are going to make it would make it without [...]
e 6 Follow up: That crushing doubt
Today’s follow up comes from a reader who asked a question on my imdb column, which somehow never got copied over to this website.

Yes, for the record, I’m aware that this “Follow Up” feature has become self-congratulatory. If it’s any consolation, I hate myself. (Not really.)

The original Q and A went like this:

That [...]
e 12 Follow up: How to write a bio
The first of the follow up emails came in last night. I fully anticipate that several will be, basically, “Yeah, I took your advice but nothing much happened.” This one, however, was particularly encouraging, especially considering my glib-in-retrospect reply.

Here’s the original question and answer:

Iâ€™m submitting a script to a screenplay competition and to an agent [...]
e 2 The great big list of fictional diseases
The Motaba virus sounds bad, but the cure — heavy doses of Dustin Hoffman — is arguably worse.
e 8 Follow-up, please
I’ve had this site up and running for about four years,1 and in that time have answered approximately 300 questions from readers who wrote in, either to johnaugust.com or my column on imdb.

What I haven’t done is followed up with any of those questioners to see what they actually did with the information I offered.

In [...]
e 16 High net-worth individuals
Why not just call them rich?
e 15 Is the Slamdance script competition a bad idea?
No. But getting a movie made is worth a lot more than any award.
e 7 Help! I’m getting screwed on my own series
If this sounds like you, stop reading and start dialing. You need a better attorney, stat.
e 8 Chicago: The Musical. No, not that one.
I spent a few days in Chicago to see the workshop of my friends’ new musical, Asphalt Beach. And then I wrote a play.
e 28 Depression on film
You rarely see clinical depression in movies and TV, despite being much more common in real life than, say, retrograde amnesia.
e 24 Movies look nothing like reality
The disorienting effects of movie magic.
e 16 What if my movie is too much like another?
In all likelihood, it’s not — you just think it is.
e 10 Using overheard dialogue
Let’s say you’re at work and you overhear some great dialogue. Should you worry about co-workers suing when they hear it in your movie?
e 6 When characters have multiple names
Treat your reader like an audience member. Give them the same information on the page that they would get on the screen.
e 51 As it turns out, I could care less
And both the film and I were better for it.
e 22 In defense of script supervisors
Scripty is often the last defense against our scripts being mangled.
e 17 What job should I beg for?
Access leads to learning which is everything.
e 6 Do screenwriters get a chunk of foreign TV money?
When writers do and don’t get paid residuals.
e 26 Two thoughts on the future of video
Fuck Wal-Mart, seriously.
e 35 Agency wants me to pay their “editor”
Is your agent asking for money up front? Run away.
e 18 Using your friend’s name in a script
Do you need signed legal permission to use a friend’s name in a script?
e 17 Am I a writer or a director?
If you don’t like it, don’t do it.
e 22 Can Dracula’s son get a book deal?
The vast majority of memoirs are written by vain, delusional nutjobs, so there’s no reason you shouldn’t be entitled to your six-figure advance.
e 24 It’s Always Sunny in Philadelphia
A shout out to a good show and their low budget ways.
e 35 Vampires are the imaginary numbers of modern literature
You’ve never met an undead blood-sucker, and neither have I. Yet we can both agree on quite a few characteristics of these non-existent beings.
e 89 Test screening The Movie
Test screening is important but potentially dangerous in the internet age.
e 10 Mixing in bits of other languages
Your characters won’t always be speaking English. Here’s how to handle that.
e 34 Crisis of Infinite Celebrities
The Tabloids would do well by following the example of DC comics.
e 32 J.J. Abrams got a $55+ million deal
I feel exhausted just thinking about it.
e 22 Spec, or write it for the producer?
Have it your way first, then compromise if need be.
e 7 Because really, he should drive a Chrysler LeBaron
Clearing (and not worrying about) brands, artwork and monikers for your movie.
e 22 What’s it like being the writer and director?
There’s little time or room on set for the writer in me once the director in me takes over, but he’s good to have around.
e 17 Making the geek movie
There is definitely room in the film universe for a uber-geek movie, be it a thriller, a drama, a comedy or whatever.
e 20 Rejection
Eventually, you learn that you can’t depend on strangers for validation.
e 45 Are you somebody?
Awkward dances with public recognition.
e 21 Why I don’t have Google ads, part 432
The annoying disparity between google ads and the content they glom on to.
e 182 Air vents are for air
Ladies and gentlemen, screenwriters, it’s time to stop putting character in air vents.
e 32 What if the movie I wrote turns out god-awful?
This is one of the worst things about being a screenwriter: you ultimately have very little control over the movie that gets made. Here’s how to deal.
e 42 Writing what can’t be shot
Movies are about what characters do and say, not who they were before the story started.
e 26 Things that get caught in the spam filter
The new version of WordPress has Akismet spam filtering, which does a remarkably good job weeding out spam comments. Occasionally, it flags something that is so tantalizing that it really should be shared with the world:

Dear sirs. It is my pleasure to inform you that I have written a sexual screenwriting ,(It is about a [...]
e 5 La escritura profesional y el auge de los amateurs
My first experience with being translated.
e 55 Of course grammar matters
True, grammar can’t be filmed. But scripts are read by people, not cameras. And people deserve the best writing you can muster.
e 15 TV staffing season
Mysteries of the staffing process revealed.
e 26 Cut-scenes do not a videogame make
Videogame-makers need to stop trying to ape Hollywood blockbusters, and instead focus on creating playable stories. A link to an article detailing the differences between the storytelling needs and styles.
e 20 How accurate is the page-per-minute rule?
Most screenplays are about 120 pages, and most movies are around two hours. But the conversion rate between paper and celluloid is rarely one-to-one.
e 14 How many drafts does it take?
This “knowing when it’s done” sense only develops with experience.
e 41 What does “calling bullshit” actually mean?
If you’re gonna heckle, back it up or look stupid.
e 11 Copyright: The Comic Book
Link to a great legal resource for filmmakers concerned with portraying reality.
e 55 Professional Writing and the Rise of the Amateur
A lecture to Trinity University on authorship and authority in the internet age.
e 9 How to format lyrics in scripts
Generally, italics and a parenthetical.
e 6 Write-up of my recent WGA Foundation Q&A
Corrections to notes on my Q&A at the WGA.
e 19 Does the editor even read the script?
Almost certainly once, before she signs on for the job. After that, it’s hard to say. And that’s not all bad.
e 32 The word escapes me
Needing the right word and finally finding it.
e 10 Writer and Director and Disaster
The job of a writer and the job of a director are fundamentally different, which is why so few people are great at both.
e 11 Why most scripts never become movies
As the screenwriter, there are hundreds of variables I can’t control. So I consider it a minor miracle any time a movie gets made.
e 11 Virtual Sundance
Can’t make it to Sundance? Here’s what you’re missing (or not).
e 12 Drive-by tagging
I got tagged to write up my answers to Fun Joel’s scribosphere meme thing. So here goes.

ONE (1) earliest film-related memory:

I went to see The Muppet Movie with my Mom. It was just the two of us, so my Dad and brother were gone somewhere. It might have been an Indian Guides [...]
e 24 What’s with all the remakes?
My question has to do with the recent trend in adapting books and old movies.

Is it that screenwriters have run out of good scripts, or that producers are too scared to produce anything that hasn’t already been in the public eye?

What is left for the writers who have original stories to tell?

– Ryan Scott Fitzgerald via [...]
e Comments Off Turn to page 17 for a sex joke
I’ve heard a rumor that in the “industry” it’s an inside joke to have some sort of nudity or sex on page 17. Specifically 17. First, is that actually funny? And second, is it a shoe-in in terms of a scriptreader reading further?

– Zeb via imdb

I’ve never heard this, but I love it.

True, it’s not “actually” [...]
e 36 Matt gets millions to make a movie
I’ve received a couple million dollars to write and direct my own picture. I am in doubt as to whether or not I have the talent to pull it off.

I hear writers always talking about horrible writers and great writers. Does that actually exist? If so, what is it that makes great writers great and [...]
e 5 Interview with me at DVguru
Link to an interview on the blog and the state of digital arts in 2005.
e 25 Liam found a mistake in the Bible
A couple of weeks ago Pastor moon spoke on the Genealogy of Jesus from Matthew. There’s another one in Luke, in this one Joseph’s father is given a very different name from the Matthew text. Can you give an explanation as to why this is so?

– Liam

Um, Liam. Are we quite clear [...]
e 7 The TV spec of the season
Writing the right show sample during each season’s important.
e 5 Day or Night when neither is apparent
In a scene where there is absolutely no way of telling whether it is day or night — say, when a character is inside a meat locker in the bowels of an underground nuclear bunker and has nothing but a Zippo to see by — should one write…

INT. MEAT LOCKER – DAY or, INT. MEAT LOCKER

This is [...]
e 15 Can’t stop writing
All I want to do is write! I write on the bus to and from work, I stayed home last night (Friday night) to write. I hate it and I love it and if I couldn’t write I would probably be in a mental institute. So what’s the problem?

It’s really difficult [...]
e 71 On accents
Notes for auditioning actors.
e 1 Set lingo for the clueless writer
Good to know before you walk onto a set.
e 49 Four quadrants of screenwriting style
Are you a Literalist Shower Fragmenter Filmist? Discover your writerly personality.
e 10 Songs and production companies
I’m pretty sure I saw you at The Groundlings on Saturday night. My girlfriend’s on a new TV show, Fox’s “The War At Home” and I attended the event with some of her costars.

I wanted to introduce myself and ask you a quick question, but then realized that a) I didn’t want to be [...]
e 28 Is the Screenwriting Expo any good?
Thoughts on public speaking.
e 6 Avoiding AD mistakes
Entering production, introduce yourself to the AD (if possible) and stay on top of the schedule.
e 9 Which side of the pond should I choose?
Depends on your sensibility.
e 49 The sky is not falling
Debunking the so called “crisis” at the box office.
e 46 I am Hillary Clinton’s clavicle
A political quiz helps understand characters whose beliefs are different from my own.
e 40 Being a reader
Detailed account of the lifestyle of a professional reader.
e 13 As good as the Good Book?
Shall I compare thee to a Summer’s day or something?
e 20 Curse of the Pop-In
More from inside the meeting room.
e 2 Should I fudge the date on the cover?
Yes. Sometimes.
e 10 Someone actually wants to read my script
Not the time to play it cool. Don’t waste a day and risk her forgetting who you are.
e 51 On friends, colleagues and jealousy
The process of adding and dropping friends and colleagues isn’t unique to this business. It sucks for them. It sucks for you. Accept that and move on.
e 15 Please state your purpose
Advice for your film school applications.
e 19 Which agent should I choose?
Important questions to ask the clients of prospective agents.
e 18 How to Rewrite
Decide what you want to accomplish, then figure out which scenes would need to change. Only fix one piece at a time.
e 29 Welcome to the O.C., bitch
O.C. means “off camera.” But O.S. does the job just as well.
e 12 When should a writer become a corporation?
When why and how to incorporate.
e 21 What format should I send my script in?
PDFs are almost always the right choice.
e 34 What’s the difference between Hero, Main Character and Protagonist?
Mostly the main character is all three. But the terms apply to separate functions in the story.
e 15 Is that how the line was supposed to go?
Something that’s always bothered me about Go. When Ronna is in Todd’s apartment she says “Todd, I would never fuck you like that.” And he says, “How would -you- fuck -me-?”

Like, how would a nothing like you ever screw over a big drug dealer like me? But he just explained how she could fuck [...]
e 13 Writing characters you would hate in real life
Don’t strive for likeability. It’s a fool’s errand. Rather, aim for believability.
e 18 Deciding which parents get to visit the factory
I have a question about your upcoming film, Charlie and the Chocolate Factory. What made you decide to have each child bring only one guardian to Wonka’s factory, and how did you choose which one would go?

–Michael Daphne, Alabama

In Roald Dahl’s book, each of the four rotten kids (Veruca, Violet, Augustus and Mike) brings both of [...]
e 13 Organizing reality
In reality TV, editors and producers often perform functions that would normally be the purview of writers; the question is, why aren’t they being compensated for it?
e 10 Writing loglines for a comedy
Check out some great ones to get inspired.
e 5 Formatting the one-sided phone conversation
You don’t need as many parentheticals as you think.
e 28 Read lots of bad scripts
It’s just as important to read bad writing as good.
e 1 Theory #1
Predictability in structure does not necessarily doom the story to boredom or sameness.
e 23 Fixing double-spaces after periods
Two spaces still looks best for screenplays.
e 12 Writing when the movie could get ruined
Embracing the chaos and letting go.
e 3 Handling dialogue-like situations
If it feels like dialogue, it’s fine to use that formatting.
e 2 Screenwriting wastes a lot of paper
Suggestions for saving paper, your money and the environment.
e 33 Good advice from agents
The single most asked question (How do I get an agent?) answered directly by the source and amended by me.
e 40 Michelle Pfeiffer, Supervolcanoes and the Yellowstone Fallacy
Having happened in the past doesn’t signify future action.
e 2 Glossary: Manuscript and Tentpole
Two new terms for the glossary.
e 14 From FD to MMS
Some thoughts on the two major screenwriting platforms.
e 12 Opening titles
You can indicate where the titles go, but only if it serves a story purpose.
e 48 Does bad work spoil mine?
Rejoice and learn from the suckiness. Their low standards make your great script all the more unusual.
e 102 A movie by any other name
Some projects sell mostly on their title. Choose wisely.
e 79 Inciting Incident: Koo Koo Roo edition
I want to know that no one’s hurt, but even more, I want to know what the hell I saw.
e 13 Teenage girls and gay men
Figuring out what to capitalize when indicating groups of people.
e 11 Good interviews about Father Knows Less
The step by step process of making a Hollywood movie.
e 7 Good article on Shane Black
Including the best explanation for how to keep a pitch engaging. Two words: “But then..!”
e 3 Taking a meeting without an agent or manager
If you can set something up without an agent, go for it. But don’t do it without a lawyer.
e 9 LA Times story on DVD sales
DVD revenue is often bigger than theatrical. No wonder some studios hide their numbers.
e 1 Shoe leather and bric-a-brac
Links to the do’s and don’t-do’s of comedy writing.
e 9 Writing about real events
How to deal when your situations and characters are based on real incidents and people.
e 17 How to include abstract images
Don’t be afraid of including imagery if it’s important for your story.
e 15 Movable Type vs. WordPress
Not a screen-writing question, I’m afraid — more a “Geek Alert” one.

I’ve got a blog on blogger.com at the moment, and am thinking of moving to a different blogging tool. I’m a techie by background (computer science degree) now working in film visual effects (currently on Charlie and the Chocolate Factory), and would love to have much more flexibility [...]
e Comments Off Whether to pitch or to spec
For working writers, Craig Mazin says to pitch.
e 2 Whether or not to American-ize
Not from these parts? Don’t try to sublimate your natural writing style to match some mythical American standard.
e 6 Printing words on-screen
If you need us to know that it’s 1945, put it on the screen.
e 20 Intercutting
When intercutting between two scenes, the key is keeping it readable.
e 4 Why do you answer some questions, but not others
Why do you answer some questions, and not others? (Such as, well, mine!) And why do you answer some questions moments after they appear, while other ones take weeks?

– Various Readers

My assistant Chad transcribes all the questions on three-by-five note cards, then shuffles them exactly three times. I take the stack and begin [...]
e 1 Sensible sluglines
Sluglines are a powerful tool. Use them wisely.
e 15 Happy Easter from Beijing
A dispatch from China.
e 6 Writing vs. relationship
Dedicating to craft and characters while maintaining contact with actual human beings.
e 19 What does a writer’s assistant do?
I outsourced this question to my former assistant, Rawson Thurber.
e 2 Picking a printer
You don’t need a great printer, just one that can kick out 120 pages.
e 29 How to get into film school
Candid advice, straight from a decider.
e 20 Pitch fests: Are they worth it?
I’ve heard tales of studio executives buying ideas they heard during a pitch panel, but I don’t know of any verifiable success stories.
e 16 Rewriting bad movies
You don’t want to make a career of it. But sometimes, rewriting a bad movie can be liberating, because you know that almost anything you do will improve it.
e 2 No, Mr. Bond. I expect you to die!
A useful guide to super-villainy.
e 13 Using the story of a friend’s life
Legal and moral issues arise when taking someone else’s story, even just pieces of it.
e 10 Screenwriter makes, saves a million dollars
Why it’s important for screenwriters to stay active throughout production.
e 1 Keep scene headers simple
Nobody really wants to read them anyway.
e 14 Introducing off-screen characters
You can reveal a character any time you want.
e 9 To Do: Destroy the world
It’s surprisingly difficult for any villain — even a powerful alien race — to actually destroy the planet.
e 12 Good discussion on end credits
Is it reasonable that a writer who’s spent several months working on a given film may find her name is nowhere on the final product?
e 20 Celtx screenwriting application shows promise
An early look at an early version of the alternative screenwriting platform.
e 11 How I Learned to Stop Worrying and Love Courier
As a former designer, I now spend most of my working life in the world’s most boring typeface.
e 8 Formatting for sign language
As long as the reader understands what you’re doing, it’s no big deal.
e 1 Formatting text shown on screen
Keep it short and simple.
e 5 Keeping motivation after four drafts
Read it as if some other, lamer screenwriter wrote it. What would you do differently? Then, do that.
e 7 Character depth in a short film
Most successful shorts don’t spend much of their time filling in the details about their characters. Strive for economy.
e 33 Writing about what you don’t know
If screenwriters only wrote about subjects they knew intimately, most screenplays would be about Tetris, television or getting picked last for team sports.
e 1 Other interests and hobbies
Do you play guitar, or do some other type of hobby in order to get inspiration for your writing?

– Jesse Leal

I don’t play guitar, though I’ve always wanted to learn. I tried to teach myself on my father’s guitar, but never even mastered tuning it, which made the rest of the process painful to [...]
e 1 Blind man’s point of view
Welcome to the world of experimental film, where you invite mocking simply based on hubris.
e Comments Off Cover page artwork
It’s not a great idea.
e Comments Off Avoid clichés
Look at every scene and ask whether it feels movie-like in the bad way.
e 2 Are four scripts better than one?
You’re much better off with one good screenplay than four noble intentions.
e 4 Dialogue versus exposition
Learning how to show, not tell.
e 56 Formatting a reality show proposal
Here’s how to present a reality TV show. Use it wisely.
e 9 Getting sidetracked by other movies
Tricks to get you back in the mood of your screenplay.
e Comments Off Pay-for-mentoring, part two
Scam warning for so called “mentor” programs.
e 14 How many lines per page?
It’s actually not as standardized as you’d think.
e 11 His name is my name too
What to do if you share a name with other screenwriters. In this case, me.
e 1 Getting permission
Link to a great book to ease your fears of getting permissions to copyrighted material.
e 1 How wide to take your spec script
The downside of going wide is that if your script doesn’t receive a great reception, it’s over pretty quickly.
e Comments Off What became of American McGee’s Alice?
Update query on the video game potentially becoming a movie.
e 4 Whatever happened to…
Follow up on a pitch I sold.
e 3 Big Green Envelopes
The WGA tracks down money owed, even for my failures.
e Comments Off Glossary: Residuals
Residuals, defined.
e 9 Page count and tight formatting
Everyone can tell when you’re fudging. So don’t.
e 7 McGuffin and Set-Piece defined
Old hollywood constructs still highly relevant.
e 21 Producer credits and what they mean
The nomenclature’s different for both TV and films. Here’s a way to match titles with functions.
e 13 Stressing over structure
Stop thinking about structure as something you impose upon your story. It’s an inherent part of it, like the setup to a joke.
e 35 New CSS template for screenplay formatting
An early draft of what would later become Scrippets.
e 12 Avoid CUT TO’s in a busy sequence
Think like a reader, not like an editor.
e 4 Writers Guild agreement reached
2004 WGA agreement reached. Here’s the good, bad and ugly therein.
e 4 Where to find Natural Born Killers novelization
Two stories of letting down a great script.
e 1 What does I/E mean?
Shorthand for INT./EXT.
e 7 New Fox show announced
Announcement for a FOX pilot in the works.
e 11 How do I find out who represents a given actor?
Unless you’re calling to offer him gainful employment, an agent is not the one to help you. But here’s where to find out.
e 7 Can you be just a screenwriter anymore?
On whether making films or writing them is an easier way in. My writing is what makes me hirable, but it’s sociableness that gets me hired.
e 3 Very useful “Dead Zone” writer’s guides
Example of a show “bible.” Yours to mimic.
e 2 Rewriting based on other people’s notes
Be brutal. The needs of the movie outweigh the needs of the scene.
e 1 Researching and writing The Circle
Four questions related to the research, creation and execution of a TV series.
e Comments Off Four Seasons, Five Season or just some fancy hotel
Is it okay to be specific about locations and brands without their pre-approval?
e 3 Backing up is hard to do
It’s the law of delayed consequences: people tend to put off work that doesn’t have immediate gratification.
e 7 Optioning a screenplay
Options; defined and explained.
e 5 Does your own writing make you laugh?
Any joke becomes unfunny after you stare at it for too long.
e Comments Off Using a song in a short without permission
Using unlicensed material can be okay at the festival level. The trouble comes when you make money off of it.
e 1 Average price for a short story option
What is the average option price short stories are optioned for? Just to get an estimate of what I should be offering/accepting. Where else can I do research about these confidential matters?
e 12 Short films and writer’s assistants
Short answers to two questions: How do I get exposure for my (un-screenable) short. Can you make enough as a writers assistant to survive?
e 12 The not-so-well-dressed screenwriter
Why the writer should always be the worst-dressed person in the room.
e 7 American English and troublesome contractions
Helpful grammar tips for one of them foreign types writing American dialogue.
e 13 The Get A Mentor program
Is your mentor program a tad shady?
e Comments Off Page count for animation scripts
Does the page-a-minute rule apply across the board?
e 9 Hiring a “script doctor”
If you really have limitations in a given area — dialogue, plotting, whatever — you need a writing partner, not a self-styled guru.
e 3 Bringing a ringer for a pitch
Don’t do it. Unless that person is writing it with you.
e 9 Writing the script for a cooking show
There’s not a standard format, so try to anticipate what producers would like to see.
e 13 Why agents send out terrible scripts
Do agents submit anything their clients write, or do they ever tell clients that they need to work on something a little longer before they’ll send it out?
e 8 The challenge of writing good dialogue
Movie dialogue is what real people would say if they could take a few seconds to think between lines.
e 1 Seeing a rough cut of your film
If a screenwriter gets a film produced, will he or she get to see a rough cut of the film at its earliest stage?
e 1 Regaining confidence when nothing is working
Methods for breaking through the self doubt and general madness when you’ve lost your way to the end of your story.
e 1 Setting up a project without having the underlying book rights
If there’s a book you can’t afford to option yourself, it’s worth trying to get someone to option it for you.
e 3 The fine line between talented and bonkers
I don’t think you have to be nuts to be a good writer. Nor do I you should use writing as an excuse for not getting help when you need it.
e 3 History of Confederated Products
Congratulations on Big Fish. I have a silly question concerning the “Confederated Products” throwaway about halfway through that movie. Since that’s a reference to your previous work, rather than Tim Burton’s, how did it get there? That is, did you include it in the script, or did someone else suggest it?
e 5 Using the music of an unknown band
Having the rights shouldn’t necessarily be your first concern.
e 5 Including illustrations with your screenplay
Why it’s never okay to include drawings with a screenplay. Words are all you get.
e 4 The difference between homage and rip-off
An “idea” is essentially unprotectable. What is protectable is the execution: the plot, the characters and all of the details.
e 80 Writers Boot Camp
Workshops often bill themselves as helping writers avoid the painful mistakes, but sometimes what you really need are the painful mistakes.
e Comments Off Slandering historical figures
Dead people are fair game, for the most part.
e 2 New answers up at IMDb
In addition to the questions I answer here at johnaugust.com, I also have a weekly question-and-answer column at IMDb. Eventually, most of the things I address on that site also show up here, but it’s worth checking out the IMDb version for the Ask a Director and Ask a Cinematographer section, which offer a broader perspective on filmmaking.
e 7 Reading scripts at the WGA library
Cool resources with fountains of inspiration.
e 4 Working, but what’s the next step?
Important steps for the beginner who’s ready for the next level.
e 29 Did I ever watch the original Charlie and the Chocolate Factory?
I remember reading on IMDb, that you told Tim Burton that you had never seen the original Willie Wonka and the Chocolate Factory. I don’t think I have read anything on your site about that subject. Have you in fact seen the original Willy Wonka? What do you advise on that anyway? And is Charlie [...]
e 3 ‘A’ scenes and ‘B’ scenes
Once you start numbering scenes for production, you have to find ways to add new scenes between existing ones.
e Comments Off Dead copyright holders, and being too young
How to track down rights after someone passes on.
e 23 Getting a reader job
Where to find the jobs. Warning: you may have to start at slave wages.
e 3 Do screenwriters make anything from video rentals?
The writer doesn’t get residuals on rentals, except for whatever Blockbuster paid for each videotape or DVD it bought it from the studio.
e 1 Sending a script to an actor
If you’ve written a role that’s “perfect for Tom Cruise,” you have almost zero chance of getting it to him. But the more specialized the actor you’re targeting, the more reasonable it is to try.
e 13 Screenwriting software survey results are in
I took a poll, and here’s what you said.
e 6 Using a different font for the cover page on a script
It’s okay. And if you’re having trouble getting FD to do it, here are some workarounds.
e 2 Survey up for screenwriting software
I asked readers to tell me about themselves and the software they use.
e 1 Met the guy who runs Final Draft
I met the Final Draft guy.
e 3 David Dean Bottrell on How I Write
KINGDOME COME writer talks candidly about his process.
e 49 New Final Draft version 7.0 is…marginally better
Review of the Final Draft update.
e 6 Formatting a montage sequence
A few different versions shown here. Pick the simplest version that gets the point across.
e Comments Off Working on multiple projects
How to juggle multiple ideas. First, avoid it if you can.
e 8 Ergonomics for the screenwriter
There are real hazards to being glued to a desk all day long. Some tips to avoid pain and suffering.
e 2 Getting help as a deaf screenwriter
If you were hired to write a magazine article in French, you wouldn’t think twice about having a native speaker look over your work. That’s what you need.
e 1 Incorporating titles into a screenplay
How to superimpose places, times and dates into your screenplay.
e 7 Selling a story if you’re not a screenwriter
It’s hard work to take an idea and turn it into a movie without knowing how to write, but it happens all the time.
e 6 Jessica Bendinger on How I Write
BRING IT ON writer on setting goals and taking advantage of fear.
e 2 How I Write
Avoiding the early edit and other ways I get my story down on paper.
e Comments Off Tyger Williams on How I Write
FOXY BROWN writer on coloring his beats to visualize the structure, and other methods.
e Comments Off Getting rights when the story is based on actual events
Navigating the differences between public domain and intellectual property.
e Comments Off Todd Graff on How I Write
CAMP writer uses bad movies as a muse and motivator.
e Comments Off Do you need permission to use a quotation?
Let lawyers handle the law. You have plenty to worry about as a mere screenwriter.
e 1 Leonard Maltin’s mid-term exam
I was hoping you could clarify something for me–well actually, a bunch of us from Leonard Maltin’s film class at USC have the same question. One of our potential midterm questions asks: “John August commented that Big Fish differed from typical family films in one specific way. What was the difference he spoke about?”

Nobody seems [...]
e 3 Franchises and the original writer
Initial contracts are what keep you from being booted off the gravy train of a franchise.
e 3 Getting a job from a pre-visualization
When it’s useful and how to distribute it to gain interest in your movie.
e 1 Does lack of confidence lead to great writing?
Pretend you’re confident. Eventually, you will be.
e 26 Metaphors in Big Fish
My wife and I just saw Big Fish and loved it. We spent hours talking about the metaphors you used, especially what Spectre represented. How do you decide whether to hit people over the head with it or leave it up for interpretation? And are you okay with people coming up with different interpretations?

–Pete Safran

Like [...]
e 14 Good day jobs for writers and others
In finding a day job, ask yourself what other people always say you’re good at. Then do it. But never stop paying attention to your real career: the one you’re not getting paid for yet.
e 7 Finding a writer
Got an idea but no writing chops? Here’s some options for getting a writer on board.
e 1 Elephant and Columbine’s actual events
A question of fair use in the treatment of tragic events.
e 5 Getting a pitch meeting
Getting the meeting, but also what to do in the room.
e 14 Will digital ever replace film?
Weighing the future of celluloid.
e Comments Off First rewrite
So does the WGA absolutely guaranteed the first rewrite on your spec script? No.
e Comments Off Ph.D. on adapted screenplays
Where the adapted screenplay might reside in academia.
e Comments Off Generating ideas
Techniques for solving script problems and staying focussed.
e 2 The Problem of Multiple Screenwriters
On the first CHARLIE’S ANGELS, you came on after the original writers, and, though numerous writers worked on the script, you stayed on the whole time and were credited along with the first team (whose script, save for the opening scene, has no resemblance to the movie). On the second film you were the original [...]
e 2 Getting rights to a concept album
Copyright almost certainly rests with the songwriters, so start there.
e 4 Similar plotlines
Be happy you also thought of a great, marketable idea and move on.
e 3 Story first, then characters
Taking the “character driven story” idea too literally can derail your story.
e Comments Off Script writing software
Which software to use?
e 2 Finding confidence
The flip side of Insecurity tends to be Arrogance. I highly recommend the former over the latter.
e Comments Off Copyright and changes
How much needs to change to make re-registering your script worthwhile?
e Comments Off Movie quotes
Those great movie lines, bringing infamy to those who deliver them, are actually written by writers.
e Comments Off Script comments
Every screenwriter needs feedback from a trusted set of eyes.
e 1 Television specs
Good reasons why you shouldn’t write a sample of LOST if you want to work on LOST.
e 13 Television ideas
Can and unknown writer get a show produced?
e Comments Off First impressions
How I discovered that good writing is invisible.
e 4 Themes
Theme defined. Its function explored.
e Comments Off Spoofs in your script
There’s a long tradition of movies parodying each other, and it would be hard to prove any actual damage or wrongdoing.
e Comments Off Film censorship
Is picking a fight with the MPAA a good way to market your film?
e 4 Bob marley
Thoughts on writing a biopic.
e 1 What a “pitch”
Do stunts work in pitching?
e Comments Off Adapting a videogame into a movie
I adapted a computer game into a movie and I didn’t feel a wee bit cheap.
e Comments Off Writer’s block
I can’t help with writer’s block. But I do have experience with Laziness, Brain Lock and Perfection Paralysis. Defined herein.
e 1 Actors and dialogue
How to bring your dialogue to life without stepping where you don’t belong.
e Comments Off Voice-overs
Voice-over should never replace actual scenes, nor should it be redundant to what we do see.
e Comments Off Secondary scene headings
Ways to say “moments later” without necessarily writing it.
e 1 Writing for VFX
The director, cinematographer and visual effects supervisor have the final say about what the effects look like. But until these people come along, the writer is all those jobs
e Comments Off Getting stuck in a genre
The right genre is the one that will actually get you to fire up your word processor, rather than surf the internet.
e Comments Off Past mistakes
When you don’t think you deserve to be in the room, no one else will, either.
e Comments Off Avoiding cliches
Cliches are shortcuts. The more you avoid taking them, the more interesting the places you’ll end up.
e 28 Robert Mckee
Internalize what makes sense to you and chuck the rest. Anyone who tries to convince you that theirs is the One True Way is deluding themselves and you.
e 4 Screenwriting contests
A couple can be a boon to a young writer, others are in it for the cash.
e Comments Off Writers on art direction and cinematography
I am a film school student in southern CA, and I just saw a preview for CHARLIE’S ANGELS. I was very intrigued with the mis-en-scene of the picture and I wonder: How much influence does the writer (in this case) have over the art direction and style of photography?

–Anonymous

Well, clearly you’re a film student because [...]
e 3 Original films
Hollywood is making a lot of bad movies, but Hollywood has always made bad movies.
e Comments Off Book before the script?
Let your story pick your format.
e Comments Off Various locations
Keeping the reader oriented as characters move through a space.
e 2 Film vs. TV writers
On the structures and control limitations of each.
e 5 Optioning your book
How much is my book worth? Should I option or sell?
e Comments Off Genres and structures
Nail down characters, tone and action come before plot and structure.
e Comments Off More research
Keep in mind, does it pass the “I’d buy that” test?
e 1 Where to find scripts
There are a few types/stages of scripts. Some teach more than others.
e 2 Third-party storytelling
Why attorneys exist.
e Comments Off More LA relocating
Should you move to Los Angeles? Only if you’re really serious about making it as a writer.
e Comments Off Writer’s strikes
Baby-writer protocol. If you’re not yet in the WGA, can you sell during a strike?
e 1 Based on a true story
How is that label earned? What are the legal parameters?
e 10 Being a writer’s assistant
I am interested in becoming an assistant to a TV or Film writer. I have experience in the industry as an assistant to a Producer/CEO of a Production company, but I’m not sure what the qualifications are to be a writer’s assistant or how to apply for the job.

–Beth

I’m passing off the question to my [...]
e 2 Scripts sold
There are resources for finding out what scripts sold for what, but verifying the truth is another story.
e Comments Off Script formatting
Not only will looking at real scripts show you how they’re formatted, but it will also give you a sense of how standardized the format truly is.
e Comments Off Copyrighted materials in your script
Worry about writing the best scenes and not about lawsuits or song rights.
e Comments Off Does a Brit have a chance?
When or whether to cross the pond.
e 1 Film festival contacts
Timed right, they can take you places.
e 2 Western’s out?
Yes. So write one.
e 4 Script length
Anything shorter than 100 pages feels too short. It’s literally just not enough pages in your hand. And if you go much beyond 120 pages, people get nervous.
e 1 Int. and Ext.
How to handle scenes that take place both inside and out.
e Comments Off Using parentheticals
Overusing parenthetical comments will not only break the flow of the dialogue, they’ll drive the reader crazy.
e Comments Off Television scripts vs. Screenplays
Learn and know the qualities of both. They’re not independent of each other.
e 4 Moving to Hollywood
If it’s big movies you’re talking about, big movies require big money, which pretty much means LA.
e Comments Off Collaborating with multiple writers
The hive mind approach for screenwriting? Good luck.
e 3 Writing is hard
Don’t wait for flow. It might come; it might not. But it’s your job to keep writing anyway.
e Comments Off Male vs. Female lead
The awful truth: having a female lead in an action script will cap the budget at a lower level than the male equivalent.
e 2 Using CUT TO:
CUT TO: is an effective transition when used appropriately and sparingly.
e 2 Writing a biography
Trouble writing a biography? Feeling like you’ve done nothing as a young screenwriter? Here, I wrote one for you. Fill in the blanks.
e 3 Optioning a book
If you can, option. If not, don’t be afraid to show your script for fear of losing the rights to the source material.
e 1 Getting rights to a concept album
Copyright almost certainly rests with the songwriters, so start there.
e 1 The problem of multiple screenwriters
The mechanics of multiple writers jumping in and out of a single project.
e Comments Off Split-screen
While someone watching a movie can follow the action happening in multiple sections of the screen at once, the reader simply can’t.
e Comments Off Journalism degree
Choosing what you study isn’t as important as doing it passionately.
e Comments Off Generating ideas
Techniques for solving script problems and staying focussed.
e Comments Off Ad-libbing
Planned ad-libbing is like hoping for a white Christmas. Maybe it will snow, or maybe it won’t. Your sleigh better have wheels just in case.
e Comments Off How young were you?
Movie scripts looked so simple, it seemed a lot easier than any other form of writing.
e 1 Character caps
ALL CAPS for character names is fine throughout plays, but just use them once in screenplays.
e 5 Nominated screenplays
Screenplay awards are handed out based on the final movie. Would it be better or more fair if they were based on the actual script?
e 1 Foreign languages
If you think the dialogue would probably be subtitled in the movie, italicize it in the script.
e Comments Off Action writing
Give it the attention it deserves or risk it dying in production or edit.
e Comments Off Process of writing
Estimating how it takes to gestate and write a draft is part of the job.
e 7 Script adaptations
Turning book into movie: from acquiring rights to writing.
e 1 Script promotion websites
A waste of time and money?
e Comments Off Finding time to write
You need to actively clear time in your day to write, which means giving up something.
e 1 Flashbacks and dreams
Use common sense in differentiating between the two and try to read the script as if you didn’t write it, then see what’s clearest.
e Comments Off Being rewritten
Even the most experienced writers with multiple credits find themselves rewritten badly at times. When should you take your name off a movie?
e Comments Off Co-producer credit
How to get producer credit? Use leverage and do the work.
e 3 Characters w/ multiple names
From SUPERMAN to FIGHT CLUB, keeping the reader clear on characters with multiple names/identities.
e 1 “Fictional events” disclaimer
In GO, the threeway, the strippers and the burning hotel room all happened – at different times, to different people – but in stringing them together, I created a fictious work that is not really “based on actual events.”
e Comments Off Good writing vs. the idea
Well-written is rarely good enough. The idea must be compelling and marketable.
e 9 Choosing character names
Matching the right name to the character while keeping them distinct from one another.
e Comments Off Finding the rights
Sometimes an attorney should be your first stop on the search for rights.
e Comments Off Drafts and revisions
Expect to do multiple drafts and revisions and make sure the first draft you show people could actually be shot.
e 2 How many pages
The majority of scripts that go into production fall between 110 and 120 pages. That’s generally what I aim for.
e Comments Off Shooting shorts
Making a good short film is an incredible amount of work, but it’s absolutely worthwhile if you have directing ambitions.
e 2 Actress audition
I am an aspiring actress. [Recently] I went for an audition in Brooklyn. This casting notice was placed in Back Stage. Anyway, the Director, Producer, and Writer, who are all the smae individual, gave me a call back for Monday. The call back location was at his house. I did not know this until I got there. [...]
e Comments Off Stealing sequels
If you feel like writing a remake be prepared to approach the original studio first. Know that, If they don’t want to make it, and no one else is willing to buy the rights from them, you’re screwed.
e 4 Registering ideas
Only written, detailed ideas can be registered and protected.
e Comments Off Writing for actors/actresses
I completed a screenplay and I wrote with specific actors and actresses in mind. I now would like to have them read my work, but I don’t know how to handle this. Can I write their agent and trust him to have them read my work? Is there another solution?

–Laurent

If you wrote your script to [...]
e Comments Off Portraying "endurance"
I am working on a screenplay where I am trying to portray extreme endurance on the part of the main character. The problem is I am afraid that my method of illustrating this leads to a sort of monotony in my script. What creative approaches could I use to portray redundancy while maintaining the momentum [...]
e 2 Script, story, screenplay
What is the difference between a script, story and screenplay? How "developed" (stage wise) are they in comparison to each other?

–Hemant

"Scripts" and "screenplays" are interchangeable when it comes to feature films, but television scripts are always called scripts. (Except when they’re called teleplays, which is only in certain on-screen credits.)

"Story" is more or less what it sounds [...]
e Comments Off Determining credit
Screen credits are a huge, sticky mess that pits writers against writers.
e Comments Off Rewriting an old movie
Every studio has somebody who handles exactly these kind of rights.
e Comments Off Surviving development hell
How to handle development meetings. Be open, learn and remember the changes are yours to implement.
e 8 How old is too old?
Starting a career in film is difficult at any age, so if it’s 15% more difficult at 35 than 25, I can’t imagine that would deter you.
e Comments Off 11-year old film fan
Encouraging the next generation of filmmakers without scaring them off.
e Comments Off Research
Knowing the exact shade of ochre in the king’s bedroom is pointless unless you have a fascinating scene taking place there.
e 3 Are jokes public domain?
At a certain point, some jokes circulate out in the popular culture enough that I would argue they’re essentially public domain.
e Comments Off Agency papers
When you sign with an agent, know what you’re signing and how to protect yourself.
e Comments Off 9/11 – the movie
Do you foresee a market for some kind of human interest story with September 11 as a backdrop, or will this "day of infamy" be completely off limits?

–Robert Baker

As many people have pointed out, both Pearl Harbor and the Titanic were real-life tragedies before they became blockbusters, so never say never. But I’d be surprised if [...]
e 4 Sold a script, next stop: agency
Finding the right agency means doing your homework and consulting with others.
e Comments Off Index cards
They can help visualize the structure and pacing, but allow for invention along the way.
e Comments Off Finding assistant gigs
Advice on finding those hard to come by writers assistant jobs.
e Comments Off Rewriting, but where’s the script?
It’s awkward enough to take over someone else’s script without having to ask for the file.
e Comments Off Over-editing
Always ask, “Do I need this?” But don’t sacrifice tone for brevity.
e 1 Got the story, but i can’t write
Can’t write your great idea? Find someone who can.
e 10 How long to write a script
How long did it take to write GO? How long does it take to write a finished script? Do you work at an office day in, day out, or is it different?

–Floris

GO took about two years to write, but it was an unusual case in that I wrote it as a short film, then let [...]
e 6 What should a 14-year old do?
There’s so much to play with, study and write about in the world around you. Start there.
e Comments Off How much research does it take?
You don’t need to know everything, just enough to firmly place your characters in the world.
e 1 Ratio of pages to screen time
A page-a-minute is a good rule, with exceptions.
e 1 Writer on-set
What few writers understand before visting a set is just how boring they are. For my money, a writer’s time is better spent in the editing room.
e 2 The essentials of adaptation
Books and movies should be compared, if only to understand what each does well.
e 1 Finding the structure
If you’re beating yourself up over not plotting out your whole script beat-for-beat. Guess what? You don’t have to.
e Comments Off To google google
If Kafka ran google.
e 1 Do i have to write the courtroom scene?
Sorry, you can’t outsource the hard stuff to the actors and director.
e Comments Off Using copyrighted material in a short
The consequences for trampling someone else’s copyright are not that dire. Since you’re a student, and probably broke, it’s not like 20th Century Fox is going to sue you for your life’s savings.
e Comments Off Transitions
When to use them. Which to use.
e Comments Off To live and die in LA
Boy does this question come up a lot. If your life’s dream is to become a giant Hollywood screenwriter, then you need to live in Hollywood.
e 1 Courier 12 pt. font
If you have the choice, always pick the Courier version.
e Comments Off How long is a scene?
If I get to the third page of a scene I’m writing, I automatically stop and re-examine it to figure out why it’s so long, and whether it really needs to be.
e 1 Camera angles and edits
Until the movie is in theatres, there’s no such thing as a final shooting script. Angles are for Directors and edits are for editors.
e Comments Off Dead rapper’s mom is calling the shots
A good example of why producers matter.
e 2 How long a treatment?
There’s no standard, but past 20 pages I’d be worried.
e Comments Off A character sings a song
Hope you have to worry about these problems when the movie gets made. Until then, don’t.
e Comments Off MPAA numbers
Way down on the list of MPAA responsibilities is the job of keeping track of its members’ movies. That’s all the numbers are for.
e 1 Are characters based on people you know?
As a writer, do you worry about everyone in your life thinking characters are based on them?

–Dari

Surprisingly, the issue almost never comes up. I guess that means either, (a) everyone in my life has already accepted that something they say or do might someday end up on screen, or (b) they’re angry and repressing their [...]
e Comments Off Writer control
Selling people on your ideas is critical to keeping control of a movie from the beginning.
e Comments Off Was Go written on-the-fly?
While listening to Doug Liman and Steven Mirrione’s commentary track on the GO DVD, they went through numerous scenes that weren’t in your original screenplay, but rather scenes they had you write in production. I was wondering what percentage of a film would you say is original material, and what percentage is threaded during the filming process? [...]
e Comments Off Worried about copyrights
This is America. If you want your characters to say that TOWN AND COUNTRY was a boring, unfunny disaster, they can.
e 2 More camera angles
Reading a screenplay should give you the sense of watching the movie. There are times when it’s appropriate to mention angles, just as it can be necessary to point out costuming, or music, or effects in order to let the reader know what’s what.
e 2 Theory #2
Why do movies suck?
e 14 Is film school necessary?
There’s a hell of lot to learn about filmmaking, but school’s not the only place to do it.
e 3 Formatting and software
Best practices for keeping your script formatted correctly.
e 1 The sequence of Go
Did you originally write GO as an out-of-sequence story, or was that something you and Doug Liman changed after the script was written?

–Chris

Although there’s hardly a trace of it left in the script, the deep underlying story of GO originated from Alice in Wonderland. Even before I came to L.A., I’d been pondering ways [...]
e 3 More on becoming a co-producer
How a writer can stay involved in a producing capacity once the script is written.
e Comments Off My idea’s been stolen
Paramount has just bought a project that sounds horribly similar to yours? Remember that there’s a vast chasm in scriptland between being bought and being made.
e 2 Paying for notes?
If you’re looking to strangers for notes, protect yourself and check them out first.
e Comments Off Do i show my scripts or my short?
Not many agents are apt to pop in a videotape to check out a low-budget movie from someone they’ve never heard of. The odds of suckage are just too high.
e Comments Off Reading reviews
I was wondering, do you read reviews of films you’ve worked on? When you’re in a bookstore, do you go to the film section and check out how many stars Maltin or Ebert have given the films?

–Brenton

Thanks to the Internet, not only can I read what Maltin and Ebert say about my movies, I can [...]
e 3 Writer/director disagreements
What happens when you disagree with what a director does with your script?
e 2 A Go sequel?
If someone offered you a lot of money to do a sequel to GO, would you do it? Do you think a screenwriter has to take big money projects whenever they come along, just to survive in the business?

–L.M. Dix

First off, no one is going to offer me a lot of money to write a [...]
e 1 Specs, treatments, and pitches
The differences, defined.
e 1 More copyrights and changes
How important is it to register your screenplay?
e Comments Off Do writers have a say in the music?
Once your screenplay has been sold, do you (the writer) have any say in the music that is used?

–Joel Norn

Almost never. The music in a movie is ultimately the decision of the director and a contentious committee that includes the composer, the music supervisor, the editor, the producer, the studio, and the soundtrack representative. Sometimes [...]
e Comments Off Writing a biography
Link to a template to write your baby-writer biography.
e 1 Using CUT TO:
When and how it’s useful.
e 1 Naomi Foner on How I Got My Agent
RUNNING ON EMPTY screenwriter on going from Sesame Street to Hollywood.
e 4 Tom Smith on How I Got My Agent
A case of paid script analysis paying off for an aspiring writer.
e 1 David Steinberg on How I Got My Agent
Someone (anyone) else saying your script is great is infinitely better than you doing it yourself.
e 1 Howard Rodman on How I Got My Agent
Thai noodles led a baby writer to a baby agent. This is more likely to happen in LA.
e Comments Off Derick Martini on How I Got My Agent
Using a short to lure agents to your script.
e Comments Off James LaRosa on How I Got My Agent
A good example of why impressing assistants matters.
e 6 Doug McGrath on How I Got My Agent
Oscar nominee for BULLETS OVER BROADWAY tells his story.
e 1 How I Got My Agent
My personal answer to the most asked question of young writers.
e 5 Craft service
The differences between craft services and catering and who to go to when one isn’t up to par.

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