Ask a Question
If you have a question about screenwriting, the entertainment industry or the projects I’ve worked on, then chances are I’ve answered it somewhere on the site. You should try –
- the search box,
- the Answer Finder, or
- the category listings at the bottom of each page.
If you still can’t find an answer, please feel free write to ask@johnaugust.com.
IMPORTANT:
- Please include your first name and location (i.e. Tom in Bristol, England).
- Your question may show up on the site.
- I can’t answer every question. Sorry.
- I won’t read your script, your treatment, your query letter, etc. Sorry. Not only is that legally terrifying, but I wouldn’t possibly have the time.
- I don’t answer private emails, such as, “please write me back at joeblow@acme.com.” The purpose of the site is to help readers learn more about screenwriting, and answering questions privately doesn’t help the reader-at-large.
Articles
September 10th, 2004 at 9:07 pm
Hey there!
John…I just had the unfortunate happen–the dog pulled my laptop off the table by tripping across the power cord. Yeah. Anyhow, I lost a bunch of screenwriting materials because the fall damaged my harddrive beyond repair. I’m learning the VERY hard way that backing up is not just a good “insurance policy” but a MUST. I thought it might be a subject you might shed some light on from your personal experience.
Thanks!
Eric in Indiana
September 12th, 2004 at 1:36 pm
Eric,
depending on your operating system backing up shouldn’t be much of a task at all.
regardless of your OS, i find the easiest way to keep scripts and versions in order is to rename the file every day you go to work on it. so 2004_0912_TaleOfTwoCities.doc and just change the date every time you work on it. That way if you say ‘jeez I liked how this scene went better in mid-august’ you can just pull up that version. Do NOT always save over the same filename. One file write error and your whole script could be corrupt.
Then burn a CD of your documents folder once a week at the very least. If you have an external hard drive, back up to that daily.
If you are using a Macintosh, pay for .mac service. It’s worth it. You can back up to the apple servers as often as you want. And with small text files like scripts you can have an entire history of your scriptwriting on a hard drive somewhere else that you don’t have to worry about, the data is safe.
I also highly recommend final draft. It makes writing easier and more fun as well as does some backing up for ya. I’m not sure how often but theres many many files of your script in the backups folder for final draft.
-Dan Detroit, MI
September 12th, 2004 at 2:13 pm
Hi John, I was wondering how I could personally get on the e-mail list to receive the periodic UTA job list. I worked at Palm Pictures and Sanctuary Records as an intern formerly, and received the UTA list from Palm in June, but by the time I finish law school, the list I had will be obsolete, and I need the new information. How do I subscribe?
Andrew
September 13th, 2004 at 1:19 pm
Dear John,
I find your site to be a great tool, with many inciteful tips and tricks. Thanks for keeping it relevent.
My question involves SPECIFIC LOCATIONS. How specific can I get without it becoming a problem? For example, What if instead of a murder in a “nice city hotel”, I set it in the Four Seasons Chicago, for example, is it legally alright for me to do that?
I’m sure the Four Seasons wouldn’t appreciate a memorable murder scene set in their hotel lobby, but what’s my other choice? Create a fictional prestigious hotel called the Five Seasons to give me total creative license?
I know movies in the past have been specific about locations, etc. Did they secure permission after the script?
I need better clarification of the boundary lines. So that when I cross them, it’s something worth the trouble.
Thanks and continued success.
Matthew Bradley Chicago, IL
September 14th, 2004 at 6:52 pm
Hi John,
I searched through your archives and I didn’t see an article that related to my question, but I may be wrong. If so, I apologise.
I am about to begin work on a new draft of a script of mine that is currently under option with an Irish Film Production Company. I have been seriously writing for 2 years (since finishing up my Film & TV studies at college) and haven’t to this day had to rewrite one of my scripts based on outside suggestions.
I was just wondering, what tips you would have on re-writing? Are there any tips? Is there even a standard way of re-writing at all? How should I attack this new challenge?
Thanks for the site. I love it.
Kevin Lehane Cork City, Ireland.
September 16th, 2004 at 10:40 am
Hey John I was wondering if you have any more prewriting materials, such as outlines from previous screenplays for you to post on your website?
September 16th, 2004 at 1:08 pm
Hey John,
I have like 10 story ideas. Some I have written into short stories others are just notes on paper. The problem is that everytime i sit to try and write them as screenplays I get stuck. I have the scenes but they don’t seem to connect or I have the beginning and end with no middle. I keep moving from idea to idea with nothing complete. I was wondering if that’s happened to you and if so how did you remedy the situation?
Thanks for such a great site,
Travis
Wilmington, NC
September 17th, 2004 at 11:26 am
Sorry I forgot to add location: My question from earlier about sample option contracts and where to get them came from Oliver in: Oxford, England
September 17th, 2004 at 8:07 pm
i would like to option a play. the version i have is a translation from the original language the play was written in. apart from optioning the play, what will i need to do in order to be allowed to use the english translation? john newbeck, new york
September 19th, 2004 at 1:47 pm
Thanks for taking my question.
I have a screenplay idea but very little time to write (full time job and two small children at home). How would you recommend my approach to getting the nuts and bolts of the screenplay idea down on paper? I was considering writing a one or two page treatment.
Once I had that, perhaps I could shop it around to see if there is any interest. If it blows, then I only spent a smallish amount of time on the treatment.
Thoughts?
Miles, Los Angeles
September 20th, 2004 at 6:50 am
Dear John I have written a book which i find very interesting and good story but i dont know how to find a buyer, you can maybe assist me by helping me to get some agent who can contact me.
Thanks for your great site, short but deep tools.
Sirencely !
September 20th, 2004 at 1:05 pm
John,
Love your site; thanks for all the help. I searched the archive thoroughly and I hope this question hasn’t already been covered.
You broke in with “Go,” a well-written R-rated spec script. Most of my specs are R-rated dramas dealing with controversial subjects (All of them have a strict, classic 3 Act structure). Would it be foolish to write a mid-to-high budget, R-rated spec (say about Iraq, Rwanda or another controversial subject)? Do writing samples really work?
September 20th, 2004 at 7:13 pm
John:
I was wondering what your background was before being accepted into the Peter Stark program at USC? Did you have a film resume or did you get involved in film through the program?
I have a stong passion for film and currently hold a business degree. I am very interested in the USC program. I am very curious to get a feeling of what a typical incoming student might posses. Thank you very much.
Jason
September 22nd, 2004 at 12:07 pm
HELLO JONH
I WORK IN AN AGENCY OF PUBLICITY SAATCHI & SAATCHI IN MEXICO. STUDY SCREENPLAY AND DIRECTION OF MOVIES, AND I HAVE VARIOUS PROJECTS WRITINGS. ALWAYS ASK ME FOR MY AGENT, BUT I do NOT HAVE. IS VERY IMPORTANT TO HAVE AN AGENT?
THANKS SO MUCH
JOAN
September 22nd, 2004 at 12:56 pm
Hi, I am trying to view the script for Big Fish but when I click on the link,there is just information that states that the information couldn’t be found. If there is a specific URL that you could email to me that contains this script, I would very much appreciate it. Thanks, Julie
September 22nd, 2004 at 3:25 pm
Dear Sir, Are you aware of any discussion regarding the fact that “Lost in Translation” is a rip-off of Haruki Murakami’s novel “Dance, Dance, Dance?” Thanks.
September 25th, 2004 at 1:48 am
I’m breaking all the rules since I don’t have any ruminations on the pros and cons of Courier 12 pt. I just wanted to say thank you for your work. ‘GO’ is simple and brilliant.
September 28th, 2004 at 8:37 pm
John,
Do you have any more examples of any treatments or outlines that you did for your scripts?
September 30th, 2004 at 2:22 am
Mr. August, What are your thoughts on the works of Fellini and Visconti? If they were alive today what script from your catalogue would you most like to see them direct?
Also, what do you prefer working on most: assignments or spec scripts?
Thanks, Jason San Jose, CA
October 1st, 2004 at 6:47 am
John,
Big fan, so I have 2 questions coming at ya’:
1– Assuming you have an agent, manager, lawyer and all the other “must haves” to sell a spec, do you think it’s wise for your reps to take the material “wide” (20-30 producers) or for them to slip it to individual producers 3 or 4 at a time in order to sell the piece?
2– And, just curious, how did “Go” get set-up?
Alexander NYC, NY
October 3rd, 2004 at 11:42 am
Dear Mr. August,
Thanks for a wonderful site and the world’s best film ever made (Big Fish). During my screenwriting process, I have encountered something called “I/E” which I can’t find in your glossary. So my question simply is; What does it mean?
Thanks for any help, Mats Gothenburg, Sweden
October 4th, 2004 at 8:33 pm
I’m on the last few pages of my latest spec script (historical), and just found out that two weeks ago, the same subject matter was sold as a pitch to a major studio. Does this effectively kill my chances of ever selling my script? Or does a pitch sale not necessarly mean that a film will actually be made? Could this be a positive thing? For example, the story is clearly marketable (since it got sold), and perhaps another studio would be interested in being first to release a competing picture.
Your thoughts?
October 5th, 2004 at 6:05 pm
Hey John, I’m a big fan, admirer and long time reader of your site. I have more of a request than a question. I saw that Adam McKay, who is currently writing the movie Talladega Nights would be at the Austin Film Festival with you. If there is any way you could convince him to shoot his entire movie in Alabama as was Big Fish, I along with all Alabama film fans would be very very grateful. Thanks so much and keep the great advice coming, Chris Cate
October 8th, 2004 at 10:20 am
John, I have a hit a roadblock with one of my scripts and am unsure of what to do. It has been requested by a number of different companies but ultimately not bought or optioned. I’ve received letters ranging from no explanation on why it wasn’t selected to “you captured the essence of” but were not interested.
Obviously, there is something wrong with the script. I think the story is very good but I’m not sure the dialogue is strong enough. What is a good barometer of what is good dialogue? I under the process of getting a script bought and made is extremely difficult and quite subjective. I’ve been in the newspaper business for 13 years and know quite a bit about the writing and editing process so I would have no problem with changes and improvement for the script. I’m all about making it the best product possible.
Or is it possible that the script is in decent shape but the RIGHT person hasn’t read it yet? I hesitate to make wholesale changes without knowing the exact problem, if there is one.
Any answers you could give would be helpful.
Thanks
Craig in Detroit, Mich.
October 8th, 2004 at 10:34 am
John, I read that you and Mechner are working on a particular project. I am a former Ranger/Special Forces Operator. I have the docs to prove it and since my leaving the military have been working in the film industry as a consultant. I’m very interested in this project.
I am sure you’ll find my references beyond reproach.
Warm Regards, Ron Blecker
October 14th, 2004 at 6:51 pm
John, Have I screwed myself? I’m a new writer—recently had screenplay do well in competition and have optioned the work to a trusted producer. Have a manager that is working as my manager but no under contract. Now, I’m getting e-mails from other management firms interested in my work. I’ve got (1)a producer attached to my work, (2)an individual that is “acting” as a manager under no contract, and (3)other people knocking at the door…Have I screwed myself by optioning my work? Is it unethical or maybe even dangerous to have multiple managers viewing my work? Your grateful newbie, PODGE
October 16th, 2004 at 10:39 am
Hello John:
I’ve been working on my very first screenplay for a very long time now and am not through with the first draft. I have the basic workings of the story. However, I’m unable to get past 60 pages of writing. What I once thoguht was a good idea for a story about redemption has lost all its shine for me. Am I afraid to admit to myself that my story isn’t a very good one for a film? Or, do I need to keep at it until I break through my stagnation? Or, should I sock it away in a drawer, work on another one of my ideas and come back to it later? Thanks for your advice and direction. Vincent
October 20th, 2004 at 10:59 am
Mr. August,
I need your advice: I have a ’six-degrees’ Industry contact (in-law of a friend of a friend) who is a producer and I would like to send her my screenplay. My hope is that she will consider it herself or at least forward it to someone who will if she thinks it is good work.
Since I don’t know her personally, what approach would you recommend? I considered having my friend deliver it to her on my behalf but I’m not sure if this is too forward an approach or there are any legal issues to consider.
Thanks for your time.
-Doug
October 20th, 2004 at 11:27 am
Hey John,
As they say, cut to the chase…
I’m writing commercial spec scripts and I know why I’m writing them. I want a sale. I want to break down the door. And I want to land future writing assignments. I want to be a paid screenwriter. Period.
But ultimately I don’t want to just spew the high-end / low-satisfaction scripts all my career. I love screenwriting, but I also love creating interesting stories. I am writing commercial scripts just to break in. Is this the wrong approach? Am I misrepresenting myself when I look to sell a romantic comedy script but have no plans to write future romantic comedies?
The means to the end, John.
Thanks for your advice, Matt Bradley
October 20th, 2004 at 10:59 pm
Mr. August
I would like to know your thoughts on sending spec scripts to production companies. I would like to write a spec for a show currently airing. Is this a good, or even possible way for a new writer to get a gig? If so, what should be included with the script when I mail it?
thanks a bunch
Steve Watkins
Los Angeles, CA
October 21st, 2004 at 4:20 am
I have so many questions I need answers for but all of those can be asked elsewhere as they’re more techinal side of writing. But my question indeed is about the writing itself.
I love metaphoric language. Could you read The Hours without any of them? No. What about any books by Virginia Woolf. No. But my question goes here: Can you write a screenplay with metaphoric language? Example: The sun goes down –> The gates of heaven are closing as the sun slowly disappears to eternity, only to be found there the following day. The silvery clouds are the last barriers the sun has to face before it can lay to rest, at least for a while.
Am I wasting space (and obviously my talents) or perhaps going to impress the producers? You might ask why I’m not going to be a novelist instead. I love movies. That is my reason.
October 23rd, 2004 at 4:38 am
Dear sir,
Please,did you you have some news about Tarzan project ??? Thanks in advance
October 28th, 2004 at 8:12 pm
Hey John. First off, congrats on Big Fish. Superb movie script that really worked out on the big screen. Second, I intend on playing the roles of the scripts I write. Is there anything I should be aware about if and when an agent, lit agent, is considering my projects?
November 3rd, 2004 at 9:22 pm
John - Good meeting you a few weeks ago and talking about travel (Seoul and Korea, etc.). Enjoy the site, especially the skeletons.
My question: any especially key works (scripts, books) that you found helpful/revelatory as you began writing?
Thanks.
November 4th, 2004 at 11:05 am
Hi John
As briefly as possible, I’ve written a short that has been shot and is currently making the festival submission rounds, including Sundance. I was lucky enough to have Christina Applegate and Chris Klien as well as some other celebrities make cameos. Johnathan Schaech is the producer and Cameron Thor was the director. I am currently still waiting tables.
What do I do now? General submissions to agents w/ the DVD? Wait till I get into a festival and network? I have about 4 other unproduced screenplays and plenty of material. All I know is that I gotta stop asking people if they would prefer corn or flower tortillas with their meal.
Any suggestions?
Thanks
Christian in Los Angeles
PS I enjoyed listening to your commentary on C.A.2 Full Throttle. Congrats on getting to do one.
November 5th, 2004 at 2:53 pm
John,
I enjoy your website. Thank you for it.
Now, being the successful screenwriter you are, I imagine people must throw crazy ideas for stories your way. I’m only semi-successful and as soon as people hear I’m a writer, I have a thousand unexecutable and/or uninteresting stories tossed at me.
My question: How do you politely tell them their ideas are really not that good? I used to go with “That might make a good novel,” or “Wow, let me know when you finish the script. I’d like to read it.”
Well, I won’t be using those methods again. I’m stuck reading a book I don’t like and I have another guy begging me to read the first ten pages of his Action Thriller.
Pardon me if this comes off as pretentious. Just curious what you do in similar situations.
MStarr – Twin Cities, Minnesota
November 9th, 2004 at 11:47 am
Hello. Someone posted this question above… maybe majority wins… Are there any books or resources you recommend for someone just getting started?
November 10th, 2004 at 11:04 am
Dear John, Love the site. Very helpful. I was writing a screenplay recently, and am nearing completion. How would I find a buyer w/o an agent and with no movie experience or education? Is this possible?
November 12th, 2004 at 10:36 am
Dear John:
I see quite a bit of useful info in your archives about page length and script length, but how about scene count and scene length? Is there a general rule for those?
Thanks, great site. Tom
November 15th, 2004 at 1:20 pm
Dear John,
I have created a reality TV proposal, and it had you in mind. It is basically an “American Idol” for actors. And, when we get to the finals, our finalist will be involved in short films. My original thought, and hopefully you would share the same interest and perhaps want to be involved, would be for the short films to be penned by well known screenwriters such as yourself and be directed by unique and successful directors by the likes of Sofia Coppola.
I was wondering if this sounds interesting to you, and if there is a opportunity to discuss the matter in further detail.
I know it’s not your policy to email, but I feel this show has great potential with the help of visionaries like yourself. Thank you.
J’hon Christopher Williams
November 19th, 2004 at 4:22 am
I am optioning my treatment to a young producer and I will then write the screenplay. We are negotiating the contract at the moment.
As she is a new producer she can only offer a tiny amount of money so I have negotiated that:
She will have 18 months and then I regain ownership (without having to buy it back, though I expect there will be some kind of turnaround clause).
I shall be invited to all head of department meetings.
I have approval of director and of further writers.
…As I understand it approval does not mean that I can say I want this director Рbut that I can say I don’t want that director. Negative approval if you like.
My question is – does this sound like a pointless thing to have (it was a choice between this and more money!) – would I be better off seeking a co-producer role if I wish to have any control?
—or even should I retain any control/involvement in the process? Would that scare off financiers?
In case it makes any difference I don’t expect the budget to be more than ¬£2m / $4m.
November 20th, 2004 at 12:10 am
Hi John, First, big thanks for this site. It’s a huge help and very much appreciated. My question pertains to P.O.V. I used to see it quite often in screenplays now I hardly see it at all. Has it been denounced as “directing from the page” or is there simply a better format? Can you suggest some formats to denote a characters “point-of-view”? Thanks again.
November 23rd, 2004 at 12:20 pm
Hi John,
http://chocolatefactorymovie.warnerbros.com/ has the poster art for Charlie and the Factory up now…looks very cool.
November 30th, 2004 at 5:01 pm
Hey John,
Just curious, what blogs/websites do you frequent on a daily basis?
November 30th, 2004 at 5:03 pm
Forgot to add my location to previous post.
Dave Los Angeles, CA
December 3rd, 2004 at 12:47 pm
Hi John,
My question is about title pages on specs. I’ve seen published screenplays with the title printed in a more “interesting” font and also as a logo, as with your “Go” script. I was wondering if this is acceptable on a spec to grab attention or if this was just something done after the script was sold.
Mike
Los Angeles, CA
December 5th, 2004 at 2:00 am
John- i just wanted to thank you for this site. I am confident that at some point my writing, visions and passion will on the big screen and when i do i will thank you again. Scott
December 6th, 2004 at 1:59 pm
I’m having trouble “letting go” and just pouring it all out on the page. I feel like inside there’s all this stuff rolling around and if I could just get it on the page, it would be great. I’m not just talking about feelings or emotions or even matters of great importance, but stuff like weirdness.
Does this make sense? If so (and this is the real question) what steps must one take in order to “let go”?
Thanks.
Jim Dallas
December 6th, 2004 at 6:55 pm
John, Found your sight via Zoetrope. Passed it onto Triggerstreet. Opened GO. Read your first page over and over. It blew me away. Your writing is flawless. I will have questions, soon as my head stops spinning. Thanks, Montana
December 7th, 2004 at 11:26 am
John,
I saw your comment about listening to soundtracks while writing and I used to do that. I used to listen to “Braveheart” and other such powerful scores while at the computer.
But later when I would re-read what I had written (without the music) it came off melodramatic to me. I think I can write anything with a great score behind me. Does this every happen to you?
thanks pat
December 8th, 2004 at 12:35 am
hey john,
let me cheat and ask 2 questions: I’ve got a project i’m working on. It’s a biographical story. I’m wondering if you have any tips when taking on a story which already has a skeleton–therefore less easy to manipulate in terms of typical act structure plot points etc. The goal for me is to make a great film, but at the same time, stay as true to the real story. i’ve read books where they say “forget the truth-think about the medium”, which i understand yet at the same time, feel compelled to stay true to the life of this person.
and: any tips on how to develop dialogue? I started with just getting the point across, then with re-writes tried to get it to feel a little “punchier”. Haven’t read any real tips on getting and developing strong dialogue. any tips or advice would be greatly appreciated.
thanks
December 10th, 2004 at 12:24 pm
Hi John, First off, congrats on your career. Think you’re a great writer. I’m an emerging screenwriter. I’ve had agents, managers, some stuff optioned, but still find it tough to make a living. I’ve been working in the business for seven years, mostly being entreprenurial–doing projects on my own, but every year I find myself wanting to learn more about producing. Not only in terms of having more control over my writing career, but also to get projects made that I love, but don’t necessarily want to write. Any advice on getting back into the business in a mentor/work situation after having been independent for so long? I know that you went to Peter Stark and set-up Big Fish, so I thought you might have some insight. Am I crazy to think that I can write and produce? Thanks.
December 11th, 2004 at 7:31 am
Hey John-
I’m writing a screenplay, and aiming for a deadline for this competition on the 15th of Jan. It only needs to be 80-130 pages, but I’m thinking it’ll probably end up being around 90. I’m currently on page 46, and I’m trying to get as much feedback from my friends as possible. They TELL me it’s good, but when it comes to friends, it’s hard to know if they’re telling the truth (because of hurt feelings and the like). So, the reason I’m writing is because I’ve been writing this for the past month and I’ve already gotten a substantial portion of it down. I think what I’ve got is good, but I feel like I may be rushing it. How long SHOULD it take to churn out a screenplay? It just kind of worries me when I spit out so many pages at once, I question if I should be taking more time. I don’t know how long the average screenwriter spends on his work. What do you think?
December 15th, 2004 at 3:33 pm
Hi John, Well I’m having a little trouble with this current script that I am writing. A character in my story is deaf and uses sign language to communicate. I have no idea what the proper writing format is for that and I was wondering if you can help me. That character also reads lips and I do not know how to incorporate that into my script as well. I’m in such a bind. I want to finish this up so I can submit it into the next Nicholls Screenwriting competition. Please tell me the answer oh great one.
December 17th, 2004 at 9:32 am
Here’s the situation. Last month, I had a meeting, set up through a producer friend of mine, with a major studio exec (My first one after writing scripts for 12 years and not a sale yet) The meeting went extremely well and I heard later that the exec liked me a lot personally and my script a lot though she felt it wasn’t something the studio was looking for right now. I also heard that she would keep me in mind for potential re-write work.
My question is how to keep the momentium going. I’ve already sent the exec a thank you card (and a Xmas card as well) and I would like to ask what’s the right way to keep in contact with her in a professional way without looking like I’m desperate (which, of course, is what I am)
Alex
December 17th, 2004 at 10:08 am
OOPS! Sorry, I forgot to give you my location. I’m in Chicago
Alex
December 17th, 2004 at 3:16 pm
John — Just wanted to say hello and I have returned to your site a few times in the past year or so. You are doing an excellent job.
mark bebernes
December 19th, 2004 at 5:51 pm
john - no question for you. only a kudos. just watched big fish and wanted to know who wrote the screenplay. thru the imdb site i found your site. wanted to say…awesome.
dlj – new york city
ps: i was wondering if that last site made you cry. now i know.
December 21st, 2004 at 2:45 pm
Greetings! I just recently discovered that I’d won some short screenplay competition in B’Ham – they didn’t do a very good job of notifying me – and that you were somehow involved. In fact, rumor has it that either you or the other guy said nice things about my writing.
I hope you enjoyed your trip to The Magic City. The festival folks actually wanted me to pick up the cost of shipping their 60 pound iron award thingie. It looks like the candlestick from a giant CLUE game, except for the cog welded to the bottom.
Anyway, my question is: isn’t writing short screenplays and submitting them to contests the mark of the hobbyist? I mean, what the hell is the good of a short screenplay? I only tapped my entry out to please my wife, whose father was also named Red…
Now I find winning that competition has me feeling crappy and amateurish… like a perennial Austin FF attendee…
Best regards.
Andy Wells Hinterlands….
December 21st, 2004 at 2:48 pm
PS – I really admired GO, especially when I heard that you had only started with the one story that ended with the girl hit by the car… The only part that I had difficulty with was the dinner with the cop and his wife… something about that scene didn’t work… I’m sure it was something to do with the sound or the lights!
;-)
A.
December 22nd, 2004 at 7:49 pm
Hi, I’m not sure if you can help with this being from the states but I’m hoping to find out what to do with a script when I’m stuck in Canada and with no knowledge of where to send scripts.
John In Ontario, Canada
January 12th, 2005 at 1:30 pm
Dear John, Despite your saying not to email you with private questions. I am quite despirate to know how things are going with TARZAN. Ive been trying to monitor things ever since i first heard of it june 2003… I am a young actor with aspirations to play the lead… Is the film being made?
Zander Bleck NYC
January 12th, 2005 at 1:43 pm
Hi, J
My name is Payman g, and I want to try out for the movie. I think that this could be my break into the movies. I am trying to find out how I can be casted in the movie. I am going to contact who I can to try to be in it. I am a Persian/American actor with 5 years of exp. on stage. I only act in american stage not persian. If you could be kind enough to email me at paymandman@aol.com and visit my site http://www.paymang.com to see my pics.
Thanks
Payman G
January 13th, 2005 at 3:36 pm
Mr. August, I am a college senior who plans to move out to L.A. before next spring. Is it a good idea to market my scripts before I arrive in L.A.? Could this create a buzz about me or will no one even look at them? I also want to apply for the Peter Stark program. Any tips on getting in?
January 14th, 2005 at 9:54 am
Hi John,
First, it was such a pleasure to meet you in Austin last year. Hope to see you next year, too. I had a question that I’ve never gotten a straight answer on. How do you format it when your trying to show text being written on a computer monitor, specifically showing the exchange between two people in an internet chat room (a la “Closer”, but I haven’t found that script)? I’m guessing INSERT: COMPUTER SCREEN would be a start, but what’s after that? Would the same be used to show the text message on a cell phone?
Thanks for all your help and Happy New Year!!
Derek
January 17th, 2005 at 7:11 am
Mr A,
I have a small problem; you haven’t written a book on screenwriting. I’ve been searching for a book done by someone who wrote a movie that people have seen. Quick, name a Syd Field movie! Really, the web site is nice, but it’s not portable.
James Sacramento, CA (Where our governor can benchpress your governor!)
January 19th, 2005 at 11:12 am
Do you print out your script pages as you go along, or do you wait until you have a completed draft before printing out the whole thing (assuming you’re using a word processor and not a typewriter.) There’s nothing more motivating to me than to see pages of script piling up, but then if I want to make a change to what I’ve written already there’s a potential for waste and I feel bad enough that we’re still using trees for paper instead of something more plentiful and efficient like cotton or hemp.
Rob Workman Saint Paul, MN
January 19th, 2005 at 12:18 pm
I loved big fish, and i was trying to download the script in order to analyze it for a class, but its down or something. will it be available on ur site again anytime soon? cause i really want to use this script and not some other movie, cause i cant find it anywhere else.
January 21st, 2005 at 6:14 am
Hey there John -
First off, I want to say thank you. I am writing my first short screenplay and I’ve got a lot of good insight from your webpage.
My question is how does someone contact an actor to present them with an idea?? Is there a list of agency contacts that is available to anyone?? I live out in Hawai’i, so I don’t think I’ll be able to pull a Dylan Kidd.
Thanks for your time – Tom
January 24th, 2005 at 7:57 pm
I was disappointed to see that the Go! DVD didn’t feature your commentary. The script is so unique, I thought having the writer discuss it would be a no-brainer.
But since I can’t learn anything about your script there, and the archive section on your site is busted, I thought I’d try asking you here.
Sorry if these questions are ones you’ve heard a million times over, but…
What inspired this story and what inspired you to tell it using the structure that you did?
Did you outline the story scene by scene before you began writing the actual script? Did you start with, say the Ronna story, and then check-mark points where a side character and/or event had the potential of branching off later on into their own unique story?
For example, did you know the plot-line of the Soap Actors before you wrote the Ronna story? Or did you only know that someone would hit Ronna with their car, and then later on, as you outlined the story, it struck you that it could be the two Soap Actors who tried to entrap her in the first place?
According to my DVD player, each story takes up almost exactly 30 minutes of screen time. Ronna is left in the ditch at 34 minutes. The Vegas sequence ends at 64 minutes. And the Soap Actors tale ends at 89 minutes. Was this bare bones version of a three act structure done consciously? Or did it just turn out that way, proving Aristotle right about the three act structure being something inherent?
Why do you think the audience was willing to accept cutting away from our protagonist 30 minutes into the story only to begin a new story that has almost no connection with the first? Was it because the second story began with a character who we were familiar with?
Like in Pulp Fiction, when the Jules and Vincent Story ends and the second story begins, at least it’s staring Vincent and it’s a story we know about thanks to their conversations during the first story? And the same can be said about the third story with Bruce Willis and how that was set up at the start of the Second story? Or am I just analyzing all this much more than you did when you wrote Go!?
Speaking of Pulp Fiction, did that script inspire you to write Go!? Or had you already written it when Pulp Fiction came out?
Thanks so much for your time, Mr. August. I hope you have a chance to answer at least some of these. It would mean a great deal.
Sincerely, Enio
January 26th, 2005 at 7:20 pm
Dear Mr. August,
I viewed the script you did for Titan A.E and Big Fish I loved it. You are a talented screenwriter when will you post that second draft of Corpse Bird you said you worked on? I like to read that.
Tiff Orlando, FL
January 26th, 2005 at 7:22 pm
Dear Mr. August,
I viewed the script for Titan A.E and Big Fish I loved it. You are a talented screenwriter when will you post that second draft of Corpse Bird you said you worked on? I like to read that.
Tiff Orlando, FL
February 2nd, 2005 at 9:04 pm
John,
Was wondering if there is a book or web site that lists the names of producers and/or production and (what type of work they are looking for).
Thanks Anita Barker
February 2nd, 2005 at 10:19 pm
Dear Mr. August,
I have only recently stumbled upon your web page here, after seeing your advice column at IMDb. I am a very cinema-obsessed movie geek, and have had one or two ideas for my own films floating around aimlessly in my mind for years. You’ve probably had this question countless times, I’m sorry, but where does one begin this process? I have the basis of a plot, simple sketches of characters, and ideas for scenes. I’ve sat down once to start writing and barely made it past page one before deleting all of it. Maybe I just lack the necessary passion, but I feel that it’s a great idea. Can you help me find direction? No pressure…
Mikey
February 3rd, 2005 at 1:13 am
This might be a bit of a stretch…
I’m just starting a re-write of a script where the 2nd act is entirely a road/buddy script. I’m trying to find some good reads before diving back in. I just finished George Gallo’s Midnight Run. If you are farmiliar, the relationship between the two characters is similar to the one I am trying to establish.
Being 23, there are a handful I’m certain have been overlooked or missed altogether…It seems that when writer’s hit that open road in their scripts, they either do it entirely right or entirely wrong.
If you could point me towards scripts in the genre that stand out to you, and why you think they were generally successful…well, much obliged.
February 3rd, 2005 at 10:20 am
John,
A freind forwarded me this story about the “real” writer of The Terminator and The Matrix. If this is true this is a huge story. I am a bit suspicious, but wondered if you’d heard anything on this.
http://www.finalcall.com/artman/publish/article_1745.shtml
Isn’t this a case where the WGA gets involved persumably before the FBI?
I’m sure these claims appear all the time. Do you have any suggestions for writers to defend themselves against a claim like this. For example if I write a script based on a story a friend and I created (nothing written down, just told orally) do I need to need to list him with a “Story by” credit?
Thanks,
February 4th, 2005 at 1:37 am
Hi There,
I stumbled across your site as I was looking for the “it’s.. it’s not amway quote…” which is one of the funniest lines i’ve heard… (accompanied by one of the most believable, pained looks..)
Anyway I was wondering if you could tell me how music is choosen for a movie. I’m in an (independent) band, and we’ve had our songs played on some TV series and shows, but these things have alway been a bit serendipitous (met an editor in the pub etc), and have never really been planned.
It would be great to hear one of our songs in a movie, but I have no idea how to go about submitting them?
Any advice would be most appreciated.
Thanks,
February 7th, 2005 at 1:41 pm
Hi,
i got a website (www.xdragunn.com) and alot of people are interested in my GOTHIC storyline. i’d like to write a one page treatment for my idea and present it to either capcom or any companies at the famicom convention coming up in march. my question is how do you write a one page movie treatment? Intro, body, conclution!?!? please get back to me im pressing for time and i dont seem to find any how to’s on the net.
-thanks, Dustin
February 8th, 2005 at 2:06 pm
John, Thanks for the great site. Like anyone else who visits this site, I am an aspiring screenwriter. I think that it is apparent with all of the material out there to know how to get started in this field. Something I have not found information on is how to get in the film producing field. I am graduating from college in December, and I am applying to many graduate schools including the Peter Stark school at USC. The costs seem a bit impractical, and I am wondering if you can become a high-powered producer without attending a program such as this one. Do you think effective screenplays are a good way to get started? Thanks for the help.
Lucas Davidson
February 10th, 2005 at 10:48 am
Hello John,
I am looking for a book on TV Reality Show Proposal format. Can you suggest any. Thanks, Yanina
February 14th, 2005 at 9:50 am
Hi John!
I was wondering if you can put “A beat” as a parenthetical in your script, or does that only involve the current speaking character?
Thanks a bunch, Mats in Gothenburg, Sweden
February 14th, 2005 at 10:20 pm
Mr. August I just finished my first script which is based on a very popular videogame series and I was wondering would you be willing to take a look at it?
February 16th, 2005 at 12:03 pm
Hi John.
I dig your site. I just wanted to offer a word of inspiration to all the writers on this site. My first film called SUNNYVALE is world premiering at the Cinequest 2005 film festival on March 4th! Goto http://www.cinequest.org or click the URI I submitted.
So see? It can happen if you don’t give up! And man, did get discouraged sometimes. Okay, a LOT of times. Cheers!
February 18th, 2005 at 10:23 pm
Mister August, I’d like for you to solve a lot of people’s curiosity. We all know that you have written the screenplay for Charlie and the Chocolate Factory. Now in the recent trailer for the movie, Johnny Depp as Willy Wonka says what to a lot of people hear as “Let’s boogie”. The way that I always heard it is “Let’s Lookie”, as in “Let’s lookie what we have in here”. On the Internet Movie database message boards, I have been called dumb and ridiculous because I believe that it is let’s lookie. Can you please tell us exactly what Willy Wonka says so we can put an end to this dispute? Thanks you very much.
February 21st, 2005 at 1:40 pm
In the “Practical” category of questions…may I ask what do you use for your accounting? I’d presume that you have an accountant, but also that you do a fair share of record keeping yourself. So, what tools do you use for that? And perhaps to make this worth your while, maybe a run down of the apps as well as old -fashioned techniques you use to function on a daily basis.
Thanks!
Eric In Indiana.
February 22nd, 2005 at 2:55 am
Hello Mr.August. My question is in regards to the writers guild east and west. Does it matter which one you register with? If I register online should I use the writers guild east seeing as I’m in Ontario Canada?
Thank you.
February 28th, 2005 at 12:04 pm
I have a new blog up cinemaschool.blogspot.com and wanted to get some suggestions and comments regarding the use of films and screenplays in teaching English to students. Does anyone have a favorite film or script they want to suggest?
March 1st, 2005 at 10:38 pm
i could use some formatting help. is there a site or book you recomend (a part from your site of course)
eg. when should i use “cut to:”, the phrase “we see”, fade in/out. should i discribe ext establishing shots int. scenes?
March 2nd, 2005 at 4:40 am
Do you know about a project titled Living Neon Dreams which is running through Europe for the last 3 years sounds like something from the game world. rgds Michael
March 4th, 2005 at 8:57 am
Just discovered this site… No question yet, but wanted to make this quick b4 my boss looked over my shoulder…
Your site is awesome ! You are awesome for sharing it !
March 7th, 2005 at 10:51 am
Hi John.
I feel like I’m incredibly ambitious, and my head might be in the clouds. I’m a minor still, hoping to become a director, but since my grades and geography don’t exactly support that, I’m hoping to break out as a writer. The massive idea I have would be three or four feature films long, in the perfect world.
Now, I’m already almost done writing the first screenplay, but I’ve also already composed all the lyrics and tunes, and scouted most of the locations. Could I possibly pull off presenting the entire package of the four scripts and all the other jazz, or should I just try the first and see where I go from there?
March 10th, 2005 at 2:40 pm
John,
I am currently writing a screenplay based on actual events from the early 80’s. I’ve decided to create a fictionalized protagonist but stay as true as I can to the historical facts. I have two questions.
The first question is I will need to create certain scenes that illustrate the antagonists personality. The antagonist is someone who destroyed a lot of lives but for dramatic purposes specific scenes will probably be harsher than what actually happened. How libel am I for those scenes?
The second question is that the story has about 8 different plot lines that are important to the story some of which affect the protagonist and some that affect the larger world around him and are just as important to the story. Is there a particular method you use to keep all the plot lines clear when trying to structure your script and can you recommend some movies that do a solid job of illustrating multiple yet interconnected plots?
Thanks in advance!
March 15th, 2005 at 10:28 pm
I saw an example of a Montage on this website that was a scene where a woman changes into differnt clothes. Wouldn’t this be just a “Series of Shots.” I thought Montages were series of events. Like a person goes to ticket master, goes to the ball park, gets back home. Something like that you know. I also have a question of how do you write a Super in a script. You know those words that are super imposed on the film. For example when you see in a movie that it says Several Months Later.
March 18th, 2005 at 4:07 am
I like your work; But you say you’ll never read our stuff (not fair). What if we have a great idea? You hafta know what that’s like (not like you got where you are without a greaq idea or a connection). Why NOT help the little guy? What if we’re the Big Fish?
Sometimes we have nothing to write (but a lot to say) and need someone working on our side — there’s a lot of douches out there who know not what they speak of (producers). Our enemies, I know. Is it, “I don’t wanna have to compete with these no-bodies to sell my stuff, yet I can give them all the advice I think they need?” kinda thing? A response would be nice, If not, word, brutha. CN
March 18th, 2005 at 8:41 am
Hi, Well im sure more people then just myself would be interested in seeing the treatment you wrote for the movie based on American Mcgee’s Alice. I am a big fan of the game and would be very apperciative if you put up that treatment.
Thanks Jacob Jones
March 18th, 2005 at 1:10 pm
Hey John,
FYI – I just created the John August article on http://en.wikipedia.org (the free encyclopedia that anyone can edit), but the amount information is shamefully small. You might consider filling in some biographical details yourself, since you probably would know them best. Here’s a link to the article:
http://en.wikipedia.org/wiki/John_August
Andy Cleveland, OH
March 20th, 2005 at 8:44 am
John, Props to you for Go and Big Fish…I didn’t see Charlie’s Angels because I am a woman fearing, introverted whino. Another nod for sparing your time for a little philanthropy. I submitted my first bulletin board comment, ever, in your archives today – sharing some humble wisdom. As for my plight, I’m working on my first spec script which I call my “mind-trip.” Anywho, my question is this: I have a protagonist which will take careful crafting to make sympathetic to the audience. I envision it as mostly third person but with some first person POV, especially in the beginning of ACT 1. He sees and hears hallucinations, so…can I word it so in the description, thereby eliminating POV directions? For example: JOHN springs from his chair, distancing himself from the voices behind the drywall – voices he knew existed in his mind. -or- JOHN springs from his seat, VOICES taunt him as he scans the room. This is my first spec scrip, so the only “green” I want to hear about is a green-light, not a green-writer… you smell what I’m cookin?
Question 2 (not important) Is the “inside” of the biz just like William Goldman wrote about in Adventrues of the Screen Trade? If it is, I’m just going to stay home. Here in Cleveland, at least the weather sucks.
Peace, love, and understanding D.A. Griffith (No relation to D.W.Griffith – but its my little sneaky calling card, what do you think??)
March 20th, 2005 at 5:02 pm
hey John I have a question, i am commercial editor in New England and I just recieved a good paying job in New York. I have always worked on commercials fora way to make good income and get connections. i have been writing screen plays for five years. is New York at all a good place to be to find an agent and get work as a screen writer( in film or tv) i can’t really go to LA. i have a wife and family and its just not in the cards for me right now. on this site u talk about LA, but is there anything in the East Coast. particually NY? thank you Roger
March 20th, 2005 at 5:03 pm
hey John I have a question, i am commercial editor in New England and I just recieved a good paying job in New York. I have always worked on commercials fora way to make good income and get connections. i have been writing screen plays for five years. is New York at all a good place to be to find an agent and get work as a screen writer( in film or tv) i can’t really go to LA. i have a wife and family and its just not in the cards for me right now. on this site u talk about LA, but is there anything in the East Coast. particually NY? thank you Roger
March 22nd, 2005 at 8:05 am
Hi John,
What kind of printer do you have? As a fellow geek, I’m curious. In my imagination, I see a professional screenwriter requiring a huge, high-powered beast that can print one script per minute. Or, do you not even print anything since it’s all sent out via PDF in these modern times? How much do you print in the average day / week?
Thanks,
Alon Ozery in Toronto
March 22nd, 2005 at 11:17 am
One more question, that’s actually screenwriting related…
In your most recent posting you mentioned your assistant Chad. Someone in the comments made a crack along the lines of “oh boy, sure would be nice to have an assistant”, and that got me thinking… What does he do for you? Is he more of a secretary, or does he actually help with the writing, reading drafts, etc.
I know your previous assistant went on to become a director, so I’m sure that Chad doesn’t just sit around all day answering the phone and filing his nails. Do you guys work out of your home, or have a seperate office?
Thanks!
Alon in Toronto
March 23rd, 2005 at 4:12 pm
Hi John,
I’m in a precarious situation and need your help. I would like to commission a competent screenwriter to assist me in co-writing a “pilot” episode based on my original story and characters, but am not sure how to go about it the right way. Since I’m financing this myself, I can’t afford the normal “studio” fees that most WGA writers can command, but on the other hand, I don’t want to waste my time hiring a “hack” either. What would you suggest? Sincerely, Craig Vincent — Irvine, CA
March 24th, 2005 at 3:44 pm
I wanted to ask about physical description of characters in a screenplay.
In a novel or a short story, I’d go with description that was very specific, striving for telling details that let the reader form a mental picture. Does it work to do the same thing in a screenplay, or are you better off providing a more generic description (an attractive woman) that just makes the story point clear without looking like you’re trying to narrow the casting possibilities to a handful of people?
Related to that, when a physical attribute plays a part in the plot, how much repetition is appropriate to fix it in the reader’s mind? For example, if on page 60 the hero is going to escape by feeding the bad guy’s pony tail into an office shredding machine, is it good enough to just mention the pony tail the first time we see the bad guy, or would it be better to throw in a scene where he choses which silver clip to wear in it to fix it in the reader’s mind? (I guess I’m thinking of the situation where somebody watching the movie will be well aware that the guy has a pony tail, while somebody who’s reading twelve scripts before bedtime might gloss over a one-line reference. If I’m writing a spec script, how much should I be writing for that guy?)
Philip in Champaign, Illinois
March 28th, 2005 at 5:39 pm
Hi, I know that everyone who writes a screenplay imagines what the completed film will look like. I am in a rather unique situation though. I am primarily a visual artist. I have just finished my first screenplay, (The project actually began as a series of paintings and over several years has evolved into this obsession) and I am not sure how to present this project. I would love to direct, design sets and costumes, and make casting decisions. HAHAHAHAHA. But really, I have a lot of great ideas that add so much to the script. It is very stylized and personal. Any ideas on how to approach this predicament? Thanks, Crystal
March 30th, 2005 at 10:56 am
Mr. August, I am applying to a script workshop that asks for a two-page (double-spaced) synopsis of the script. I haven’t been able to find a book or article that provides guidelines for this. Would you have any suggestions of where I might look?
Thank you, Bob, in San Jose, Ca.
March 31st, 2005 at 3:33 pm
Hey John, when you’re building on multiple ideas in your head on what screenplay to write next, when do you know which one to put on paper and REALLY devote your time to?
March 31st, 2005 at 10:38 pm
Hello John. I read that you are in Beijing doing some sight seeing and researching for a future “Old World” project. May I ask if the dialogue will be translated to Chinese? I am writing a screenplay based upon stories my father told me about his childhood in Taiwan. Most of the dialogue will be translated to Chinese. I am curious as to what producers will think about a story that takes place in a foreign land and has non-English dialogue? I mean, American movies have to be, well, in English. Right?
Thanks. Chaucer in Houston
April 1st, 2005 at 12:47 pm
Hi John, I’m from Ireland and am travelling to Los Angeles this summer 2005 with a friend for three months on a student Visa. My friend and I are currently in the process of writing a feature film screenplay which we feel has great potential. We would love to pitch our idea while we’re in the States -we really want to take advantage of being in Los Angeles while we’re there as this Visa is a one time opportunity. However, we are uncertain as to how to go about arranging a meeting with a studio/producer etc. to make our pitch. Surely, we can’t just walk into a company off the street and make an appointment? We would love if you could advise us as to what to do. We would be extremely grateful if you could help.
April 2nd, 2005 at 6:56 pm
I just want to say that I nearly choked on my kale and onion stir-fry when I read that you were only 34. I’ve been reading through your blog, and I swear I thought you were like 55 or something. That’s not an insult, that’s a compliment. Everyone told me to go see Big Fish cause it was “my kind of movie.” More than one person said to me, “I can see you writing a movie like that.” But, when I watched it, I thought the screenwriter was like 55 or something. Wow. I just turned 29 and I’m a screenwriter and now you’ve just become very inspiring. Thanks… :)
April 6th, 2005 at 9:26 am
Dear John, I actually emailed a few days ago about my predicament as an artist/writer. I found through, searching the archives more thoroughly, that what I need to do to promote my project is known as a pre-visualization. I have sent out several queries, both email and regular post, siting my website as a sort of pre-vis. I have also added a synopsis page to my site. Is this appropriate? Do you know of any other writers who have used this approach? Thanks so much for the information you provide on this site! I have found it so helpful. I can’t wait to see Charlie And The Chocolate Factory! Sincerely, Crystal North Carolina
April 6th, 2005 at 7:53 pm
Dear Mr. August,
I need your help. I have a storyline for a video game I would like to submit, but I need some backing so I don’t get laughed at! Please, contact me ASAP and I will give you more information. My email is paulcg712@yahoo.com. Thank you, I would really appreciate it!
Sincerely,
Paul C. Gaunya
April 6th, 2005 at 7:54 pm
sorry, I didn’t read the top. I just skipped down to the end. Nevermind
April 6th, 2005 at 8:13 pm
Might be a problem w/ the download of the DC pilot episode. The other two DC epidosdes are fine, but the pilot isn’t loading anymore.
Thanks for the generosity of making these available.
April 7th, 2005 at 10:09 am
The DC pilot script seemed to work okay when I just tested it.
April 7th, 2005 at 10:28 am
Hello Mr. August,
big fan, struggling screenwriter in NYC, barely paying rent, recently graduated film school at NYU, angry at the world, all that cliche starving writer stuff. On the optimistic side, I guess what I can say is I work at Paramount pictures, part-time, in the publicity department, for a whopping 8$ an hour. I’ve been dying to get a job as a reader or in a literary department at a film company, but it’s proved difficult and I’m miserable.
So I guess my question is, when is Chad leaving and can I send an application to be your assistant? Sorry, Chad, for the abrupt bluntness, but it is one of my dreams to work under a screenwriter I respect, in any capacity.
This, for the record, has been the most shameless email I have ever written and for that I apologize.
Thank you for your time. Jason Klein New York, NY
April 11th, 2005 at 6:23 pm
Hi John,
Do you have a large script library at home? I assume you have a copy of every script that you’ve written, but do you also keep printed copies the different drafts and rewrites too? What about movies that you worked on but did not receive credit on? Just curious about how you archive your own work.
Bob, Toronto
April 15th, 2005 at 10:13 am
Hey John!
A little birdie told me that you might be coming to San Antonio next year as a Steiren Guest Artist at Trinity University. Do you have any more details?
Thanks
Richard/San Antonio
April 15th, 2005 at 5:03 pm
Geek Alert question: where can I find a template to use with File Maker Pro for logging phone calls (an electronic phone sheet or call sheet), like a lot of entertainment offices use?
Ted Los Angeles
April 21st, 2005 at 11:36 pm
Hello Mr. August, I glanced through your archives and didn’t see any question similiar to mine, I apologize if you’ve already answered it. I just wanted to know how you gauge how far along in the film you are, as far time is concerned. I’m writing a script now which is a full length film. I’ve only written short stories before or incomplete full length screenplays so i’ve never been concerned with over/under writing. Much appreciated Maxx Berkowski Milwaukee WI/Chicago Illinois I’m attending Columbia College Chicago (not New York….) for writing and directing in film Thanks again!
April 22nd, 2005 at 7:40 pm
Hello, I am an aspiring screenwriter. After spending years on my first script, and working on others now – I wonder what the average potential income is once I do make it. How much do you get paid – for the first sold draft, for rewrites, and in residuals once the movie opens worldwide – for your screenplays? (or how much does the average screenwriter get paid for the average “big” movie such as “Charlie and the Chocolate Factory”, the new “Batman”, etc.)
Thanks!
April 22nd, 2005 at 7:42 pm
(Leaving question again because I forgot to include my name and city.)
Hello, I am an aspiring screenwriter. After spending years on my first script, and working on others now – I wonder what the average potential income is once I do make it. How much do you get paid – for the first sold draft, for rewrites, and in residuals once the movie opens worldwide – for your screenplays? (or how much does the average screenwriter get paid for the average “bigâ€? movie such as “Charlie and the Chocolate Factory”, the new “Batman”, etc.)
Thanks!
(Ride in New Orleans)
April 23rd, 2005 at 1:36 am
Dear Mr. August,
I have recently made contact with an author whose work I would like to turn into a screenplay for a TV miniseries. She said she found my idea very complimentary, but that I needed to contact her literary agent due to licensing rights (the dreaded MONEY problem). My concern is that I have never written a screenplay before (I HAVE written an outline on how I think the books could be translated to screen), plus I have no idea how to obtain the financing I would require to buy the licensing rights. Any tips on how I might go about doing that (especially since I have NO industry contacts)?
Thank you,
Jeremy
April 24th, 2005 at 6:32 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James
April 24th, 2005 at 6:32 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James
April 24th, 2005 at 6:33 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James
April 24th, 2005 at 6:34 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James in Birmingham, Al
April 24th, 2005 at 6:34 pm
Hi John, Thank you for your adaptation of Big Fish. It is truly inspiring. My question concerns the building of the town of Spectre on Jackson Lake. Is this the Jackson Lake just north of Montgomery or the one on the Alabama River west of Montgomery? I was also curious if I would now find the buildings of Spectre still intact? Thank you for your web site. James in Birmingham, Al
April 25th, 2005 at 3:07 pm
When the WGA residual check comes in the mail – and how we aspirants dream of that sweet, sweet day – how much of it do you get to hang onto?
Do you cut a check to your agent for 10%? Even if that agent’s been out of your life for years?
Just curious.
April 27th, 2005 at 11:30 am
John,
I have a question about working in Hollywood (9 to 5) and working in Hollywood (as a paid screenwriter)…
There seems to be two schools of thought on taking an entertainment job in this town. (1) Working for a prod. co or one of the agencies will help you meet the people you need to know to further your own career. (2) Working for one of those companies, they will never see you as a real writer, but only their serving boy. The talent is found on the outside, not the inside.
Can you tell me if either of these are true? I have a job opportunity with a great company, but I’m not sure if this will undermine my own efforts to succeed as a writer. Is it better to sleep with the wolves or study them from afar?
Thanks for your help.
Matt Los Angeles
April 30th, 2005 at 10:54 am
Quick question…with odd luck, and the strange hands of the lords of karma, I got the attention of an agent from William Morris…he has one of my scripts and synopsizes for 4 others…we corresponded nicely for a bit…then nothing. It’s been about four weeks, and I haven’t heard a peep. He won’t even respond to my emails. Should I give up hope on this cat reading my work, or is this part of the business slow and agonizing?…This limbo is a real heartbreaker.
any feedback would be great.
Salutes and bows,
Nick
May 3rd, 2005 at 10:13 pm
I write screenplays because I’ve always loved to tell stories. How do I respond to relatives who say Hollywood is a bunch of atheists who seek to destroy civilization as we know it.
May 4th, 2005 at 2:41 pm
Hi John,
Firstly, let me say how useful I found your advice for my screenwriting, both on the IMDB and on this website.
I just have a query for you. I have just wrapped up a screenplay, it’s a supernatural thriller, but it’s come in at 139 pages. I am finding it VERY hard on what to remove, as I feel it’s all intricate to the story and it’s characters so I would welcome any tips on doing this myself, or recommendations on a Story Analyst / Editor who I may be able to use…
I realise you are a successful writer, but do you find the more successful you become, the more say you have on these kind of limits with production companies?
Looking forward to your response.
-Ian
May 4th, 2005 at 7:10 pm
Hello John,
I’m a fan of the 1971 classic “Willy Wonka & the Chocolate Factory”, and I’ve heard that you wrote the screenplay for the new “Charlie & the Chocolate Factory” without previously viewing the 1971 film. Can you inform us as to whether there are any references directly to the 1971 film or to Gene Wilder in the 2005 rendition? Also, from the teaser trailer your film seems lighter and much more childish than Mel Stuart’s 1971 rendition. Are you targeting a child audience? Because I know there are some dark points that Dahl wrote in his book, such as the Butterscotch and buttergin part, as well as the scene where Wonka goes nutty on the Wonkatania. Thanks for the reply.
Patrick.
May 5th, 2005 at 10:41 am
Dear John,
My co-writer and I could really use your professional advice. We just finished a script called FIELD TRIP and recently discovered the actor Kevin James and Neil Moritz from Original Film sold a pitch to Disney with the exact same title and premise, based on a pre-existing pitch or script at Disney. However, they do not have a script written or a writer attached, at least as of yet. We called an agent and a manager I have access to and they both said they would check with Original to see if they would consider our script or us as hired writers. It’s been a week and they have not gotten back to me. Is there anything else we could do to get our script to Original? Should we contact them directly? I know the chances are slim to none that they will consider writers without a track record, however, I think it’s in their best interest to consider our script because it’s already written, or to hire us as writers because they can pay us less than a produced writer. Please help, John! I really thought this was the script that was going to break us in and now this! :( Looking forward to any advice you can offer. Thank you, John.
May 6th, 2005 at 1:27 pm
John,
I have a general question regarding submissions, something I was hoping you could cover a bit more extensively. Namely, targeting agencies vs. targeting producers…
If there is a particular production company that I believe might have an interest in reading one of my screenplays (based on their previous projects), am I free to submit a query letter to them to gauge their interest in reading the script? Is this common? And, more succinctly, is that considered a realistically viable option for undiscovered writers?
Obviously with caution, the scripts have been registered with WGA. I have not yet tried to push this script in the agencies. Would that be the more appropriate channel? Thanks for your advice. Love the site.
May 6th, 2005 at 4:13 pm
No idea how to contact you so, here goes:
The Guardian has an article on their site where they trash the Star Wars films. One section stood out and made me think of you. I thought it might inspire an article on the subject of writing dialogue that actors can perform.
The rest of the article can be found here: http://film.guardian.co.uk/features/featurepages/0,4120,1477031,00.html
May 6th, 2005 at 6:14 pm
Hi John,
I have a meeting in a week or two with Mc G regarding a Surf Story. A close friend of his loves my script and wants to put us together. Mc G is a good match to direct this story stylistically, but I have what I consider to be a better match for him (a light hearted treasure hunt with a map where girl meets boy and they fall in love along the way) that I’d like to see Drew B star in and produce with Flower Films. Would it be inappropriate for me to pitch this as well? Could I offend him by offering it to him because of his relationship with Drew? Would you be interested?
Back to my surf story do you think Mc G would want to direct a story that has a lot of water scenes even if my locations are tropical paradises?
Thanks for your insights!
Matt
May 7th, 2005 at 10:54 am
Hey John -
I’ve been hired to rewrite a script pretty significantly — not quite a page one, but pretty close.
My question is this: when I submit my draft to the production company, what do I put on the cover page for writer? “Written by (the orignal writer), Revisions by me”? “Draft by me”? What’s the etiquette for this?
I’ve been in this position before and simply put “Revisions by me,” no mention of the original writer. But this job is more than just a lot of revisions — it’s a reimagining of the story. Yet I don’t feel totally comfortable putting “Written by me” and leaving it at that, as there are some fundamental ideas that came from the last writer.
Thanks in advance for your help!
May 7th, 2005 at 10:57 am
Sorry, I forgot my sign-off:
Mark in Pasadena, California
May 8th, 2005 at 12:29 pm
I am 12 years young and proably the biggest Willy Wonka fan that ever lived. I am anxious to know something, I have seen lots of the Charlie and the Chocolate trailers, and I just wonder, can YOU please please tell me what rooms in the movie they will go to? I have been dying to know. Love, Jeremy
May 9th, 2005 at 3:49 pm
Hey Mr. August, big fan of yours. Thought Big Fish was the best adapted screenplay I’ve read in a long time. So question from an amateur:
Through my watching of DVD extras and such nonsense I discovered that many prestigious writers (Quentin Tarantino, William Goldman) before they type out their screenplay they do a handwritten version first. Now I’ve already written two screenplays and it went straight from the handwritten outline phase to type out on the PC.
Is this a big no no or a matter of personal preference for the writer.
Thanks a bunch, Brendan Prost Canada
May 12th, 2005 at 12:24 am
Hey John,
Arguably, the most important part of a film (besides it being good) is the title. Great titles have graced the silver screen, only to have the film bite all kinds of ass. But the title did its job, it got the suckers to watch the flick (i.e. The Phantom Menace). Conversely, a bad title can take the wind out of the sails of a very good film (I won’t watch Divine Secrets of the Ya-Ya Sisterhood cause the title screams chick flick).
My question is, how do you come up with the titles to the films you write? What process do you go through to come up with a title that’d grab the audience by the Ya Yas? And for the sake of fun, what top five titles do you feel did their films justice?
Thanks, and keep up the great work. Americo San Francisco, California
May 13th, 2005 at 3:12 pm
Hey John,
I was wondering if you could discuss the role of literary managers in Hollywood today. It seems to me that aspiring writers should be pursuing managers (interested in molding the writer’s career) more than blindly pursuing agents (interested in locking just that project most of the time) and even more than pursuing entertainment lawyers (interested in just knocking out the details).
The problem seems to me to be one of exposure. These lit managers pack a punch, but there are very few literary management firms that are well-known to the outside world. They don’t have big names like CAA, ICM, WMA, and the likes. They’re there in the trenches, making deals, grooming writers, but you just don’t seem to see them in all the rush.
If you could lend your thoughts to the subject, I’d greatly appreciate it. If you can’t tell by now, I’ve had interest from a management company that I can find nothing really about and I’m hesitant. Plus I think it would help a lot of writers who visit the site. Overall, managers are really there to help the writer. How do we separate the true management firms from the pack?
Thanks, John.
Matt in La-La Land
May 16th, 2005 at 12:17 pm
Your site is a godsend John, thanks! A quick question for ya:
Is there a typical page limit in which you HAVE to put in the opening credits? I’m reading a spec which doesn’t call for the opening credits until about 9 pages in (the bulk of those 9 pages being more description and less action). It seems to work perfectly as is. Is this even a big deal?
May 16th, 2005 at 12:21 pm
Your site is a godsend John, thanks! A quick question for ya:
Is there a typical page limit in which you HAVE to put in the opening credits? I’m reading a spec which doesn’t call for the opening credits until about 9 pages in (the bulk of those 9 pages being more description and less action). It seems to work perfectly as is. Is this even a big deal?
Thanks again,
JR – San Diego, California
May 16th, 2005 at 10:19 pm
I highly believe that organization is one of the key elements to a great story. I’m trying to write my first feature length, but the organization is what kills me. How do I remember what goes where? How should I write it all down, etc. I was wondering what kind of things you do when you are planning a feature length. Thanks a lot, and i greatly appreciate screenwriters that actually talk to other people about the job!
Jeff
May 19th, 2005 at 6:22 am
Hi John, I live in Boston, MA and don’t have plans to move to LA. Do you think it would be smarter/easier for me to break into the business by writing for a company like HBO based in NYC or to compete in screenwriting competitions for the LA film industry? I would like to hear you opinion on where I should put my energy. Writing for HBO or the movies would both give me equal satisfaction. Thank you, David
May 21st, 2005 at 8:41 am
Hi, John.
You probably don’t remember (there’s no reason you should), but I interviewed you for Hollywood Scriptwriter a few years ago, and I’m very pleased you’re doing so well. It’s not often in Hollywood that the nice guys finish first. Very nice article in the NY Times, by the way. Congrats.
I’m teaching screenwriting now at Drexel University in Philadelphia, and I’m wondering how you feel about the traditional three-act structure. Do you think it’s a useful tool, or an anachronism that no longer applies? (I’ll withhold my own opinion.)
Anyway, my kids and I are very much looking forward to “Charlie,” and wish you the best. Keep up the good work.
Jeff
May 22nd, 2005 at 11:02 am
Is there a way to write a personal note directly to Director’s or actors to see if they are interested in collaborating and developing a film from one’s life experiences without going through agents, reps, etc.?
I would like to develop a story of a young boy who survives the many trials to destroy his innocence with characters based on real life in the 1940’s.
May 22nd, 2005 at 2:09 pm
What is it with not having a title for the zombie western? Try something like “Brains at Dawn/Noon” or “The Undead Showdown” but that being said I can’t think of much more without knowing the potential premise of the zombies…do the zombies attack other zombies or are there regular cowboys and western folk? That is probably a great story idea that might get written but my instinct is sayian that you include this merely to pick the brians of us many internet zombie drones.
May 22nd, 2005 at 2:31 pm
John…
I was contacted by a producer a few days ago who’s interested in possibly hiring me for a writing project.
I totally forgot about asking him if his compnay was WGA signatory. I don’t think it is because his budget’s between 800,000.00 and 1 million dollars.
I don’t have my wga card at this point, but with other projects being looked at, I’m feeling confident that something’s going to break pretty soon.
How do I go about mentioning the whole WGA minimum scale, without scaring off this possble job assignment. The producer came across pretty decently.
Thanks.
MARK
May 22nd, 2005 at 3:13 pm
Read the Times article and it was great. interesting POV you have given. I am going to read your site because I believe it can give me some good insights into the play I have been writing. Thanks for your info. It can be very helpful.
May 22nd, 2005 at 8:28 pm
Dear John,
I have written screenplays for eight years now. I have been represented by LinLea Literary agency in California. I have placed in the semi-finals with three of my scripts in a well known screenplay contest. I also had a large CGI Production company seriously concidering one of my scripts. According to the Executive Producer, they decided to pass after they had sent the script to their budget department twice. The Executive Producer said they did that because of the amount of CGI in the story. The first time it came back from the budget department the amount that it would cost for production was too much. They sent it back to the budget department in order to cut the cost. After it was budgeted for less, their investors said although they really liked the story, it still was more than they wanted to invest on one single production. I have had many other instances to tell about but my question to you is: With all of the positive re-enforcement with my screenplays from industry professionals, Why am I still having so much trouble getting my screenplays produced.
Ronnie
May 22nd, 2005 at 8:37 pm
Dear John,
I appologize for not following directions. I sent my previous question without my location. The question was concerning eight years of positive feedback from industry professionals and still having trouble being produced.
Ronnie Tampa, Florida
May 23rd, 2005 at 5:00 am
Is it homage or palagiarism?
From the NY Times article: “In one of the script’s flashbacks, Willy’s father throws his son’s Halloween candy into the fireplace; in another, Willy finds one piece spared from the flames and bites in. Then, the script says, the opening chords of Jimi Hendrix’s version of ‘All Along the Watchtower’ begin to play, and ‘we begin a spinning perspective shot that would leave Hitchcock jealous. In little Willy’s eyes we see a reaction. He’s like Isaac Newton getting beaned by the apple.’”
This exact same thing happened in “The Simpsons” episode where Homer’s mom spies Joe Namath on TV with his flowing locks and decides to enter into a life of crime. Same music, same spinning shot (with psychedelic swirls and lighting effects added), same big-eyed expression.
May 23rd, 2005 at 8:12 am
My name is Veta Christy. I have made my living as a reporter/producer for public radio and for the last five or six years have been teaching journalism in Atlanta. I have written two screenplays. The second, an historical drama about a little known civil rights incident in the 60’s, ia in development with a young independent producer in New York, Sol Tryon. His first film, Bomb the System, screened at Sundance and opens at theaters in New York and LA this week. (See NYT Summer Movie Guide, May 15.) I read your instructions for asking questions but with the same “dream come true” belief you must have had when you wrote Roald Dahl in the third grade, (granted I’m 40 something and I guess that should have worn off by now) I am asking you to read my treatment for a remake of an anti-war film made in the 70’s. I haven’t written the script yet, thinking that I would like to find a writing partner for this project because I believe it could turn out to be a very important, powerful story and as a somewhat inexperienced writer I figured I could use some help. Like you, (I’m gay) I have not been especially eager to write a gay-themed picture but the idea for this re-make just seems so right…well it seems so right I am willing to write an email like this, asking you, pleading with you to talk with me about it. I understand the “scary legal aspects” of reading someone’s treatment and am willing to handle it as you see fit but I really think you would be interested in this. My phone number is 404 217 4350, Please call me.
May 23rd, 2005 at 9:00 am
Many of the above questions are both interesting and similar to mine. ButI’m a complete idiot and can’t find any of John’s answers. If they were in fact answered, where would I find them?
Thanks! Patrick Washington, DC
May 23rd, 2005 at 11:09 am
Dear John,
Loved the NY Times article on you!
I have had 2 feature spec scripts optioned, wrote another on assignment, had 2 agents in LA (agentless right now). All without meeting the people I have dealt with.
I am planning a trip to LA to put the heat on a script that’s getting some interest, take some meetings, etc. Here’s the problem: Although I started writing screenplays only 10 years ago, I’m now in my late fifties, and I know they don’t like older people in Hollywood (one agent and one manager basically ended the conversation as soon as I truthfully answered their question about my age). Do you think this trip is a good idea, or should I just continue as is as best I can? For all these people know, I’m 25.
Thanks for your help!
May 23rd, 2005 at 11:55 am
Hello John,
I read with interest when you mentioned that you gave a script of yours (with a psuedo-nom instead of your name on it) to an intern whose opinion you liked and who tore your script apart subsequently. I was wondering if you ever confronted the intern – I am a playwright primarily, beginnning to do screenplays (one optioned thus far) and I get positive feedback (from people I believe to be honest) on my scripts, many times from development folks and producers, only to have them subsequently gutted by whomever does the coverage on them. Coverage has cost me, in other words – I have confidence in my ability, but I often don’t understand the coverage aspect of reading, if it doesn’t lead to good scripts (and we know that there are bad scripts made into movies as well) – while I have no doubt those doing coverage read a lot of bad scripts (I used to read a lot of bad plays while working in a lit department for a theatre) I wonder if the coverage isn’t hurting the industry more than it’s helping it. I often wonder what I can do to overcome the coverage obstacle. What do you think?
May 23rd, 2005 at 12:32 pm
Hi, John, this is Dave from Ohio. I wrote to you on IMDB as well (ask a filmmaker). I mentioned in that inquiry that I am working on a screenplay about a notorious crime figure in my hometown. His criminal activities went from the 1960’s until the early 1990’s. This is absolutely, positively a marketable story. Knowing what I know about the whole “public figure” thing, I am deathly afraid of pitching this to any big studios or producers, for fear that their deep pockets might scoop up the life rights of those still alive who were involved. Is this fear valid? I am actually thinking of putting together a “teaser”, made up of cool stock footage and voice-over, to help retain ownership of this idea.
Any thoughts? Thanks in advance!
Dave
May 23rd, 2005 at 4:40 pm
Mr.August, I may very well be insane. Not long ago I was a shining star of academia on the fast-track to a professorial position an Ivy league school; today I live in my former high school bedroom which I vacate every night–taking the el from my parents’ suburban home to the ever scary Southside of Chicago–where I work as a non-union movie projectionist.
What happened you may ask? I discovered screenwriting.
Three springs ago I unwittingly attended a screening of Harvard Man, which following the presentation of the film was capped off with a Q&A with filmmaker James Toback, a director I’ve always admired.
I queried about his use of lighting–citing similarities between his use of “the magic hour” and fellow Harvard man Terrance Malick–and asked a question regarding his steadicam work–which happened to be quite impressive. He answered the questions and at the end of the Q&A called me over, taking an opportunity to further discuss the ins and outs of the movie. Before leaving with a phalanx of hangers-on he offered one glimmering nugget of advice: “When you shoot your first movie ya gotta use Terry as your cameraman.” When he uttered these words I was both shocked and flattered. I’d made no mention of film as my line of work–I was actually finishing my final year of college as a classics major–or any plans on making a film–in fact I’d already chosen a grad school to earn my PhD in Ancient Studies–and both the casual matter-of-fact demeanor of his comment along with seemingly confident pronouncement that I would actually make a feature film rattled me the very core.
It may seem dramatic but this moment changed my life. I’d always wanted to be a filmmaker since a very young age but thought that becoming a film director was akin to being requested to join the Justice League, in short a wildly unrealistic goal that borders on the impossible.
So, I started grad school soon after, and though I did well I spent far more time pouring over screenplays–Welles, Bergman, Malick, Truffaut, Tarrantino, the Cohens–reading and re-reading every certifiably brilliant script I could get my hands on in hopes that by mastering the greats I could–like Ellison did with Eliot and H.S. Thompson did with Hemingway–gain an insight into the form of greatness that would lend itself to my own budding writing, assured that if I could produce brilliant screenplays I could enter the film world the way Oliver Stone did in the seventies.
I finally dropped out of grad school to devote all of my time to writing my first screenplay. I wrote it and five months later wrote another. I am very happy with both of them but here’s the rub: it’s been over a year now and I can’t get anyone to even glance over them.
It’s quite distressing. There’s no set path I can decipher for getting from point A to point B. Allow me to expound: in high school I got good grades which in turn allowed me to apply to Columbia. I got in and my performance there enabled me accepted at Penn, which if I finished would have led to my eventually becoming a professor. It’s linear. Though the institutions may have tough standards, if you send them an ap they will look it over.
This is where my frustration begins in regards to film. I know no one in film and therefore I can’t get anyone to even look at my work. It’s maddening.
Though I know this may be seen as a rather messy and vaguely bitter rant disguised as a question I assure you it is not; I really don’t know where to go from here or how to get there. Just the tiniest hint of a roadmap would be extraordinarily helpful. Take pity.
Alphonzo Stein Oak Park, IL USA
May 23rd, 2005 at 4:44 pm
As for the previous email…
“Scuse the grammar.”
I accidentally sent it without proofreading it.
Alphonzo Stein Oak Park, IL USA
May 23rd, 2005 at 6:43 pm
hey, I’m 14 years old and I’ve already written my first script also I am a movie freak. I just want to say I love Big Fish it is an awesome movie and you are a great screenplay writer. please e-mail me. and maybe I could send you a copy of my script and get your feed back. It’s kind of like a Quentin Tarantino thing like Pulp Fiction it has the same feel. Hope to talk to you, Julian
May 23rd, 2005 at 8:51 pm
Do you shave your own head or does someone do it for you? I’m reaching saturation point on my hairline recession and it’s just getting silly for me to go to the stylist, or even SuperCuts. If I could muster the courage to do it myself I would, but I fear not only losing my hair but the identity with which I associate it. I bought the clippers, but like the suicide who can’t quite bring himself to pull the trigger, they reside in the closet unused. Help me, Obi-John. You’re my only hope.
May 23rd, 2005 at 8:57 pm
Reading the mixed reviews of “Revenge of the Sith”, the consensus is the script was lacking in the dramatic passages. Just wondering what you would have done with the opportunity to snaz up the more, shall we say, wooden aspects of Lucas’s screenplay.
May 23rd, 2005 at 9:00 pm
Dear John,
Have you ever gotten a “Dear John” letter and relished in the irony? Or was it all too painful?
May 24th, 2005 at 12:09 pm
Hey John,
No question here. Just wanted to let you know that it’s always nice to see people I like and respect in the New York Times. Can’t wait for CHARLIE!
Lamar
May 24th, 2005 at 4:34 pm
I just wanted to thank you for the site. I have learned more for sites like yours and John Rogers than from most of the books I have read.
I am working on the second draft of a spec script and it is turning into an ensemble movie. I download GO and read it. I forgot how good that movie was; I just picked it up on amazon.com. Anywho, any words of wisdom on writing an ensemble piece?
Thanks,
Scott Bier
La Verne, CA
May 24th, 2005 at 9:11 pm
Just wanted to throw out the title of a nice, quick, inspiring read about the creative process by Steven Pressfield (Author of The legend of Bagger Vance) It’s called ‘The War of Art – Winning the Inner Creative Battle,’ and I think it is a great book to go to when feeling uninspired in your craft. Don’t know if you know him, but this is a great little book for aspiring writers.
May 25th, 2005 at 11:20 am
I recently attended a writer’s conference where they had agents come out for a pitch fest. One of the organizers told us we should wear a black t-shirt, jeans, and sneakers before we met the agents.
Apparently, Hollywood types only consider you a writer if you wear this uniform. This couldn’t possibly be true, could it?
Thanks,
Jake Austin, TX
May 26th, 2005 at 10:15 am
John: would love to have you come over to CBS Radford and speak to our next “Semester in L.A.” producing class here at the studio in July. Its casual, fun and we pay our speakers. Let me know if you’re available that month. Your site is great by the way…
Thanks, Craig
May 26th, 2005 at 12:47 pm
Hey, I love your site – just wanted to write and thank you for it – I’m in New York City and mostly work as a playwright – just getting into writing screenplays, and I find your site most informative and wanted to say thanks -
If you got a second, take a moment to visit my blog, The Daily Dojo, listed below -
If it’s cool I’d like to add your link to my site -
Thanks again and take care -
May 26th, 2005 at 1:05 pm
John,
Thank you for this website, now we as screenwriters and in my case Producer/Screenwriter, have a means to ask the questions people in the industry don’t have availability to answer. I am unsigned talent, yet I have authored and shopped fourteen scripts all genres to various agents. I’ve received faster response as a Producer, one I know what people like, and too, am highly proactive, and determined to make it happen.
My question: How can I get a reputable agent to pay to attention to my scripts?
Thank you,
Deborah http://www.olade.com
May 26th, 2005 at 7:18 pm
Hi, John,
My question concerns product placement in films. At what point does a studio know which products it will contractually place in a movie, and are you required to write that into the script before it’s broken down into a shooting script?
Thanks.
Andy North Carolina
May 27th, 2005 at 9:16 am
Hey John,
Didn’t know the best way to contact you but did you know pictures of the new Charlie action figures are out now? Check them out here: http://www.figures.com/databases/action.cgi?setup_file=fignews2.setup&category=actionfigures&topic=216&show_article=2 Look really cool!
May 27th, 2005 at 11:00 am
Hi John,
Thanks for such an informative, entertaining, and helpful resource!
Nuts-and-bolts screenplay question: what’s the best way to handle time of day in scene headings when the action takes place in an environment without any visible daylight? Say, a submarine, or Viet Cong tunnels, etc. Do you still use DAY and NIGHT to convey time passing, or is that just confusing to the reader (and eventual production staff)?
Thank you!
Marel San Francisco
May 29th, 2005 at 7:36 am
Hello John,
What do you think about companies like Celebrity Endeavors and Film Literary Group who will package and then submit your script for a fee?
May 30th, 2005 at 5:16 am
Hi John,
I was wondering how you handle age jumps with regard to character names. On credits you often see the character referred to as YOUNG PROTAGONIST then PROTAGONIST. Are they described in the same way in the scripts?
I, trying to answer my own question, suppose in a fairly linear film that doesn’t pass back and forth between ages then you can call the character PROTAGONIST all the way through because that wouldn’t confuse the reader/audience.
But if the film repeatedly jumps forward and back through different eras of PROTAGONIST’s life is it necessary, or at least advisable, to refer to them as YOUNG PROTAGONIST, PROTAGONIST and ELDER PROTAGONIST. Or would you suggest a note in the scene headings refering to the year? Or maybe something else?
Ta,
Kevan Wales
May 30th, 2005 at 6:17 pm
John,
I received an ad for a “pitchfest” sponsored by a national magazine. They say you can pitch your ideas to a minimum of twelve studios, agents and or producers who all attend voluntarily. I can do all of this for the low low price of $370 + flight to LA, hotel, food, etc. In your opinion, are these types of events worth it or more of a money maker for the magazine?
Thanks, Kris in Memphis
May 31st, 2005 at 11:52 pm
Mr. August–
First, thanks for being a great writer with the graciousness and aptitude to share your knowledge and experience.
My question is rather specific. The background: An exec from a major production company, co-owned by a major “Hollywood” director, has asked to read a SHORT script that I had pitched to them in a friendly meeting (by “friendly meeting” I mean it was not a pitch meeting, or otherwise not on my agenda to pitch anything). The exec seemed to get excited about the idea and I’m about to send the script. The question: Being a newbie to the industry itself, I’m curious about what I can expect? I can imagine many things coming from it, but, without rattling off what I THINK, I’m just eager to know what you know the possibilities to be. Also, how often are short scripts taken in and feature-ized? My chances of being the feature-izer? Any follow-up suggestions? I realize you might need to know me and the script to answer these questions, but I’d appreciate anything you have to share.
I see you have nearly 200 questions on here. Good luck. And continued good luck with your writing. Take care.
June 1st, 2005 at 1:07 am
Hello Mr. August,
I graduated a few years ago from the same film program as you, but in the undergraduate level.
Your site is great! It’s really awesome that a busy industry person has taken the time to develop a site that advises and helps aspiring writers. GO is such an awesome funny story! I love it! Looking back at that viewing experience, you did a fantastic and brilliant job in controlling the viewer’s perception.
Here’s my question. In terms of studying conventions of a particular genre, what movies do you suggest for romantic comedies? for teen comedies? for love stories?
Thanks!
Johnnie
June 1st, 2005 at 8:34 pm
Hi, John. Love your site. Hopefully this isn’t a question you’ve already been asked and answered (if so, I couldn’t find it).
I’ve been a working writer for the past four years. I broke in by selling a spec and have landed two assignments since that time. I recently wrote a spec which my manager and agent love. They feel it’s commercial, that they can “see the poster”, blah, blah, blah, blah. The problem is, they have different opinions on how to try to sell the thing. My agent wants to go out wide with it. He thinks I need the exposure and the heat(I haven’t gone out with a new piece of original material since my first spec sold four years ago) and feels that even if I don’t win the lottery again and actually sell the script, that it will definitely earn me some new fans and possibly lead to more assignment work. My manager disagrees. He thinks the best way to sell a script nowadays is to get an actor attached first or slip it to a production company who has made similar type movies, hear their thoughts, make any minor changes they think the script needs (if I agree with them), then have them take the script to buyers — the thinking being they’ll really fight for it because it’s no longer just one of the five specs that comes across their desks each day, but a script they’ve already invested some time into. The actor thing I guess I can understand, though I think it’s pretty much a waste of time. But the slipping it to one production company thing puzzles me. I feel that counting on this spec, hell any spec to sell is foolish, but hoping it that can lead to a job is not; if only one production company reads my script in a spec situation, am I not ruining a good chance to impress (hopefully) the fifty or so other production companies that could be reading it?
So what do you think — is my manager being crazy here or what?
Thanks.
June 2nd, 2005 at 11:31 am
The Voice Over. I seesaw away on this one but over time I would have to say I have cast more votes against than for. There are clever and very effective uses of the voice over narration, say FIGHT CLUB or THE ROYAL TENEBAUMS, but if not used without discretion and skill it more often risks coming across the way it did for the HBO film, EMPIRE FALLS, which is too say clumsily artificial.
This is just my opinion and there is obviously no right answer but I ask you to throw your hat in the ring on this bandied about subject.
June 2nd, 2005 at 4:31 pm
What do you think of Gene Wilder’s recent comments that the remake (or retelling or reimagining or what have you) of Charlie and the Chocolate Factory is entirely founded on the desire to make money? Do you say, “Well, duh”? Or do you consider this Charlie to be the purest telling of the story on film and therefore above comparison to the first film?
June 2nd, 2005 at 6:01 pm
a bunch of us were talking and we wanted you to hang out with us and write a book about our stories. oh and why did you change your name? i like meise.
June 2nd, 2005 at 10:51 pm
How are the olds for a 40 year old to make it as a screenwriter in LA?
John in Tampa
June 2nd, 2005 at 10:53 pm
How are the odds for a 40 year old to make it as a screenwriter in LA? Sorry, deep in the am here.
June 3rd, 2005 at 8:10 am
Dear Mr. August: Can you make a suggestion about a book to help understand the copywright laws? I am working on a play based on a diary written between 1830 and 1860 which was edited and published in the 1980s. The play is heavily based on excerpts from that diary. The diarist’s voice is important to telling his story. (Perhaps this makes me an editor, rather than a writer.) What can you suggest about the legalities of this and fairness to the diarist and the editor of the diaries? Thanks for your consideration. BW
June 5th, 2005 at 2:32 pm
I’m about to complete a grad-level screenwriting program @ UCLA, and just found out that my last script, submitted to the program’s annual screenplay competition, has placed in the top 5. (Winner to be announced in a few weeks.) UCLA sends a press release to the trades, and I’m told to expect 50 or so calls from agents, managers and producers. I’ve received advice, which makes sense to me, that I should nail down the representation prior to following up with producers. However, I’m clueless as to the differences between agents, managers, and the advntages of going with a large or small company. Any advice would be greatly appreciated! Stephen in Venice (CA, not Italy)
June 6th, 2005 at 11:17 am
Hey, I’m currently working on adventure scripts so, invariably, I keep coming back to Indiana Jones. He’s obviously an incredibly compelling character, but one thing about his construction baffles me: he doesn’t seem to change, grow or learn at all. In his first scene in “Raiders,” he already possesses every skill and ability he’ll need for the next three movies. He never seems to have a moment of realization, overcome a shortcoming, or make a major self-discovery. In essence, he’s flawless. What makes him so much fun to watch? I’m certainly not flawless; why do I connect with him and root for him? Thanks! Bill from Boston
June 8th, 2005 at 10:35 am
Dear John,
I’m writing a script, it started as a romantic comedy with autobiographical references but it turned into something else. It’s hard to describe it but I would say it feels like a romantic comedy written by Charlie Kaufman and Mel Brooks. The “heroâ€? knows that his life is like a movie and he does everything to make sure that it’s a romantic comedy and not a drama. In the end he even visits me, the writer, and talks him into writing a happy end.
And now my question: How far can I take things like that? I’m very interested in playing with conventions like Kaufman in Adaptation or Mel Brooks in Blazing Saddles. But where is the “threshold of pain� for the audience and even more important for studio executives and agents.
Best wishes,
Greg, Liechtenstein (a small country in Europe)
June 10th, 2005 at 1:16 pm
I’m running Final Draft 7.1 on a mac. Is there a way to zoom the page to more than 150%? I run Final Draft on my PC zoomed all the way to “Page Width” mode, which I can’ t figure out how to do on the mac. Thanks.
June 11th, 2005 at 11:45 am
Hi John, Two questions for you.
First, how does a novice screenwriter know who to trust? I recently read an article about Art Buchwald suing over “Coming to America”, because the idea was stolen from him. I live in Seattle, and don’t have any trusted “connections”. In my screenwriting magazines there are dozens of ads for script help, but I don’t know who to turn to. My first inclination is to have friends and family read my screenplay, but I’d like to have a professional’s opinion. And at what point should I get a copyright?
Secondly, I’ve read dozens of books on screenwriting, as well as monthly screenwriting magazines, but have not found the answer to this question:
How do I show newspaper headlines? In the scene I am writing, I want to show a series of newspapers over a span of 2 decades, each with a “telling” headline. I am using Final Draft with the headlines in the “Action” format. Currently, I have it written as:
We see various newspapers, dating back as much as 20 years with the following headlines:
Masked Man Robs D.C. Bank – But the real Bill Clinton has Alibi
National Bank of California Robbed by Masked Gunman: “Arnold” Gets Away
No Halloween Treat– “Marilyn Monroe” Mask Worn at Bank Robbery
Owner of Costume Store Arrested when Depositing Stolen Cash
I really appreciate your help!! Sincerely, Eva Sutherland Screenwriting Hobbyist (I prefer to think of this as a hobby, because I’ll go crazy if I dwell on ever making an income from writing!)
June 12th, 2005 at 4:12 pm
Hi John,
my name is James and I’m a new screenwriter from Ontario, Canada. I’ve created story development software for screenwriters in hopes that the sales income would eventually free me up to write more. It’s been a 100 percent solo effort. I have a great respect for your work, John, so please keep reading.
I believe my approach of simplicity worked in creating a unique program conducive to creativity. It is not a script processor such as Final Draft.
To see what I mean visit http://www.ScriptPlanner.com
[Please note the testimonial quotes on the welcome page are fake, merely placeholders for the time being. Also, the site is not yet able to accept orders. The software itself is completed and available as a free-trial download, and please note the interface will be graphically enhanced by the time it is released.]
Perhaps you see where I’m going with this. I think in order for people to give screenwriting software a chance, they must see a testimonial quote from a brilliant professional such as yourself.
Is there any chance you could find it in your heart to donate a testimonial quote, and give a hard working Canadian screenwriter a helping hand? It could be specified in a brief agreement that the quote is strictly for use on the website. You could comment on how you feel about Script Planner and/or its appropriateness for new screenwriters. Anything. A few minutes of your time, which I consider extremely valuable, could make this effort a success.
Thank you for reading this, and I hope you can help. And thanks for being an inspiration to us all!
Sincerely,
James Ontario, Canada
June 13th, 2005 at 3:31 am
Hi John
A couple of screenplay questions for you.
I’ve recently returned to screenwriting after a 15-year break (don’t ask), and acquired, Joseph Campbell’s ‘A Hero With A Thousand Faces’, ‘The Writer’s Journey’ by Christopher Vogler and ‘Screenplay: The Foundations Of Screenwriting’ by Syd Field. I also decided to acquire a copy of your BIG FISH screenplay from http://www.planetmegamall.com as this was supposed to come bound with the front and back card, brass fasteners and washers etc, the theory being I could get my hands on a Hollywood screenplay to see for myself how the script was bound.
Indeed, the BIG FISH screenplay’s bounding or binding appears correct and printed in US Legal but upon receiving the screenplay I noticed the text has been printed on both sides of the page, front and back and this has left me somewhat confused.
Being a resident in the North of England and attempting to glean as much knowledge as possible about screenplay formatting, structure, the concept of ACT I, ACT II and ACT III, the two goal structure and reversal, I was sure I read somewhere that an industry acceptable screenplay contained text on single page only?
Am I correct here?
Or does a Hollywood screenplay come printed on both sides of the page?
The copy of the BIG FISH screenplay I purchased from http://www.planetmegamall.com is a SECOND DRAFT, dated June 29, 2000 and the script is printed both sides of the page. Actually, the copy of BIG FISH I have purchased has been photocopied. This is also a big disappointment as I was hoping to acquire BIG FISH as a FINAL DRAFT like the version I downloaded in PDF format from your web site.
If and when I complete a screenplay, after revisions and drafts, I would like to be in a position to submit to a possible future agent here in the UK and getting the basic stuff correct at the onset would help me aim for a professionalism I strive for in my work.
If you could clarify these points for me you would be indeed doing me a great favour and hopefully the information may be useful for other readers who visit your web site.
Many thanks in advance.
Kevan R. Craft
June 13th, 2005 at 1:15 pm
Progress on my psychological/odyssey/adventure script series is coming along fine, but I’ve had a problem lingering on the back of my mind. As I’ve been writing, I’ve been writing with extremely specific locations in mind where scenes should be set; all around the same area, all outdoors, but all vital to the story. I’ve been keeping track of them, sort of as my own location scout, but I’ve been wondering. Would it do any good? Would a producer or studio respect the work that I’ve done in taking the time to find locations prior to a shoot, or just laugh in my face and ship it off to Vancouver or Sofia for budget pinching? Very few movies have even been made here. Actually, I can only think of one, and it was successful purely by the locations.
Sam, E. MD
June 16th, 2005 at 7:44 am
Hey John,
I’ve written three or four scripts that have been well received and I’m currently writing a couple of others, but I keep finding myself bogged down in my “third act”, it’s seems as though the endings I had in mind when I start a script never seem special enough once I get two-thirds of the way through the first draft and lately I’ve been coming up empty in terms of an satisfying ending. This has happened three times so far, and two of the ideas are strong enough with me that I don’t want to give them up, but I’m somewhat at a loss for what to do. I’ve taken time away from the stories (one reason I work on more than one) and talked to a few friends about it, but it’s been six months and I’m still stuck. I’m deathly afraid I’m mired in a deep writer’s block, at least when it comes to endings – any advice?
Joshua New York City
June 16th, 2005 at 4:13 pm
DEAR MR. AUGUST THIS LETTER IS UNFAIR TO YOU SINCE ALL I WANT TO DO IS PITCH MY SCRIPT TO YOU. WITH ANY LUCK, WHEN YOU’RE IN NEED OF SOME GOOD MATERIAL OR LOOKING FOR CO-WRITER THEN MAYBE YOU’LL REMEMBER ME.
MY NAME IS PAUL HILL. I AM AN AFRICAN-AMERICAN WRITER, ASPIRING TO BE THE BEST IN THE WORLD. I’M A PUBLISHED AUTHOR, AWARD WINNING SONGWRITER, AWARD WINNING POET, AND NOW I’VE WRITTEN A SCRIPT LOOSELY BASED OFF OF CHAPTER 5 OF MY BOOK: ROGER B. PRIVATE INVESTIGATOR in “ACTION IS MY MIDDLE NAME”
SCRIPT TITLE: “THE PRACTICAL JOKE” THE SCRIPT IS ABOUT 4 HIGH SCHOOL KIDS, AGES RANGING FROM 15 TO 17. THE KIDS LOVE TO PLAY PRACTICAL JOKES, BUT THE NEXT ONE THAT THEY PLAY WILL DRAMATICALLY CHANGE THEIR LIVES FOREVER. THEY FIND THE RANSOM MONEY THAT WAS INTENDED FOR THE KIDNAPPERS THAT KIDNAPPED A LITTLE GIRL. BECAUSE OF THIS, THEY ARE CATAPULTED INTO ALL KINDS OF TROUBLE. THEY ARE FACED WITH KIDNAPPERS, POLICE CASES, GUNS POINTED AT THEM, HELD HOSTAGE, AND THEY STILL HAVE TO HELP SAVE THE LITTLE GIRL. THEY MIGHT NOT MAKE SATURDAY’S DETENTION.
THIS SCRIPT ALSO PROVIDES A SENSE OF HUMOR, NOT ALLOWING THE MOVIE TO BE OVER RUN WITH TOO MUCH VIOLENCE. ALSO IN THE END, LESSONS ARE LEARNED AND MORAL VALUES ARE GAINED.
paullehill@yahoo.com
June 20th, 2005 at 2:14 pm
Hi John,
First of all, thank you so much for your informative site. Here’s my question: What are the benefits and disadvantages of giving away the ending to a movie when it starts? Can it be more compelling to watch characters try to accomplish something unlikely when we know from the outset that they will fail?
Thanks, Jason from Los Angeles
June 23rd, 2005 at 12:50 pm
Hi sir,
I know who to write a movie story but i couid convert it as a screenplay(because i don’t know) could you please tell me how to convert my story in a 2:30 hour movie?I know you u r a humbel man and u will help me, so please SIR……
June 26th, 2005 at 11:46 am
I saw your post from a while ago about Final Draft 7 [circa 2004 I believe]. If you really would like someone to work on a “FD Killer” I think I may be able to help with that. I have extensive programming experience so if you truly are interested in aiding the development of a superior program I believe I could help with that. Jon from NY
June 26th, 2005 at 5:28 pm
John,
What is your position on description writing? I feel as though sometimes I overwrite in the description. How much of the character’s movements (looks, turns, etc) should I include? Also, whats your rule of thumb in regards to how much/how often description should be used to break up dialogue in a scene?
Thanks.
June 26th, 2005 at 9:43 pm
Hi John,
I have a problem; my funds are limited and I cannot afford to travel back and forth to California from my home in Mexico. I am working on a screenplay, a teleplay and am developing some story ideas for TV and features. How would I go about selling my stories?
I have read your answers to questions about moving to L.A., but have not found reference to selling stories only. My apology if I simply missed your answer to this question.
I really appreciate your generous support by sharing your experience and thoughts with so many novices. Muy amable.
Bob in Mexico
June 27th, 2005 at 1:09 am
Hi John, I wrote a spec script and directed a short film. My short landed me a manager. She really likes my script. All great. I’m thrilled. My question is this: I recently discovered that she’s sold a children’s story and I happen to have one of these in my catalogue. All she knows of me at this moment is that I write good suspense thrillers and she’s shopping that for me now. Do I hit her with the children’s story now (when she’s still hot off this last sale) or am I at risk of looking too far flung – jack of all trades hooey that so many would-be writer/directors in Hollywood suffer? Thanks for any advice you may offer.
June 28th, 2005 at 4:18 pm
Hello,
Meredith Kadlec, our VP of Original Programming and Development, would like to contact you. Is there a number where you may be reached?
Best Regrads,
Billy Cogar here! Networks 310-806-6384
June 29th, 2005 at 1:32 pm
John,
You rock! Now that that’s out of the way, can you tell me what the rules are regarding writing a screenplay based on someone else’s work (book, play, etc.)? Can I write it and then contact the original author/author’s agent for approval? How does this work? I have these images and ideas floating around in my head and am getting to the point where I either have to write it and make the voices stop or move on, but I don’t want to move on unless there is no chance of getting it made. Please help.
June 30th, 2005 at 5:00 pm
Hi John! I’m curious to hear what you think are some of the best online screenwriting resources to help keep those of us living places other than California or New Yrok informed about the industry. Thanks!
John Noone Corvallis, Oregon
June 30th, 2005 at 5:01 pm
Hi John! I’m curious to hear what you think are some of the best online screenwriting resources to help keep those of us living places other than California or New Yrok informed about the industry. Thanks!
John Noone Corvallis, Oregon
July 4th, 2005 at 7:03 am
Hi, John, My script has been read by three men and three women. The men didn’t like my main character because they say she is too flighty. The women love her because she is strong, adventeous and knows her own mind. Here is my problem and question. I seem to be dealing with gender bias. It is an action/adventure with a female lead. Do I change the script since most execs are male or do I keep it as is with a strong female lead? If I stick with the orginial idea I risk the chance of it never getting sold but changing it may get it farther but it isn’t my original idea. I am for doing whatever it take but I have no idea who to listen to. Can you help?
July 4th, 2005 at 12:43 pm
Dear Mr August,
I’m Gyurkovics Máté from GyÅ‘r, Hungary (I expect the first two names are a bit difficult for You to pronounce, so You can call me Jim from Bonk). I’m quite bewilderingly young, but I expect You don’t care and that is perfectly all right, I just added this little incoherent piece of information because any grammatical mistakes are due to the fact that my native language is not English and that I’m a twonk. I love writing stuff, I have tons of story ideas and all these kind of things, I’m full of half-developped characters and my socks can’t fit into my drawers because it’s full of rip-offs. (I usually call these rip-offs ‘tributes’ to the original creator, such as Pelhalm Grenville Wodehouse or Douglas Adams.) I have even persuaded other people that I CAN write – which is an achievement – because some Douglas Adams fans chose me as the ‘adaptator’ of the Dirk Gently fan radio series (if anyone cares: details here: http://whis-kers.org/dirkgently/index.asp). So after my detailed CV, here are my questions (there are two of ‘em. You see, why should I bother You with two separate mails when I can squeeze both questions into one…?): a) I know that You won’t fiddle around with listening to youn people’s ideas and that is perfectly all right as well, and therefore – quite logically – the question occurs: who does? I mean can You tell me an e-mail address (it’s quite vitally important to me to be an e-mail address) where some – other – hoopy frood judges my ideas? and b) if it ever comes to writing a sequel to Charlie and a Chocolate Factory, are You going to use Charlie and the Great Glass Elevator as the source material or will You try to do justice to Mr Dahl’s work by You own means? I for one, root for the second one, because – call me a blasphemer – I didn’t like The Great Glass Elevator.
Thanks for wasting Your precious time on me,
With respect, Jim of Bonk
July 5th, 2005 at 4:24 pm
Hi Mr. August
My name is Kit, from Hong Kong. I wanted to ask, more than anything else.. just exactly, how much pride do you have to swallow to stay alive in this business?
Have you had the experience of someone saying to you that your idea was bad (at least in their opinon) or too weird?
Or just having no response from the producers?
Any advice at all about how to carry on?
ps: By the way, do you watch Hong Kong flicks? (Besides Wong Kar Wai films)
They are really, really…. crazy.
Regards,
Kit
July 6th, 2005 at 1:14 pm
Now you’ve done it, John! Turned the reporters loose on me for some juicy quotes… and man, did they get ‘em! Spilled the whole horrid load o’beans on ‘em. You won’t be able to work this town again!
What a great surprise to hear from Dirt yesterday. Told ‘em what I could about the ole days at FHS, the Banner, the TAG kids, the home movie nights at Sandra Wyngaard’s house… whatever came to mind. Congrats on the continued success. If you still come across Chad Creasey, pass on my congrats to him as well. Bob LaRue
July 6th, 2005 at 8:42 pm
Hi, John,
I wanted to respond to the comments about Phillip Trout and getamentor.com.
I believe there are many ways into this business and not everyone needs, nor wants, to come in the same way. What may be right for one person may not be right for another.
That said, I am compelled to stand up for Mr. Phillip Trout and the Get a Mentor organization. Phillip runs a business that helps many succeed where they otherwise may not. It is not for everyone, nor is any educational program.
Having been through the program myself, both as a student and as a mentor, I have to let you know that the relationship I have established with these fine people has changed my life completely.
The $6000 I put out to be mentored back in late 2002 made me completely committed to my own success. I had reports to file, someone who looked out after me–even from a distance, someone to be accountable to, and someone who was interested 100% in my every success (my mentors and Phillip), and would listen to me drone on endlessly about every detail.
People ask me if I could have been successful without paying to be mentored. The answer is yes, but there is no way I could have done what I’ve done in less than three years without the relationships I’ve built through this program.
My mentors received nearly 50% of what I paid to be in the program. At the time, this was very important to them as work was pretty scarce here in Denver. Phillip is a semi-retired gentleman with a family, who loves seeing his students succeed. He also needs to make an income. To me, this is a win-win-win situation. Everyone got something very positive out of the arrangement and everyone was satisfied.
Fast forward to late 2004 and I find myself mentoring someone from Boulder who approached Phillip just as I had in 2002. The entire thing has come back around and I have recouped half of my original investment financially, and grown so much myself, from having a student.
Let me be clear that I would never charge someone to be mentored if they approached me directly. Wouldn’t happen. However, if someone comes to Phillip and through the Get a Mentor program to me, then I have no hesitation about being part of the process. Having gone through the process myself, I know the great effort that Phillip makes to be sure that everyone understands each and every step so there are no surprises for anyone and everyone knows exactly what they’re getting into.
Have some people still not understood every detail? Yes. Some have also changed their minds or come up with reasons after starting why they didn’t want to do it any more, and wanted a refund. A few–a surprising very few–have been disgruntled about not getting refunds even though they were fully informed about how that all works in advance. How is this program any different than a university program when it comes to refunds? Phillip always goes above and beyond to be sure to the best of his ability that people understand every detail of what the contract means.
Not everyone is suited for this kind of program, not everyone can afford it, and not everyone even needs this kind of program to reach their goals. That does not, however, make this program invalid or a rip off.
I am a 50 year old woman who, in less than three years, has come out of nowhere to be an award winning indie filmmaker in both documentary and narrative forms. I write, direct, produce, and collaborate with some of the best indie talent that Denver has to offer. On an average shoot, 25-60 people will come out for me for copy, credit, and food because together we are creating magick, and it all started the day I emailed Phillip Trout at getamentor.com.
And although I am not a Hollywood success like our website host, John August, and still have a day job, I do have one major studio and two independent producers after my screenplays, and a great shoot scheduled for September. Next year, look for How to Make a Peanut Butter Sandwich at a film festival near you.
C.G. “Zee” Zarbock Writer / Director / Producer http://www.unfoldingstorypictures.com and http://www.ziamar.com
July 8th, 2005 at 3:13 pm
Why are you not credited as a screenwriter for The Corpse Bride on IMDB?
July 11th, 2005 at 7:52 pm
John,
What are the days like, waiting for a film you’ve written to open?
July 12th, 2005 at 1:05 pm
John, I was just wondering what kind of notes you take when you watch movies.
July 14th, 2005 at 11:25 am
John,
Was just wondering if it bothers you to see Go being sold for less than ten dollars? I got my copy for six dollars and was kind of disappointed that such a great film was so cheap.
July 17th, 2005 at 6:30 pm
my question is this: Have you ever come up with a great idea and you start to back it down. You find out what the characters may do or whatever but you can’t come up with maybe a conflict or problem? This happens to me all the time, so i have a neat story but no conflict so i dont know what to write about or where to go with it.
July 18th, 2005 at 6:01 pm
John,
One of my characters has schizophrenia. Formatting-wise, how would a conversation go with himself? Like this…
“To himself.” “Beat.” “Answers himself.” Any of these? All of them? What’s your take on this?
July 19th, 2005 at 10:02 am
hi John,
congratulations on the number 1 movie in the country! I saw CHARLIE… yesterday. Wonderful work. Very funny. And incredibly charming. Any chance you will post the screenplay at some point (early draft to shooting script)?
kind regards, Johnny Hollywood, CA
July 19th, 2005 at 5:38 pm
Your lack of imagination and vision in the script for charlie and the chocolate factory is amazing, you took a great prior movie and removed everything great about it.
Your flashbacks scenes are so poor a child could have written them. The ending is laughable, true to the book, hardly, have you read the book?
I don’t know how you continue to get work.
July 20th, 2005 at 3:18 pm
I am shameless 35 year old dad with two kids who was bitten by the film bug at an age when i should be worried about arthritis. In the last few years i have acted, written, produced and involved myself in amateur short films quite a bit. Now i would like to take my writing to the next level.
Two questions:
A. A writing a script for a non commercial short film .The script is based on a story written decades ago.The original writer is a legend. What do i need to do to evade potential problems?
B.A friend of mine narrated a story which he says forms a small part of a larger story in a novel he read. He does recall the book where he read it. I found the story good enough to make a short film out of it. I have realized Neither myself nor my friend can identify the original source from where he read the story. what are the potential problems i can run into if i go ahead and make this short?
July 20th, 2005 at 3:23 pm
Hi John
Corrected versions of the above questions…sorry:-(
Am writing a script for a non commercial short film .The script is based on a story written decades ago.The original writer is a legend. What do i need to do to evade potential problems if i go ahead and make this short film? What are the copyright/registration formalities i need to follow?
A friend of mine narrated a story which he says forms a small part of a larger story in a novel he read. He does not recall the book where he read it. I found the story good enough to make a short film out of it. I have realized neither myself nor my friend can identify the original source from where he read the story. what are the potential problems i can run into if i go ahead and make this short?
July 20th, 2005 at 3:37 pm
John -
We met a year or so ago (could’ve even been two by now with how time flies! :) at the SONY screening of Big Fish for the Hartley-Merrill Int’l Screenwriting Competition that Debbie Vandermeulen coordinated for Dina Merrill and Ted Hartley. We sat together at the head table with Dan Jinks and Bruce Cohen for dinner and the screening.
I am launching a brand new series called “The Write Way In� on September 17th at Cinespace. It promises to be an inspirational forum along the lines of the Actor’s Studio – only for Writers – where we bring in A-listers to survey their career and craft.
I thought with Charlie and the Chocolate Factory doing gangbuster Box Office business and Father Knows Less sure to be right on its heels – not to mention the art of Big Fish and Go, Tent Pole Charlie’s Angels, Titan A.E. and TV projects such as Alaska and your E.P.’ing and writing D.C. – you are the ideal candidate for our inaugural event since you run the gamut from TV to features – both small experimental indie to huge studio events. We’d be so honored to have you.
Is this something you’d be interested in participating in?
If so, you’d be our Guest of Honor for a one-on-one interview and Q & A with me at Cinespace from 3 – 5 PM Saturday, Sept. 17th and, if your time and interests allow, a cocktail reception following with Studio Execs and Independent Production Companies from the Pitch Fest earlier in the day.
I’d love to see you again – and I know the aspiring screenwriters (including me!) would benefit so much from your insights and experiences.
Heather Hale http://www.HeatherHale.com http://www.TheIndustry.LA
PS: If this date doesn’t work, we are planning on doing every other month. Paul Haggis has already committed for a future event (he’ll be shooting the FX pilot of Crash in September) and we’ve invited Steve Zaillian – so you’ll be in great company.
July 21st, 2005 at 5:01 pm
John,
I don’t really have a question, just thought you might like to know that in your WGA interview the writer made a rather serious mistake. On the first line of the second paragraph he wrote ‘alas’ instead of ‘at last’. It makes it sound like you started writing screenplays to the detriment of the trade. Just thought you might like to know, I don’t know if there’s anything you can do about it.
BTW I love your work, Charlie and the Chocolate Factory rocked. Congrats on your daughter.
Steven
July 21st, 2005 at 5:17 pm
Thank you for the link to non-errors in English. I teach SAT prep, and the new writing section is terrifying to most students – and to SAT tutors! I think my students will appreciate it. Joan
July 21st, 2005 at 6:20 pm
Hello John,
I am a student going to high school and I am greatly interested in making my own movies. I don’t own a video camera so the only way I can accomplish my goal is to start writing scripts. My question is if you have any tips for a beginner like myself. The main problem with my work is that I get frusturated, something that usual results in the scraping of what i’m working on. How can I write and stick with a good script? I have so many “good” ideas and I just want to get them onto paper!
July 24th, 2005 at 3:44 am
Hi John,
I just wondered what your thoughts where on the use of ‘ing’ in descriptions within your scripts.
I try not to use them now, but sometimes this rule can make your description sound less effective. I know your thoughts on the importance of good ‘action’descriptions in a script, and wanted to put this query to you.
Looking forward to your reply.
-Ian
July 27th, 2005 at 7:20 am
Hello John, I enjoy your website and spoke with you very briefly at the Austin Film Festival last year. I’m now president of the Dallas Screenwriters Assn (almost 100 writers) and was wondering if you’d be interested in speaking with our group for a couple of hours on an upcoming Friday night? I can cover your hotel and airfare and would be happy to show you some of the Dallas sights before you leave. I apologize for using this forum to contact you, but it’s the only means available to me.
July 27th, 2005 at 11:24 pm
Congrats on Charlie. I really loved the film. Tim Burton’s claim that his movie would be closer to the book turned out to be mostly true, but I did notice some unique interpretations, mostly with the character of Willy Wonka. It’s true enough that he’s weird in the book, but instead of the normal interpretation of fun and slightly crazy, he seemed a bit psychotic, and frankly was a little creepy. I really enjoyed the twist, but I’m curious about where it came from.
I’ve always found the balance of creative power between actors, directors, and screenwriters interesting to watch. In this particular case, how much of this creepy Wonka came directly from your original script, and how much of it was added by Burton’s unique twist, or Depp’s personal touch?
July 29th, 2005 at 2:31 pm
In Newsweek, Tim Burton commented on it “ringing false” to have a diverse cast. As the screenwriter on what will probably be my favorite film of the summer, I’m curious to know your thoughts regarding the lack of diversity in Charlie and the Chocolate Factory. It would seem you had one of the best opportunities to contribute to righting what seems to me to be a gross oversight in re-imagining a classic for a new (more aware) audience.
More specifically, why is color often considered a character trait? All kids are normal (well, most) and I’m sure many would love to have seen themselves reflected as such. There are plenty of prissy black girls with overbearing mothers, after all! Hope you don’t take offense. I still thought the movie was original, innovative and a wonderful summer film. Thanks. :)
July 30th, 2005 at 2:44 pm
You’re a wizard. Your movies are the best. You are the most ingenious crafter of stories ever. As a former network writer/producer in promo, I appreciate your support of the Guild’s efforts to organize unscripted TV. Their job is just like my job was; way too much work, way too little compensation, monetarily or otherwise. And you’re absolutely right about the train-length cookie-cutter trailers with the same voice. But you’ve probably met even more of these suits than I. I’m happy to say I’m finishing my third screenplay, and though my agent hasn’t sold the first one yet, it’s a way better way to occupy oneself. And the most important thing I learned here: Never feed a cold squirrel. Good advice, good metaphor. Congratulations on the birth, too. Much luck and admiration. Robin
August 1st, 2005 at 12:17 pm
Hi,
I am running the fan site – http://www.catcfonline.com .. for the movie Charlie and the Chocolate Factory…
I was wondering what I would do to gain the ‘official’ fan site title?
I know you’re in the business, and would possibly know who to ask!
Thanks,
Sam
August 1st, 2005 at 12:27 pm
John,
I just saw Charlie, and I enjoyed it, though I had a couple problems with the story which I thought you might be able to address. I noticed you elliminated the “test” scene, where Wonka gives Charlie a final test, and after Charlie passes the test he is given the factory. To me this was the single most pivotal element in the original film, and I’m wondering what Tim’s logic was for removing it. I also noticed that the story moved away from Charlie at the end, and instead became about Wonka and his patriarchal issues. Perhaps this deviation from the original also influenced the removal of the “test” scene? Tim’s a wonderful filmmaker, and a visual genius, but I feel that his insistance on switching the focus to Wonka at the end may have hurt the story. Certainly I was left feeling cold.
August 1st, 2005 at 10:34 pm
John,
How do I write “talking heads” and the description before the dialogue?
August 2nd, 2005 at 12:04 am
John,
Minus the whole licensing issue, how do you format a scene in a screenplay in which a character is watching a real film? Or, when scenes from another film are used within the world of a new film, like what Bertolucci did in The Dreamers? How is dialogue formatted and transcribed for said scenes?
Thanks– it’s really cool that you do this.
August 2nd, 2005 at 9:44 am
John, No question – just praises. First: Congrats on your most important work – your daughter! May your happy moments outweigh the dirty diapers and future temper-tantrums. Many blessings to you and your new family.
Secondly: Thought you’d like to hear – the four times I’ve seen Charlie & the Chocolate Factory, each showing ended with generous applause from the audience. The loudest and most vigorous was from an 85% child concentrated audience. The second, surprisingly, was at a late night showing with a 100% adult and older teen audience. The other two times were with an almost identical audience in size and kid to parent ratio (50-50).
Thank you for being part of bringing Dahl’s work back to the big screen.
In adoration, Holly from Houston
August 4th, 2005 at 7:40 am
Hey John,
I Really dig the site, gotta a question that I’d love your thoughts on, it might help others but most likely, as with everything else, I’m the only one in the dark.
Do think up characters first and then fit a story around them or do you think up a cool idea or story and find characters for the story?
I’ve got plenty of great ideas for movies but I find it very difficult to find good characters to fill the story up.
can you suggest anything?
take Care, Shay
August 6th, 2005 at 5:52 pm
I’ve heard and read it a million times “Scenes are stories.� Or at least they’re supposed to be. I’m having a lot of difficulty getting my scenes to climax. Any advice?
-Ron Hamilton, Ont
August 7th, 2005 at 12:28 pm
Hi John,
I’ve been a regular reader of your site for over a year, and I appreciate the info you give to us aspiring screenwriters. I’m also a member of TriggerStreet.com, Kevin Spacey’s site for aspiring filmmakers and screenwriters. I am currently part of a team commissioned by the site’s administrator, Dana Brunetti, tasked with the development of a podcast for the TriggerStreet site. We are looking for possible interview subjects for our pilot show, and would like to know if you would be interested in participating.
The interview would be conducted by phone and recorded, and would then be edited into our podcast. The subject of the interview questions would be much like those that are regularly posted to your site.
It is likely that we would announce the interview to the site’s members, and open a forum for questions to be submitted to you. As the podcast producers, I and my team will filter the questions down to a short list and then submit them to you. From that point we can schedule a time that is convenient for you to participate in the interview.
We feel strongly that our members would be very interested in listening to an interview with you, and that the perspective that you could provide on the screenwriting process would be most valuable.
Whatever your decision, I’d like to thank you personally for the time you devote to helping those like myself, who are trying to improve as screenwriters.
Sincerely, Joe Cardella
August 8th, 2005 at 9:27 pm
First, I’d just like to say ‘Thank you!’ for your part in bringing Charlie and the Chocolate Factory to life…this film is pure delight – and as addictive as chocolate itself! I don’t dare confess to the number of times I’ve seen it so far…but suffice to say I’m about to break into double digits any day now. The backstory was a brilliant idea, and really helped to flesh out an otherwise two-dimensional character; and the family ‘theme’ has touched my 70-yr old mum so much that she can’t stop talking about how uplifted she was by this film!
So, that said, I have a question similar to Kimberly’s (#230). First, I loved Depp’s interpretation of the character, the more warped and disfunctional Wonka seemed, the more I loved him! But how much of that was your ‘creation’ – especially in terms of all those retro phrases he spouts off – and how much was the actor’s? And do you cringe a bit when an actor adds too much to the character you envisioned on the page, or do you enjoy watching them make the character their own?
Thank you!
August 12th, 2005 at 8:23 pm
Hello John I hope it’s appropriate to use this forum to send you belated congratulations on the birth of your daughter (my family has just returned from holidays). As the parent of a 5 year old (who is running around my desk while I write this), let me be one of the first to welcome you to the world of trying to write while raising a child (I look forward to your posts on this topic!) Congratulations to you and mom! Monte Congratulations as well John on “Charlie” – I saw it last week and thoroughly enjoyed it!
August 16th, 2005 at 10:05 pm
Hi John
Why is the writing of origins of major characters so pervasive in movies these days. The critics had a field day with adding Willy Wonka’s origin in Charlie and the Chocolate factory. What was the reason behind this addition? Was this a structural choice or was it studio driven or something else? The Fantastic Four movie was so saddled with origin material , I agreed with the common complaint that the next movie should have been the first.
Thanks Matt in LA
August 19th, 2005 at 8:46 am
I’ve been writing for a number of years now and I find myself having less and less enthusiasm for it, which affects my output. It has become more habit than passion. To kick my ass into gear I’m going to take a screenwriting class (for the first time ever; I’m self-taught) so I’ll at least be forced to produce something and most likely have it critiqued by my peers. Do you think that’ll do it for me? Do you ever find yourself saying, “Why did this interest me in the first place?”
August 20th, 2005 at 8:43 pm
John,
As a professional writer, how do you get yourself in a state of mind to write things that are, well… less than inspiring? I think many people who visit this site probably know what it’s like to find themselves in a rut when they’re writing thier dream project. Don’t get me wrong, this isn’t a dig against you or anybody else, but, I don’t think anybody would could consider Charlie’s Angels: Full Throttle, to be something of divine inspiration. How do you find the energy? How do you keep on track when you’d probably rather be writing something else?
Thanks,
Sam N.
August 22nd, 2005 at 8:29 am
John,
You recently posted a response to the following question on your site:
“When you have a character talking on the phone who is not in the scene that the audience is watching (e.g. Bill is in a phone booth talking to Jim who we only hear but never see) – do you use (O.S.) or (O.C.) or something else?”
You responded by saying that there isn’t much distinction between the uses of (O.S.) and (O.C.), and that you almost always use (O.S.). This is correct, but inadvertantly. I ran into the same question when I was writing a script earlier this year. I did some research and came to find out, from sever different sources, that (O.C.) should never be used in a screenplay. (O.C.) is a television convention and, according to the online sources I found, should not appear in screenplays. While this is probably only a technicality now, I thought you and your readers might find this useful. The correct answer is, don’t use (O.C.) in your screenplay. Always use (O.S) and you’ll be safe and sound.
Thanks, Chris Taormina
August 22nd, 2005 at 8:36 am
John,
I finally got around to seeing Charlie and the Chocolate factory. I thought the movie was very sound, and I enjoyed it. As I was watching I couldn’t help but think to myself that, like in Pirates of the Carribean, Johnny Depp sounded as if he might be ad-libbing and improvising some if not many of his lines. While I don’t know if this is true or not, it made me wonder how you as a writer react to actors who don’t stick precisely to your script. Obviously, in a project such as this, your control over such an occurance is limited. I’ve heard some screenwriters despise when the script isn’t acted out word for word. But when you’ve got an amazing actor like Depp, are you offended when he takes it upon himself to add or alter words? Or, as a screenwriter, are you accepting of the fact that film is a collaborative art form? Are you worried more about the overall quality of the production, or the preservation of your long hours of hard work? I know my own answer, but I’d like to have yours.
Thanks, Chris Taormina
August 22nd, 2005 at 5:52 pm
I’m having trouble presenting a multiple location event in my screenplay. Let’s say, for example, there are 5 peace rallies in 5 US cities and you have a character at each event. Also, the events are going on simultaneously. The intention is to only stay with each location for a few seconds. How the heck is that written? Do I use multiple “Cut to’s” ? That seems kind of awkward.
Thanks for your time, Jim in Midlothian, VA
August 23rd, 2005 at 6:27 pm
Hello John,
I really enjoyed Willy Wonka, thanks. I have a formatting question that I was unable to find on your site after a short search:
I noticed in the action paragraphs of scripts that certain key words are in BOLD typeface. Are there any hard and fast rules for when this is done?
Just the stuff you find important in the action?
Thank you,
Johnny
August 23rd, 2005 at 8:58 pm
Hey John August, I was wondering if the Charlie and the Chocolate Factory script was going to be put on the internet at any time. I love the movie SOOO much (I saw it six times in theatres) that I’d love to have it run through my head, but I need to know what the script is.
Thanks a bunch! GREAT WORK! -Christine
August 24th, 2005 at 2:22 am
Hi John
I coincidentally stumbled across you excellent site while i was working on two of your films VFX in london. Firstly it was Charlie and the Chocolate Factory and more recently Corpse Bride.
Looking through the list of your projects i was wondering how many of them came 100% from your imagination? I’m sure with the likes of prince of persia or a rewrite you get to put you spin on things but you must have to stick to the given guide lines. How many of you projects have been the result of an inspired idea thats come to you while out shopping or sitting watching mind numbing TV?
Are rewrites and adaptations part of the course for a script writer or do you think it would be possible to make a career only working on your own ideas?
Keep up the good work
cheers
Scott
August 24th, 2005 at 5:06 am
Hi JOHN! I’m an aspiring screenwriter/director from Germany and i was wondering if you could spend time on helping with the following issue i have: Writing Comedy. Don’t get me wrong. I’m able to write good jokes and stuff. Funny ones even. But what i’m looking for is like “A List OF Stilistic Devices For Comic Writing”. Something like that would be really a great deal of helpage… Thank you so much btw for keeping up this website! It’s given huge support for screenwriting already! Thank you!! – Florian, from Germany-
August 25th, 2005 at 11:27 am
Hey Mr. August, I was reading through Charlie Kaufman’s Adaptation script the other day and noticed that when he was doing a scene taking place in a car he would write the scene taking place INT. But Quentin Tarantino in Pulp Fiction writes that kind of scene as an EXT. Which is proper format if you please? Thanks a bunch.
August 26th, 2005 at 8:00 am
This is a slightly different take on the usual “how do I get an agent question.” My question is what are the top 10 signs you should fire your agent. My agent, for example, seems to ask me for advice at every step of every negotiation. So if the producer starts off with a low-ball (read: ridiculously insulting) offer, I get the call, am told by agent what the ridiculous offer consists of, start to feel awful and freak out, then proceed to advise agent on what we should be insisting on (or worse trying to convince agent that producer is slime and we shouldn’t be dealing with him at all). I just think I should be protected from the mud-slinging until a reasonable deal starts to take shape (which it invariably does). Anyway, hard to know when to fire an agent though. No one’s perfect. And it seems like writers are NEVER satisfied with their agents.
August 26th, 2005 at 8:31 pm
John:
I’m Stuart from Long Beach, CA.
I have two TV show concepts that currently are being considered by several production companies. However, I also have a very comprehensive movie script idea that I’d like to submit to Nora Ephron for consideration. I think the subject matter would be of keen interest to her. Can I only do this through an agent? Since I do not have a complete script to submit, would that keep agents from wanting to represent me on this project?
Any advice you can provide would be much appreciated.
Stuart
August 29th, 2005 at 7:20 am
As a newcomer to this field, with an accounting degree, I am curious about the tax implications involved in being a screenwriter. I picture the revenue side as being straightforward, but what expenses can be taken? For example, if I write a script set in Poland, can I writeoff the cost of a trip there, claiming it was necessary in researching the details of the script? Assuming one can sell a script, if you fly to Cannes in support of your work, can you write that off as a business expense?
August 29th, 2005 at 3:11 pm
A non-industry relative who knows a handful of actors, directors, producers and agents and offered to help get me in the door…for a percentage of a script sale. He’s not sure how these sorts of deals are done, if at all, and is interested in helping me out, but, like real-estate, feels a “finders fee” is appropriate.
Are there any protocols for Rainmakers or finders fees and, if so, how would this work out with an agent (I am unrepresented)?
August 31st, 2005 at 6:27 pm
Hi John, I just discovered you blog and am enjoying it very much. Thank you. I just started my blog chronicling the making of my first feature film. Can you tell me how I should make it known to potential investors, actors, agents, industry people?
Thanks
September 1st, 2005 at 1:51 am
Hey John,
GO is one of my favorite movies; the way it’s so cleverly constructed has been an inspiration to me as a screenwriter. My question is this:
What would have happened with Todd and Ronna if Ronna hadn’t been hit by the Miata? Was Todd really planning to kill her? Was that a real, loaded gun? Or was he just planning to scare her?
I guess the more interesting question is, did you even know the answer to this question when you wrote the scene? Given that you knew Ronna was going to be hit by the car, is this question irrelevant, or do you, as the writer, want to be inside the heads of your characters enough to know what would have happened otherwise?
September 2nd, 2005 at 10:36 am
I have written an adaptation of the cartoon GI JOE. After doing some research, I know who owns the rights. They have had the rights for over two years now and nothing has been done. I have tried to contact the production company that has the rights to tell them of my script. Do you know of a better way to get a hold of them besides the mail? Whether they want my script or not, I’m only looking for a shot. Thanks
Moose Letourneau Grand Rapids, MI
September 2nd, 2005 at 1:43 pm
Copyright Infringment
Today I have read several articles about the possible production of a terrorist sitcom.
Funny. A script I wrote two years ago pardodied two characters who developed a successful sitcom called ‘Our Qaeda’. It was a semifinalist in Project Greenlight and I took a few meetings on it unrelated to the contest.
Of course you can’t protect general concepts, and the content in my script that dealt with this was a parody of the very notion of a terrorist sitcom, not an actual pitch for one.
But from the looks of the EW blog and Bun, they’re using some of my jokes and situations.
The spec is registered with the guild and the copyright office.
Should I pursue this further, ie contact a lawyer?
September 6th, 2005 at 4:08 pm
I feel like I’ve hit a phase in my writing where I’m wondering if something is going wrong.
Seems like whenever I hear or read anything about screenwriters and their processes, it’s all about them and their finest details, rewrites, certain codes, and nitpicky things. I’m in a zone where I just sit down and type out what I think in a fairly minimalistic format, perhaps too cocky in the idea of the idea. Should I be more focused and ironed, or, in my case, if I think ‘I got it’, should I stick with it?
Also, for every script I’m writing, I’m including a page or two explanation of certain things that the reader might not know, like extra details, or my thoughts on a certain flair. Go or no?
September 8th, 2005 at 9:27 am
John,
Is it appropriate to approach certain professionals/organizations in order to conduct research for a screenplay. For example, I am writing a screenplay in which the central protagonist is a games keeper, and in order to maintain the integrity of this character need information, first hand if possible to develop greater insight into said character.
P.S. am calling that number as we speak…wholeheartedly agree with your stance on same sex marriage, if more people put as much thought into becoming parents as those who choose to adopt, the legacy for these children would be a much safer and nurturing one I am sure.
Regards
September 8th, 2005 at 10:27 am
Dear John, My first time on your site…I applaud your scripts( and the opening letter to Gov. S. ) and the adaptation of Big Fish was tremendous. I had heard there was a Tarzan film in development…nice to see you have the hand in it. Did you tie-in the anti-aging/healing potions used by the “witch-doctor” in the novels? Did you use Philip Jose Farmer’s bio of Greystoke for any source material? This is a pet project and labor of love for me…to see the greatest fictional hero known to literature come alive again…properly, intelligently…dignified. Yes, like everyone else, I am learning this craft. My Tarzan has been my schooling.. I have a couple very poignant scenes if you’d like…Seriously, bring this one to film. You have the clout and the skill. As far as your personal quest, I hope you get to share your life in legal standing like “the rest of us” and that you both are truly happy together. Good Luck John
Chris Johnson
September 9th, 2005 at 12:19 am
If you weren’t a screenwriter what would you like to be?
September 9th, 2005 at 9:56 am
Hello,
When stuck on ideas, just write emails to irritate people and garner the cheap support of friends. Then, to ward off depression publish the compilation on a site: http://prestonengland.typepad.com/
September 9th, 2005 at 7:15 pm
I was wondering… do you know the lyrics to the song Remains of the Day?
September 11th, 2005 at 2:14 pm
John:
“The Player” isn’t a satire – “The Player” is a documentary!
Six months ago I was hired to do a non-WGA rewrite. The 4 producing partners are legit – one in particular has a boatload of credits, studio and indie. I was the third writer on the project. I have a feeling that they paid the 1st two writers but wanted this work done on spec (though for an OK amount of money to be paid upon initiation of pre-production).
I rewrite about 90% of the script. It’s the best writing I’ve ever done. My writer friends love it, the producers love it. I spend a couple weeks implementing their notes and they announce they are set to find a director!
A director is hired. She hates the script. Not just my execution – she likes my writing – but she wants a different genre. I was hired to rewrite a band movie – a band movie with a twist. It was written as a dramedy, with the emphasis on character and humor. The director wants 8 Mile or Hustle and Flow.
The partnership is now evenly divided between those that want the original concept and the partners who “discovered” the brilliant director. I do another rewrite. The director ain’t impressed and lets it be known she wants to bring in some buddies of hers to work on the script. Her champion among the producers agrees, a couple of other producers don’t.
Having spent six months working on spec I am hurt, furious and ready to go postal. I know that big time Hollywood is this cutthroat, but didn’t realize that it’s the same in the smaller budget indie world.
My emotions say I should tell them to go F themselves, but my head says “what if they make this happen.” Of course, at this point I get paid and get credit regardless of whether I do anymore work.
Any suggestions?
Dave
September 14th, 2005 at 4:24 am
Hey John –
I was raised by a non-governmentally sanctioned lesbian couple all through the 80’s. My mom and my second mom. This was Oklahoma, you understand. In the 80’s. Not that it really hindered me. I graduated high school and attended an Ivy League college, where I majored in English and American Literature, which suspiciously included the likes of Rita Mae Brown and Ursula K. LeGuin. Herm…
I must admit, I’ve never really given a fuck about gay marriage or anything like that. I probably should, seeing as how my moms are probably going to be suffering from the lack of social security government-approval in the near future, (they’re both entering their mid-fiftes this year and have been together for coming on 20 years).
But what I selfishly want to know about is this. When you were first getting started as a writer, did you meet other hopeful screenwriters? And, if so, did you grow, over time, to absolutely despise them?
Because I’m feeling this. When I first moved to LA a few years ago, I met a whole bunch of disreputable screenwriter wannabes. I made friends with them. We helped and encouraged each other. But in the last year or so, I began to grow weary of their company and their lame-ass superficial ideas. I wrote a script that landed me a fairly prestigious agent and have since gone on to have meet and greets and do all the things that other screenwriters do who haven’t yet sold a break-through script. I’ve pitched for assignments. I’ve duly submitted new scripts that haven’t yet tweaked the fancy of some mid-level studio exec. I’ve met with producers. I’ve played the whole game. I feel like I’m on the cusp.
But I’m still sort of in that netherworld between WGA-sanctioned writer and struggling wannabe. The thing is, all the struggling screenwriters I’ve grown to know in the last few years… well, truth be told, they irritate the fuck out of me now. I have no patience for them anymore. And they seem to have no patience for me. They’ve grown really demanding. It seems like for every new door that opens for me, they feel like I owe them the passcode. The secret handshake. The “in.”
What I want to know is, did you go through this? Did you, at some point, have to sort of leave your fellow strugglers behind? I don’t want to lose my friends, but at the same time, I feel like it’s really important for me to separate myself from them right now. I also feel like, if the shoe were on the other foot, they wouldn’t think twice about blowing me (and all my scripts) off. I mean, they’re calling me and asking me if I’ll send their latest script to my agents… who have only hip-pocketed me and who I can barely get on the phone as it is.
Hollywood is such a weird place. I feel like I’m still learning all the ins and outs of the politics that go with it. How have you dealt with fellow screenwriter friends who haven’t yet crossed that line, but who still count you as a friend, with all the benefits that come with that friendship? Does that make sense?
I’d really appreciate some advice.
Jay
September 14th, 2005 at 7:47 am
John,
First of all, thanks for Big Fish.
I’m from Venezuela. Now I am living in New York City with the hope of becoming a screenwriter. I recently finished my first script, a lot of work. However…
I’d like to know if you can advice me a good script consultant that can help me with my work.
Thanks man. And thank you for doing this web site, trying to help some people.
Adios amigo!
SAM
September 14th, 2005 at 9:11 am
Hi John, Have you ever been credited on a film where the script had changed so much that you felt the credit undeserved? Have you ever felt you deserved credit but weren’t given it? What do you think about Arbitration, do you think it is a fair process? Jen, Los Angeles
September 15th, 2005 at 12:37 pm
I love my characters!
I love the three main characters in the script I’m writing. I love the time I spend with them working out their struggles, conflicts, failures and victories. I love hearing them speak to me as a writer and I most of all love hearing how they talk to each other.
And therein lays the problem.
I love my characters so much I can’t get them to stop talking. I find that they ramble on extending scenes far longer then they need be. I try to make there dialogue more succinct but I feel I am short changing them. As my muses I owe it to them to have their voices heard.
So in short how do I go about having my characters express themselves in a way that does them justice, but make it work within the constricting format of a 120 page screenplay?
September 15th, 2005 at 7:29 pm
John, do the pro’s use Final Draft? If so, do you or know anyone that uses the “normal” margins vs. the “ver tight”, etc.?
Making a script 100 pages instead of a “normal” 120 pages seems like a big deal. Is it?
September 16th, 2005 at 4:32 am
Hi, As an aspiring writer/producer myself i wanted your thoughts on the following which i asked jerry bruckheimer on the warner bros forum.I know hes a producer but i would like your thoughts on this as well.
Do you see a changing market place in terms of what films the public demands and what use to work no longer works anymore.Also with films struggling to break even nowdays do you see less films in the 100 million dollar category being greenlight?
If you where producing what are the top 5 things you would look for in a screenplay?
September 16th, 2005 at 4:33 am
Hi, As an aspiring writer/producer myself i wanted your thoughts on the following which i asked jerry bruckheimer on the warner bros forum.I know hes a producer but i would like your thoughts on this as well.
Do you see a changing market place in terms of what films the public demands and what use to work no longer works anymore.Also with films struggling to break even nowdays do you see less films in the 100 million dollar category being greenlight?
If you where producing what are the top 5 things you would look for in a screenplay?
September 16th, 2005 at 4:35 am
Hi, As an aspiring writer/producer myself i wanted your thoughts on the following which i asked jerry bruckheimer on the warner bros forum.I know hes a producer but i would like your thoughts on this as well.
Do you see a changing market place in terms of what films the public demands and what use to work no longer works anymore.Also with films struggling to break even nowdays do you see less films in the 100 million dollar category being greenlight?
If you where producing what are the top 5 things you would look for in a screenplay?
September 16th, 2005 at 4:37 am
Hi, As an aspiring writer/producer myself i wanted your thoughts on the following which i asked jerry bruckheimer on the warner bros forum.I know hes a producer but i would like your thoughts on this as well.
Do you see a changing market place in terms of what films the public demands and what use to work no longer works anymore.Also with films struggling to break even nowdays do you see less films in the 100 million dollar category being greenlight?
If you where producing what are the top 5 things you would look for in a screenplay?
September 16th, 2005 at 1:22 pm
Hi John,
My name is Gordon Hayden I present a movie show called We Love Movies on the Irish radio station Spin 103.8 (details about the show and the radio station are below). If possible we would love to have you on the show to interview you about your career and any tips you would have for any upcoming scriptwriters. We realise of course that you must be ridiculously busy, but both myself and my co-presenter Jonathan, are huge admirers of your work and would love to interview you about your extensive career.
If you were available it would be 10 minutes over the phone – very conversational chat about your career and upcoming projects. We are of course flexible for time, but if you can spare ten minutes for us. We would be extremely grateful.
Look forward to hearing from you
Gordon Hayden We Love Movies (+353 86 870 4913) http://www.spin1038.com
About the show: We Love Movies is a one-hour radio show devoted to the world of film, hosted by TV3’s Gordon Hayden and RTE’s Jonathan McCrea. Gordon Hayden is the movie-reviewer with TV3’s successful breakfast show Ireland AM and is the resident movie-reviewer for Spin 103.8, during his time with both stations he has interviewed some of the biggest names in the film-world such as, Jerry Bruckheimer, Joel Schumacher, Kirsten Dunst, and Sarah Michelle Gellar among others. Jonathan’s current show T he Rear End has featured such stars as Jack Black, Carmen Elektra, Leslie Neilson and Colin Farrell. We love Movies features music from the films, reviews and of course, regular interviews with the world’s biggest names in the movie industry both in front of and behind the camera.
About Spin 103.8: Spin 1308 is currently Ireland ’s number 1 radio station in the 14-24 and 24-34 age bracket. It is also the fastest growing station in the country with 121% listenership growth in the last financial year.
September 17th, 2005 at 1:46 am
Hi, As an aspiring writer/producer myself i wanted your thoughts on the following which i asked jerry bruckheimer on the warner bros forum.I know hes a producer but i would like your thoughts on this as well.
Do you see a changing market place in terms of what films the public demands and what use to work no longer works anymore.Also with films struggling to break even nowdays do you see less films in the 100 million dollar category being greenlight?
If you where producing what are the top 5 things you would look for in a screenplay?
September 18th, 2005 at 8:52 am
Hey John,
Ill cut straight to it. I’m dyslexic and both reading and writing have always been more than a slight problem for me. To say its not exactly one of my favourite past times would be a understatement. If someone held a gun to my head and told me to read The Dav Vinvi Code or else i could go it but either way id end up with a really sore head.
I suppose being told at the age of 8 by an evil school teacher that id never amount to anything because i couldn’t read as good as the other kids may have had an adverse affect on me. Until recently i had always avoided reading where i could, I even did my final high school book report on a book no one had ever heard of and i made the entire thing up myself (got an A though). That was until i found the huge amount of scripts online and started to work my way through. I don’t know what it is i just cant stop reading once i pick them up, it could be the straight to the point nature of scripts that allows me to get my head round it. Ive also started writing my own stuff recently as well and am finding it easier than I ever thought i would.
I currently work in the film business as a VFX artist in London and love all aspects of films and film making. Given my real job i am planning on moving to LA in a couple of years anyway (when I’m 25 or so) so I thought i could set myself another goal.
Anyway my question is this, do you think it would be possible given today’s software and help available online etc that a person with problems such as myself could develop a worthy script? I believe i have all ideas and the work ethic that i would need it would purely getting it down on paper than would stand in my way.
thanks
Scott, London
September 18th, 2005 at 8:53 am
Hey John,
Ill cut straight to it. I’m dyslexic and both reading and writing have always been more than a slight problem for me. To say its not exactly one of my favourite past times would be a understatement. If someone held a gun to my head and told me to read The Dav Vinvi Code or else i could go it but either way id end up with a really sore head.
I suppose being told at the age of 8 by an evil school teacher that id never amount to anything because i couldn’t read as good as the other kids may have had an adverse affect on me. Until recently i had always avoided reading where i could, I even did my final high school book report on a book no one had ever heard of and i made the entire thing up myself (got an A though). That was until i found the huge amount of scripts online and started to work my way through. I don’t know what it is i just cant stop reading once i pick them up, it could be the straight to the point nature of scripts that allows me to get my head round it. Ive also started writing my own stuff recently as well and am finding it easier than I ever thought i would.
I currently work in the film business as a VFX artist in London and love all aspects of films and film making. Given my real job i am planning on moving to LA in a couple of years anyway (when I’m 25 or so) so I thought i could set myself another goal.
Anyway my question is this, do you think it would be possible given today’s software and help available online etc that a person with problems such as myself could develop a worthy script? I believe i have all ideas and the work ethic that i would need it would purely getting it down on paper than would stand in my way.
thanks
Scott, London
September 20th, 2005 at 7:01 am
Dear Mr. August,
I am a playwright who recently became a high school film studies teacher. I am currently prepping a class on BACK TO THE FUTURE, which is, in my opinion, one of the finest and most original movies to come out of the 80s. I’ve selected it based on using it as a teaching tool about “protagonists.” As I reached back into my memories of grad school, I remembered the protagonist as being the character who has undergone the greatest change by the end of the story. I chose BACK TO THE FUTURE to make the point that the character with the most screen time is not necessarily the protagonist, and present the idea to my students that instead George McFly is the protagonist. I started discussing this with the school’s creative writing teacher who said she did not know that the protagonist actually had to change and presented simply that the protagonist was the main character. I started doing some internet research and have now read both sides of the argument, including your very clear distinction between hero, main character, and protagonist. Having read about you in the past two issues of SCRIPT magazine, I figured I would drop you a line for some affirmation. I want to make sure I don’t teach these budding film makers incorrectly.
Thanks, Shawn
September 23rd, 2005 at 7:39 am
Mr. August,
Like many, I am attempting to break into the industry as a screenwriter. In your opinion, would it be a waste of time to adapt a stageplay to a screenplay as one of my first of two professional scripts? Meaning, will I be taken seriously as a writer or is adapting designated for accomplished writers like yourself?
September 23rd, 2005 at 9:25 am
Dear John,
What about foreign writers? What are the chances of a non-american writer make it in Hollywood? Is there any particular interest on them, or a producer/agent is just turned down by the idea of working with someone whose english is so perfect? (from my name one could think I’m american, but I’m actually brazilian – does that justify my questions?)
thanks!
September 23rd, 2005 at 10:05 pm
Can I be your next assistant?
September 27th, 2005 at 1:25 pm
Hi John,
I love your blog and I love your movies. Haven’t gotten to the theatre for Corpse Bride but its on my list.
I work at The Writers Store on Westwood. This is probably the worst place in the world to ask this question, but if it is non-intrusive enough, I hope you don’t mind.
In our store, we have signed posters on the walls from writers. BIG FISH, GO, TITAN A.E. and CHARLIE AND THE CHOCOLATE FACTORY are all fantastic films. If I arranged to get all the posters down at the store, would you like to sign them? Inspiration for all the writers who come here. Also, we really need to get rid of “Booty Call”. (that was lame humor)
I can be reached at the email I put in in the field above. The number for the store is 310-441-5151.
Thank you,
Michael Harrold
September 27th, 2005 at 5:46 pm
I am an amateur writer, and I am looking to take a class, but I’m not sure which is best suited for me. What I am trying figure out, is the class offered by the New York Film Academy better or the same as a class at a local college? Thanks for the help.
September 28th, 2005 at 2:38 pm
Hey John,
I am an enormous fan of you work and just had one question that might have been answered a few times already on this board. I was just curious as a veteran screenwriter have you grown into more confidence in the choices you have to make on your scripts. By this I mean that if you have for example personal experiences that you or someone you knew go through and question whether the audience will find it as entertaining as you did at the time. I’m sure you have to incorporate many details for both you and your reader, but do you know exactly how far you are willing to compromise for your script? Well thank you so much for even reading.
John Kelmer
September 29th, 2005 at 9:49 am
Dear John,
When writing a script where a character is revealed to be another character (“That’s not a Russian spy! That’s Tom Cruise in a mask!”) should the script identify the character as what he/she should be seen from the audience’s point of view (to show the shock to anyone reading the script) or from the point of view of anyone reading the script (so as not to confuse them). Basically, when do you use “RUSSIAN SPY” and when do you use “TOM CRUISE”?
October 1st, 2005 at 12:44 pm
Not a question…just a comment. Your work on Chocolate Factory was excellent. I’m quite certain that Mr. Dahl would’ve approved. He was quite the ah…eccentric writer wasn’t he?
October 3rd, 2005 at 5:59 pm
Mr. August,
I have a question about your film ‘Go’. First off, I think it’s a brilliantly scripted film with a great script that rivaled some of the best in 1999. Here’s my question:
When writing a non-linear screenplay, do you begin drafting the script as non-linear or is it better to begin from the beginning then go back and move the scenes around to make in non-linear?
Thank you for your time and keep up the great work.
October 7th, 2005 at 11:27 am
Are you in my UCLA Final Cut Pro class?
October 7th, 2005 at 2:03 pm
Hey John:
Great site (but you already know that). I just wanna share an experience I had and ask you your opinion. Recently I sent a project to an agency and was read. This experience was very different than in the past (I’ve been read several times) in that the agent seemd really cool.
The agent called me a few times and was always very quick to answer e-mails. I find that to be rare when you’re you’re a virtual nobody and not even signed. Anyway, after reading my material, she called me and told me that while she thought the piece was very good, she (or anyone else at the agency) couldn’t place it anywhere.
She also said that she wanted to let me know over the phone and NOT via some informal pitch letter. I was also invited to submit any and all future materials if I’d like.
Now I know that doesn’t sound like a blow-off or anything but should I be excited about this … “positive” rejection?? I just feel like I got thisclose and then … poof … nada. Frustrating, huh?
October 7th, 2005 at 6:30 pm
Fellow Student: Yes.
October 10th, 2005 at 3:06 pm
Issues with script length;
Sometimes I feel like length won’t really matter in the long run. I’m projecting that it’s going to end up a bit over 130 pages, which it rightfully should. It’s not like each page is a run-on paragraph, I rattled off five or six with just a simple conversation that would take up maybe 80 seconds of screen time. If people can see that the script’s length is because of spacing/chippy dialogue, will they cut me some slack? Or does it really have to be by the book, 110 pages?
October 19th, 2005 at 12:14 am
Howdy, I’m having a hard time with my organization. I write down all these ideas about what character does what and so forth, but when it comes to putting it down on a script, I tend to get lost. It’s not that I don’t know what I want, I just don’t know when it should be put in. Do you have any helpful tips on how to be more organized with your scripts? Thanks!
October 24th, 2005 at 3:47 pm
John, this is more of an aside rather than a comment or question, but I do enjoy the site.
In regards to your Tarzan project, I had a small thought; you mention that the character never learns to speak until he is 40 years old; now, I know this is the movies, but I recently saw a documentary on TLC that would make this impossible.
It seems that neuroscience has determined, through numerous case studies of so-called feral children, that if a child does not learn to speak by about age 11, the child will never develop the linguistic skills needed to communicate on a cognitive/rational level. Apparently it has to do with connections that must be established early in the brain’s development, and if these connections are not made early, they cannot be made later.
It was a fascinating show, aired on TLC and is probably available on video from the store.
I don’t mean to be a kibbitzer, but when I read the description of the project, this jumped out at me as something that would, for me anyway, kind of f— with the verisimilitude of a good Tarzan movie.
Thanks for all the great writing on the site.
Sincerely,
Michael from North Hollywood
October 26th, 2005 at 8:14 am
Hi John,
I’m a screenwriter in Toronto, Canada. I recently received a $25,000 grant to direct a short film that I wrote, and I’m struggling with a major dilemma. I’m torn between putting the money towards buying the Panasonic HVX-200 camera (which I’d be able to keep after the shoot) or spending it on 35mm film / processing / gear rental. It kills me that 35mm is so expensive, but it does look the best. Of course, if I owned the camera, I could shoot other things on it after I’ve finished making this short.
I know you’re a fan of the HVX-200 – do you think that a short made on it will be taken as seriously as a 35mm project? This whole question might sound dumb, but I’ve been debating it over and over with myself. One side of me says “Don’t be an idiot! Buy the camera with the money!” but the other side of me says “Don’t be an idiot! Use this opportunity to shoot on 35mm!”
Your site has been an inspiration to me, and I value your opinion highly. What do you think?
Bob
November 18th, 2005 at 4:02 pm
Have you hired your Stunt Coor for OPS?
We have qualified local hires that wish to submit.
Please advise where they may do so.
By the way, I love your site. It is a wonderful source for writers, especially those new and coming up. Don’t you wish there was a resource like this for you when you were in that position?
Best,
Dana
November 21st, 2005 at 10:11 pm
If you go to Warner Bros ‘Charlie & Chocolate factory’ page, there is video footage of you describing the film. Most likely from the DVD extras.
November 26th, 2005 at 5:04 pm
Dear Sir: I am VERY interested in the new Tarzan movie and the way John August is presenting it. I have waited all my like for a Tarzan Movie to be made like edgar rice Burroghs told about. extremely Strong and Muscular. I man that became stronger than the apes who raised him would have huge muscles (Gordon scott and Miles O’keffe) for instance. The rest of the actors were a joke! And he was not have even a challenge in a fight with any other man. For instance in one of the Tarzan books. Several men were embarrased that they had run out of a dark from from Tarzan. But if a lion had walked out of the room they would not be embarrased and Tarzan was worse than a lion!
December 7th, 2005 at 9:17 am
Movies like RoboCop had commercials in it to illustrate the RoboCop universe. Should commercials in movies be written in screenplay format or should they be written in commercial format, which I believe is a two column format?
Rene, Ca.
December 7th, 2005 at 5:05 pm
Mr. John August, Okay, this isn’t my actual question but don’t you find it odd that people always call you by your full name? I don’t know; it makes me laugh. I just had to point it out. Anyways, I’m a grade 12 student in Toronto and I’m applying for University. Screenwriting is one of my potential career options. I was wondering, from the opinion of an influential screenwriter, if it would be better to go to film school or just go to university for English. See, if I go to film school, I might hate it and have to start from scratch. On the other hand, if I go to university for English I could get a well-rounded education but not the specifics I may need if I end up in your field. Any response would be well appreciated. Thank you very much for your time. I watched “Win a Date with Drew” recently and I was pleasantly surprised to see you in it.
December 12th, 2005 at 12:58 pm
Do you ever get the feeling that what you’re doing is bullshit, like the latest fad diet? Writing movies? Do you ever feel that you’re not only selling out your artistic ambitions but that, indeed, you’re atrophying them or never had any to begin with? Or are you making so much money you don’t care?
December 13th, 2005 at 1:59 pm
Hey John, I was wondering if you could tell us if there is a specific template in Final Draft (or Movie Magic or whatever you’re using these days) that is better than the others for writing a commercial/professional/sellable screenplay. The options in Final Draft are “Screenplay: Cole and Haag,” “Screenplay: Warner Borthers,” or just “Screenplay” any thoughts on this? Does it matter? Do you make your own template? Thanks, Jackie from Santa Barbara, CA
December 15th, 2005 at 3:08 pm
john, i have been working on a few stories. one, for over 10 years. i am working on one that has a religious theme. I saw your e-mail to someone who had asked a question about the bible. do you have this individuals e-mail address?(the guy who does those themes?)
i find when i write, new ideas hit me and i want to incorporate them into the story line. i also see the story with music. it just does so much more for me than no music. to expound on the creativity and to expunge creativy into the story line or a scene, what do you do to bring out the goliath ideas? Yo
December 19th, 2005 at 6:23 am
Hi John,
I’ve been reading the stories on this website for a good while now, and I’m really impressed with it and the time you give over to it is inspiring.
Now, enough ass-kissing, and down to business.
I’ve just read that Sin City has not been shortlisted for an FX Oscar. Now, I’m one of these people who thinks the Oscars is a bunch of self-congratulatory, suck-ass nonsense, inflating people’s egos that really don’t need to be so. But seriously, how the hell can they overlook one of the most spectacular gifts to modern cinema? I know that politics plays its part, given Rodriguez had to throw in his WGA and DGA badges just to get the film made and therefore he can’t get an Oscar. But for something as courageous and mind-blowing as Sin City, who can justify the blinkered vision of the people who choose this. The Aboslute Peice Of Shit (TM) that was Revenge of The Sith is nominated, as is King Kong. Two films which, in my opinion, are received better for their reputations than any artistic merit. Lucas lost the plot a long time ago, and Jackson, what the hell is he thinking? 3 hours for a film that was brilliant and perfect at 87 minutes – self-indulgence anyone? The scenes with Kong battling the dinosaurs – complete tripe. The effects buzz today is emrely to blind the audience and to detract from the story. Jurrasic Park had amazing effects and believable dinosaurs. King Kong? Crap.
I just wonder where you stand on the DV and technology front. Do you not think it’s a tragedy that someone like Rodriguez who uses CG to further cinema should be ignored because of what he had to do to make a film he loved, and that directors like Lucas and Jackson who begin to believe their own hype to much should triumph so freely?
Okay, i can breathe again. Rant over.
Thanks,
John, Dublin, Ireland
P.S. How Stella Got Her Grave Back needs to be made; i hope you’re working hard on getting it done :)
December 20th, 2005 at 7:27 pm
Hey, John. I’m relatively new to screenwriting, but I’m learning VERY fast. As a matter of curiousity, I was wondering what screenwriting software you personally use when writing your scripts. I’ve experimented with several of them, and have mixed opinions. So in short: what software do you use for your scripts?
Brandon
December 27th, 2005 at 3:50 pm
Hi John:
A note I get from time to time is that is scene is ‘pedestrian.’ I’m not entirely clear what is meant by this and the people giving this note don’t always have a good definition. When someone says a scene is ‘pedestrian’ what does that mean to you?
Thanks.
Isaac from Los Angeles
January 1st, 2006 at 3:48 pm
Dear John,
I’ll try to keep my question short. I’ve managed to work my way into adapting a short story into a screenplay. I’ve been in contact with the producers. After a meeting last week, he asks me what percentages I think would be fair for the contracts to be drawn up. I was stumped to say the least. I had figured to get a contract drawn up and I would take it to an entertainment attorney, but these guys are actually letting me negotiate terms, which turns out to be good and bad. I’ve been looking, to no avail thus far, for what would be a ’standard’ percentage for a writer in my situation. I hesitate to go to an attorney with no contract firmly in hand so I’ve only been trying to find a so called standard.
So I was hoping that you could help me out with any kind of number that an unkown screenwriter can fairly request or possibly point me in any direction that may help. Or is it simply time that I go for an agent or attorney?
Thanks a lot for the site!
January 6th, 2006 at 2:30 pm
I’m french ( my english is not really good , but I try to be understood ) I am an author compositor, sound designer in electronic music and I worked 15 years ago for a project before death of Jean Claude Forest ( french creator of Barbarella ) . I writed in tribute of Roger Vadim and Jean Claude Forest a new song music titled ” Barbarella and teh cyber notes ” .My request is to ask about the real project you have to a new film version of Barbarella with Giselle FERNANDEZ , I would like to be associated in this project as musician .Is it an opportunity or it is not ? I’m very attached by this story and suggetions about score ideas for Barbarella film. sincerely yours, Best regards . Daniel HERMAN
January 6th, 2006 at 6:05 pm
Hey, John! I’m de-lurking (to use a TWOPism) because I ran into a strange issue with my producer today. She tells me I don’t break up my scenes enough. Specifically, there’s a scene where the characters start out around a campfire, then run off into the woods, where they stop to have a brief discussion.
As a rule, I write for readability. I use every trick to make the reader feel like they’re “watching” the movie. I figured it was a continuous scene, since there’s no time jump, and “the woods” isn’t really that different of a location from “the campfire.” It would be like writing a car chase, and creating a new scene every time a car turned from one street to another.
My producer, on the other hand, says that they are different locations, and therefore require a new scene header. (It’s a low budget movie, so she’s doing the scheduling work you would expect from an AD or UPM.) For scheduling purposes, she now has to divide this and other scenes into smaller parts, like 14a, 16b, etc.
So, my question is, should I be writing for readability, or for the producer’s convenience?
January 9th, 2006 at 5:20 am
John, I have written my query letters. I have checked with each of the companies for contact names. I am ready to send them out but I was wondering, should I include my business card? I haven’t seen anyone address this. Is it too pushy or is it a good idea so that even if they turn down this script they may keep the card for later reference? What is your take on this?
January 10th, 2006 at 12:12 am
I was hoping to get your opinion on this post over at the Google Video blog: http://googlevideo.blogspot.com/2006/01/independent-films-part-5.html. It references the fact that Google will soon add the ability for anyone to sell films through their video store, and predicts great things for independent filmmakers. I realize folks have been doing this for awhile on a limited basis, but this is freaking Google acting as a distributor. I suppose now it’s just down to marketing?
January 12th, 2006 at 2:08 pm
Hi John,
This is a question I’m sure most of your readers can identify with. What advice would you have for someone who is trying to write while working a full-time job? I sometimes find it difficult to get into the writing mood after a long and exhausting day of work; my mind doesn’t feel as creatively “fresh.” Of course there are weekends and vacations, but then there are other life commitments that come up.
One of my friends said the solution to this is force yourself to write just 10 minutes a night. The idea is that you “chip away” at the script rather than feeling overwhelmed by it. Is this sound advice?
January 13th, 2006 at 11:47 am
Happy New Year John.
Finishing up my third screenplay & as I begin to meet more people in the industry, sometimes I catch myself NODING my head to some of the lingo being used. such as: “beat sheet” & “step outline”.
Please define if you could for me? (will be greatly appreciated)
Also, how important are scene-cards for YOU when you write? Or do you even find them usefull @ all.
:cheers: John & good on ya
Ricky LA & BROOKLYN
January 19th, 2006 at 2:06 am
Regarding doing research, what was your process when starting out? I find there are several subjects that are hard to get access to, even on the internet, and without a studio or legitimate company behind you (“Hello, I’m writing a project for New Line Studios, can I ask you, Dr. Kermides, about DNA Identification and the real-world time it takes to get back results through municipal police bureaucracy?”) it is nearly impossible to feel i have the requisite background to write a halfway-intelligent sounding idea.
I’m not writing Syriana, nor am I competing with CSI, but I find experts do not take you seriously unless you’re already a financially-backed screenwriter — what’s a first-timer to do?
January 23rd, 2006 at 10:02 am
I am taking an Isak Dinesen class to ensure that I don’t become a non-fiction droid due to my job. I just read Babette’s Feast and was excited to learn that it was made into a movie, as was Out of Africa. I was wondering if you have a preference when it comes to adapting novels to screenplays (i.e., narrative style, types of characters).
I really think Dinesen is a beautiful writer with all sorts of interesting allusions to fate, destiny, et cetera. Is her type of writing problematic to adapt? This is a rather broad query, but you are the only person I know qualified to answer.
January 25th, 2006 at 11:43 am
I had just read an article on the Wall Street Journal website (http://www.opinionjournal.com/la/?id=110007865), and I was wondering if you had an opinion on the stuntman Oscar issue. (I know it’s not exactly writing-related, but it is an issue in the industry generally, not to mention the fact that you’ve written several movies that involve stunt players.)
Thanks! Matt
January 30th, 2006 at 6:30 pm
Howdy,
I have several small format questions. The basis of this is to get a better understanding of the screenwriting process, as well as being able to send my screenplay into a competition in a month or so, without it getting sent back with a label of “ew” written on it.
First, I’m going back and forth with my introduction scene. It is of a girl shedding a tear, blinking and then a boy shedding a tear. Basic, simple. Now here is the question. There are always the headers with INT. EXT. bla bla, and I’m wondering if I need that before I describe my characters there. I love scenes that look as if they aren’t in any specific place at all, just a blank space in time. So yea, do you put headers before scenes that really don’t have a location?
Next, do you put last names to all characters? I feel that if you do this, it might make the characters seem more real, and alive. A first name just seems like you met them once, and you don’t really care what happens. Ok that’s all for now, thanks for listening, and I your new secret scripts are going well.
tata,
Jeff
January 31st, 2006 at 10:28 pm
The only comment i have is that when you write, it takes more then the left and right side of the brain. Psychologists have no clue what they’re talking about because nothing in this world is known for sure. There are more sides to your brain then you (or i) know of. Just write. If you write a scene and it takes three pages, and you’re not smiling during or afterwards, then stop. Stop writing. Tne joy of writing is to write. Money is nothing more than $$$…, and although it may seem like the best thing that can happen, then you simply have to live… live another year, and you’ll be proven wrong.
Straight from the source (the south-east/level 4 side of the brain). May all your beginnings be begun, and may all your conclusions be forever remembered.
February 1st, 2006 at 2:54 pm
How does it feel to be nominated for an oscar?
February 10th, 2006 at 9:44 pm
Hi,
As will become immediately apparent, this is not a question, but a short note to say how much I enjoyed your comments last night at the WGA.
I’m in USC’s screenwriting program, and when I ran into Howard this afternoon, he suggested perhaps that the evening had not been in-depth enough. I replied: Oh my God, no. As a beginning writer, it was invaluable to hear about your process, as well as your background working on produced and unproduced projects. Judging by the elevator conversation, the other students in the audience got a lot of out it as well. Thank you for taking the time to come out and share your experience–it was much appreciated, and yes, very, very valuable. Of course, if you ever wanted to do a second installment in Lucas 200, I know you’d have a very attentive audience.
Thanks again!
February 12th, 2006 at 10:14 pm
Hi John, My name is Jennifer, and I saw you at the WGA Foundation event last week. I was the one that asked the question on behalf of the graduating MFA screenwriting students, who wanted to know what to do first when we graduate. I really enjoyed the event, as you were very charismatic and informative all in one! You made the suggestion that we should be writing television specs. My question is… with Arrested Development ending, which current show do you think would make the best spec? I’ve heard a lot of buzz about Veronica Mars and Grey’s anatomy. Your thoughts?
Thanks, Jennifer
February 14th, 2006 at 3:53 pm
I’m a working writer in Hollywood experiencing an existential dilemma on my current project. What do you do when the obvious fix to a daunting story problem would require you to advocate a world view you don’t believe in? This is a spec, not an assignment, so ideally it should be “pure me.” Any thoughts?
March 2nd, 2006 at 3:10 pm
Just a quickie. I’ve come up with a great new method for writers to think about how they collect ideas for scripts (or other stories for that matter). It’s about collecting ideas as you go through life – what I’m calling STORY DUST.
More on my blog here: http://projectorfilms.blogspot.com/2006/02/more-about-more-about-cards.html
March 8th, 2006 at 6:24 pm
Hey John, At the recent WGA Foundation talk you gave you mentioned some of the different versions of scripts that you read on James Cameron’s work when you were starting out. If you have a chance could you give us a short list of other versions of scripts that the foundation has that would be worth reading and learning from. Thanks!
March 9th, 2006 at 9:38 am
I did the search and found what I was looking for on the Corpse Bride. It’s a great film! I especially love the appearance of the Bride and the arm crawling forth in the fashion of those “B” horror movies that I watched on Saturday afternoons sooooooooo long ago, it gave me some chuckles. My question, is about the end, why the rather ambiguous butterfly scene? After all the life and death the characters had been through together, it somehow didn’t intuitively seem right. Almost as if there should have been 20 minutes more to wrap it up. Did you feel this way when you wrote it?
March 10th, 2006 at 8:50 am
Dear John…there´s a man coming all the way from New York to my isolated and barren, harsh, vast and wonderfull homeland. The purpose of his trip is giving a few days of a script seminar to the natives…his name is Mick Casale. Have you heard of him? If so would you recomend him or not, and what do you think of script classes in general? Thank´s for a semi-magnificent site….mind you it´s not every day that a class like this is held in Iceland…
March 13th, 2006 at 4:28 am
I just came across your site and wanted to let you know that GO is one of my favourite films.
I loved the film and enjoyed reading the script. I think the director should have added the extra little bits into the movie.
Anyway…awesome sript.
March 15th, 2006 at 12:05 am
What does “over writing” a script mean to you?
Seems like so many screenwriters make apologies for their early scripts because they were guilty of that very thing. Were you?
March 25th, 2006 at 8:32 pm
Spec or writing sample?
Hey John,
I’ve spent the last couple of years polishing my stuff, and just started sending out. Feedback from a couple of managers has been that they like the writing, but that the story is something they just “wouldn’t be good at developing right now.” Okay. They say they can’t sell it, but can’t these specs function as writing samples?
Best, Axel
March 25th, 2006 at 9:52 pm
I have been working on an adaptation of an 18th century novel that has not yet been made into either a play or a film. Naturally, the author is dead but there is some renewed interest so I want to make sure I can be the one to do it since I have already done so much work on it. Since it was so long ago, I rather suspected that it was public domain. Now I am not so sure. I noticed you said to contact the publisher but there seems to be several editions out there so which one do I contact? Must I contact them all? I am guessing that might mean it is fair game.
Whaddya theenk?
Nancy
March 27th, 2006 at 5:17 pm
Quick question for you, Mr. August: did you write–or rewrite–the script for “Jurassic Park III?” I haven’t seen you credited for this anywhere, but I noticed today on the IMSDb (Internet Movie Script Database) that you were listed as one of the authors.
Michael Smith Daphne, Alabama
March 28th, 2006 at 1:44 pm
hi john. i was recently approached by a person who claims to be a producer. he read one of my short stories and said that he would like me to convert it to a screenplay, to be made into a film by his production company. no mention of money has been made, and he has given me nothing in writing except a very brief email message containing an “offer” which reads thusly:
“we will be giving you this credit: based on a story and adapted to screenplay by (my name)
** studio will be transposing your screenplay to a film adaptation.
film adaptation written by (his name)
we will also reserve all creative rights for the film adaptation, but still give you your credits. we may remove any dialogue we want, but we will not change any dialogue without your consent. we will reserve the right to change characters, settings and length. we do not expect exclusive rights for more than one year, so you can still sell your story or screenplay after our festival film is made. your payoff is the marketing of your name and storyrights to future productions of your screenplay. ** would like it if you gave him first options right as director, (which will mean if your script is bought by a bigger studio in the future they either have to let ** direct it or buy back the directors option).”
this is all they have given me. they expect me to get a contract drawn up, to be mailed back to them with the completed screenplay.
is this usual? no mention of money. an entertainment lawyer of my acquaintance told me this was unusual – that normally the screenwriter would receive a properly written offer, on studio letterhead, which would mention the writers guild of canada minimum fee for a screenplay, and he also mentioned that the production company should be a member of the cftpa (canadian film & television production association).
how should i proceed with this? (i am in toronto and this producer is in vancouver) i do not want to shoot myself in the foot if this is the only way i am going to get my foot in the door of the industry – but i don’t want to get ripped off either.
thanks!
Anne Toronto, Canada
March 29th, 2006 at 6:11 pm
Hi John, I’m a big fan of the films and the site; and I was really looking forward to “Ops.” This is a multi-part question.
A. Do you think Mamet’s “The Unit” affected Fox’s decision not to p/u “Ops”? B. Do you think that the “military wives” storyline on the Unit is as painfully boring and ill advised as I do? C. Were you okay with Fox considering L.L.Cool J. for Ops? (be honest)
March 30th, 2006 at 9:46 am
Hi John,
This is kind of a trivial question, but how do you keep your work organized on your computer? Do you save each day’s writing as a seperate file so you can go back to earlier drafts if you need to? I need to become more organized in the way I sort all the final draft documents I have lying around!
Bob in Toronto
April 1st, 2006 at 12:53 pm
Hi John,
First of all, excellent website you got here. I check it whenever i need help with something. I’m 18 years old and are currently working on a final draft of á script i’ve written. I’ve been writing since i was 14 and now i’m just so eager to show what i’ve got. Is 18 to young to try it as a scriptwriter? i mean, my writing is ofcourse far from brilliant, but i truly believe i’m good enough to become a succesful screenwriter. I’m a student at a graphic school but besides that i’d really like to try this. Is it wise for me to wait for a couple of years since my own view on the scipt could change over time?
Ruud Utrecht, The Netherlands
April 2nd, 2006 at 5:03 pm
Hi John,
I’m 16 years old and very much so into screenwriting. I’ve been looking for a way to get my work into the market but I’m kind of worried that my age is a factor. Do you have any suggestions?
Thanks
April 4th, 2006 at 6:01 am
John,
Do you have any favorite books on the fundamentals of screenwriting and filmmaking?
Finding good books on techniques is impossible.
Andrew in Chicago
April 4th, 2006 at 10:45 pm
John, I found this on digg.com. It’s suppose to be a fix for that annoying PNG in IE thing: http://homepage.ntlworld.com/bobosola/
Alex
April 7th, 2006 at 9:38 am
Will you do another cool, smart youth movie like GO. That was nuts John and remains one of me favourites of the 90s.
April 9th, 2006 at 4:46 pm
Dear Mr. John August,
I’m a huge fan of yours and can’t even begin to put into words how invaluable this website has been to me.
On that note, I hope to privelege further from your extensive experience in Hollywood. I am a young writer (23) and am developing a spec script under the close guidance of an Academy award winning producer. Since it is a spec, I realize that I cannot get paid… however, I was wondering how the whole process works thereafter?
The spec is targeted at a very specific star, would be a big-budget film, and is generating a palpable sense of urgency amongst the people I’m dealing with.
The producer intends to pitch the script to the studio in about a month’s time. In such a situation, does the writer go in the pitch meeting? (Considering that I’m practically unknown – plucked from oblivion in a serendipitous moment when I met the Producer). How involved does the writer get to be, if the studio decides to pick up the script? Also, at what point do I need to seek representation? Would an Agency even consider me before the project gets greenlit?
I’m just very young and the naivete seems to overshadow my endeavor to capitalize on this life-changing opportunity.
I hope you advise me accordingly.
Thank you very much… A protege’ in essence -Seven
April 11th, 2006 at 4:10 pm
How important is voice for an unproduced screenwriter? I often read about how people can tell when they’re reading a Shane Black script or a script by so-and-so, but can stamping your work with your own uniqueness (i.e. witty asides in the narrative) hurt your story and, ultimately, your chances at getting read/sold/whatever?
Thanks.
Jeff, D.C. Area
April 12th, 2006 at 12:41 am
A while back I was walking down Market street here in San Francisco, and walked passed an adult video store. They were apparently promoting a new release of a gay film and had one of the stars of said film in the store. The guy promoting the flick was dressed in drag and was on a mic, hooked up to a small amp. Having been born and raised in this city, seeing the flagrancy of the guy as he boasted the fact that it was one of the largest cocks on screen didn’t bother me in the least. It wasn’t until a guy and his little girl (maybe about 5) walked by that I said something. The drag queen, paid no mind to the fact that there was a little girl present, and continued to boast about the cock. I stopped and said, “Dude, that is not cool.” The father turned to look at me, and said, “Thank You.” However the man with the mic, felt differently as he called me a Homophobe. The ignorance of the man with the mic not withstanding, I realized that although said gentleman is in the minority; the majority of people tend to view, gay men in particular, as flamboyant and exhibitionists.
In, steps in Brokeback Mountain. I just finished watching this beautiful film, and was relieved that someone had the balls (absolutely no pun intended, well maybe just a little) to show an honest portrayal of a couple in love. There are very few instances in cinema history where a gay couple hasn’t been portrayed as the stereotypical gay character. I think most people, who ignorantly and ridiculously get offended by this flick, feel that way because all they ever see on film of gay men, are the incredibly feminine or incredibly flamboyant. I was always annoyed with shows like Will and Grace, because they perpetuate the stereotype. Not to say that there aren’t gay men like that (i.e. the man and his mic), just that people don’t view a gay couple as normal because they’re never given the chance to see them as normal. I mean, honestly, outside of San Francisco, how often can you see two guys kissing each other goodbye on the street, and consider that sweet?
All this, of course leading up to my question. Have you seen Brokeback Mountain, and what’d you think?
Catch ya later,
Americo San Francisco
P.S. – In case your other readers read this, I don’t feel bad asking ‘the gay screenwriter’ a question about a film pertaining to a gay couple. I respect John’s opinion, and that’s why I ask the question.
April 12th, 2006 at 12:00 pm
I know there’s nothing you can do about this. Sometimes ideas are just in the ether.
Isn’t this just like the pilot spec sample you make available on your site? I just read about in the trades.
Sex, Power, Love & Politics Sony Pictures TV Greg Malins
Ensemble of friends in their mid-30s who work behind the scenes on Capitol Hill; Jane Krakowski, Jay Harrington co-star.
However, I’m sure it must still be irritating. How do you handle this? What if you wanted to continue developing your idea? How do you explain to folks that you “came up with it first” without sounding petty?
April 13th, 2006 at 5:28 pm
I want to talk about money. In all seriousnes, what happens to the soul of the writer once he’s rich enough to now write anylonger ? How payment occurs in Hollywood ? Do you feel changed ? Are you damaged or is the passion still as fresh as the day the idea of film writing first entered your spirit ?
April 17th, 2006 at 6:12 am
How do you handle product placement in films, is it a case that a studio exec will come and tell you that a character has to make a particular placement?
Is there ever a moral question in relation to product placement? I’m thinking of the likes of “be cool� where it seemed like the movie was one long tobacco advert I think that there wasn’t a five minute gap without someone lighting up. In situations like the original Superman movies with the particular tobacco advertising and product placement there is this something you have encountered? How did affect your writing process?
April 23rd, 2006 at 9:54 pm
Hi, I’m currently in college pursuing a double major in Theater Studies and Film. Being a female, in my film classes, I’m always in the minority. In one class there are only four girls including myself and I am the only one who wants to be a director and a screenwriter. My question is, in your experiance how hard is it for a woman to break in the industry as opposed to a man? Also, are there any female screenwriters who you think I should look into? Since I’m a playwright and intersted in film, I’m entering into two male dominated industries (or so it seems) and I’m just looking for some proof that what I’m doing can really make a difference. Thanks and Best Wishes, Lila Boston, MA
April 24th, 2006 at 9:51 am
what does “sotto” mean when written in a screenplay?
April 24th, 2006 at 10:28 am
John,
It seems like most of the questions on your advice column (and others like it around the Internet) are about feature films. What about direct-to-video? The company I work for makes cheap direct-to-video movies all the time. I wrote a script that my boss seems to be interested in, but he is disinclined to allow me to direct. I know this story and its characters inside and out, and I could direct a fun, scary movie, if given the chance. But if my boss gives it to the director of, say, The Prince and Me 2, then… not so much.
If we were talking about a feature film produced by a WGA signatory, then there’d me no question. I’d take the money (and credit) and run. But at this company, I don’t think I’d get more than a couple of thousand dollars for what I think is a pretty good script, and I’ll lose all creative control. What advice would you give? Is having a credit on a direct-to-video movie worth anything, even if its produced? Or should I hold on to the script until A) I can have creative control, or B) I can be reasonably compensated for my work?
Thanks, Matt Los Angeles, CA
April 27th, 2006 at 9:33 pm
Hello - I’m writing a research paper for a class in human communication theory, and I want to use Big Fish as the basis for my analysis and application. Your site says that it has a PDF file of the script available, but I’m really having trouble tracking it down. I’ve pushed the “click here for PDF” link, and it redirects me to something entirely different. Is there any way you could email me the PDF, or help me sort this out? Thanks so much for your help…I think its wonderful that you’ve made this script available…I’m a broke college kid! looking forward to your reply
respectfully, CHELSEA STRAUTMAN
April 28th, 2006 at 8:17 pm
Dear Mr. August,
Unlike most people who must write to you, I have no aspirations to be a screenwriter. I have, however, written a single feature-length screenplay – I wrote it four years ago when I was at the ripe age of 17. I was in dire need of money for art college in London when a friend sent me a link to the Academy of Motion Picture Arts & Sciences Nicholl Fellowships in Screewriting competition. The grand prize was serendipitously exactly the amount of money I needed for college, but the deadline was only 10 days away. I took my baby of a novel and, in only 10 days, learned how to format a screenplay and wrote one. I wasn’t very pleased with the end result, but I didn’t have any choice; the deadline was looming and it had to be submitted. I sent it in, not expecting anything. Much to my surprise, my script made it to the semifinals. I didn’t win, but I submitted it to a few other film festivals, just to see what would happen. I made it to the finals of every single one, including the Austin Film Festival.
Here’s my problem, and where my question comes in. After living with this story in my head since I was 14 years old, it feels so bright & lifelike to me that I can’t stand to read the screenplay. Why? Because it’s dead boring. Without the descriptive language it seems dead. Apparently it’s not that bad since it’s made it so far in so many contests and festivals, despite the fact I was so young, it was my first attempt, and I wrote it in ten days. But still, I find it dull. The root problem that I can’t seem to overcome, even all these years later, is how much of the scene description I can fit into the screenplay. What’s normal? The whole novel is written very lushly, with elaborate descriptive prose; yet the overall charm of the novel relies on the writing style changing completely depending on which character is being focused on. I’m having difficulty finding out what sort of descriptive language is acceptable in the scene descriptions, without going on too long, yet while still conveying this change in descriptive style from one character to the next. Like I said, I have no interest in doing this professionally – I’m very happy with my job as a professional driver – but after the success I’ve had in film festivals with it, I feel guilty not editing it a bit in the hope of it finally winning the grand prize. Any advice you could give on acceptable description length would be much appreciated.
Thank you very much!
Sincerely, Heather Lawver Washington, DC
May 3rd, 2006 at 8:13 am
I am not writing screenplays yet but hope to do so in the future.
I found your web-site as a result of looking for screenwriting software. Do you use any? If yes, I would like to get some advice on this. I found Movie Magic Screenwriter and Final Draft 7; Each is endorsed by famous filmmakers. I wonder which is the best one? Are these the best two or are there other excellent ones (better than these two)?
Thanks a lot!
Budding filmmaker in Toronto
May 3rd, 2006 at 10:02 am
I am the author of a sci-fi novel series and I have been trying to create a feature script derived from the series but so far my agent is not impressed. I’m beginning to wonder wether I should adapt my material…?
-Raoul Peter Mongilardi Hollywood, CA
May 3rd, 2006 at 2:35 pm
How have you felt about the casting in your films? Forming a distinct picture and ‘feel’ for your characters is a natural part of writing, so how do you feel about the way yours have ended up on the big screen? Do you have any favorites or least favorites you’re willing to admit?
-Rachel W. Kansas City, MO
May 9th, 2006 at 4:59 pm
Most people think ‘The Prince of Persia’ should be playad by a new face, and I can tell you it is I!, I know its too early in the project for casting actors but if ever a man was born for the role its me. I am just starting out acting but I have trained with an actor who’s well known in the uk, I’m already a master swordman of various styles and happen to bare a striking resemblence to the P.o.P.(I also mimic his voice easily) so what you’de be getting is ‘The Prince’ in physical form! I’ve been told that if I used a quarter of my acting talent I could win the world, I hope by all thats just that I get chance to show why nobody wants this role as bad as I. thankyou and farwell
May 13th, 2006 at 7:26 am
Hello, I have a question. Which, in your opinion, has a better shot at getting noticed/published, a well written novel, or an exciting screenplay? It sounds like getting a screenplay read by the right people is really difficult, so I was wondering if I had a better shot at fame and fortune, writing a novel.
Thanks
Great site BTW
May 15th, 2006 at 5:26 am
A Great inspiring site I’m going to get to work and make yet another film
May 15th, 2006 at 11:04 pm
Hi John,
Sorry to hassle you but I’m running a competition called the 14 Day Screenplay in which we write a screenplay in 14 days. I know you won’t get a quality draft in that tim but it can help people who have always wanted to write but procrastinate as well as those who start and get scared of the empty pages. In two weeks there isn’t time for self doubt. We have a website at http://www.14dayscreenplay.com where we can encourage each other. We had on in Feb and everyone who participated had such a great time that we decided to do it each 4 months. The next one runs from the 3rd – 17th of June.
If you think your readers would be interested I’d apprecite if you could mention it. If not I’m sorry for wasting your time. Thanks so much for sharing your thoughts and advice on writing with us all.
Anthony
May 16th, 2006 at 11:31 am
John,
I’ve been writing for a little over ten years now. It took me five to find a voice. Another three to really understand structure. I’ve read just about everything, and spoken to so many people. I’ve even had a few near-miss brushes with success.
I don’t have a question.
What I want to say is this — thank you so much for starting and maintaining this site. I can’t tell you how many times I’ve become discouraged or deterred, and have come back here for a little inspriation.
All the Best,
Jeff K. Chicago, IL
May 18th, 2006 at 7:46 am
Saw this on The Smoking Gun.com a while back and thought some of your readers may be interested in how the $$ for a major production breaks down… at least for M. Night Shyamalan:
http://www.thesmokinggun.com/archive/0227061hollywood1.html?link=rssfeed
Man, the perks! What’s your take on the “Excesses of Hollwood” – or is all this deserved faire?
Mike Murphysboro, IL
May 18th, 2006 at 11:13 am
John, I’m wondering about the legitimacy of a particular agency.
After reviewing my query letter, they said they were interested in my script, which they then read. Next step: in order to move ahead with representation, they requested I pay for “third-party” coverage ($95) — which I did, and found helpful. They then suggested I pay for a literary editor to help me fix problems brought up in coverage. I declined, and fixed the problems myself. I have sent them my rewrite, which they now rank as an 8 out of 10 as to readiness. They again suggested I pay for a literary editor, but admitted they’re interested in representing me even if I don’t. Are they “for real?”
Thanks,
Jared
May 18th, 2006 at 4:38 pm
Hi John,
When you are creating a character, how do you come up with the voice you hear them speaking in when you write? Do you cast each character in your mind with working actors or friends/family/people you’ve met? Do you have another technique. I’ve written a lot of specs for TV shows where those voices already exist because of the actors already playing the roles, but creating and, most of all, hearing a voice for an original character is a new challenge all it’s own.
—Tim Los Angeles, CA by way of Middletown, RI
May 23rd, 2006 at 10:14 am
Hi John,
I’d love to hear what you thought of the season finale of “24″. There were plot holes big enough to drive a truck through. The episode had everything but a magically connecting air vent. Yet, despite all this, I still love the show.
Joe
May 25th, 2006 at 5:13 pm
Hahaha sorry i just had to laugh at comment number 57 by Terry Turner on May 9th, 2006 at 4:59 pm yea the guy claiming to be the best choice for lead actor for the film. hah “if ever a man was born for the role its me” hah, pompous, over confident and what an ego wow
well, no need to waste your time I’m not a screenwriter, just a very big fan of the POP ubisoft game series, and 3D modeler/animator on the side.
However, If ever there was a role i would be willing to act for it would definitely be the Prince of Persia
I am a pakistani, brown man, without an accent,long hair, martial arts experience and probably the closest thing to an “unknown Persian actor” that you would like to see play the role.
I’m not going to claim that i am the best man for the job,but would be interested in the opportunity, if you have any information on when and where casting auditions for the role will take place
thankyou sincerely Aiman Akhtar
May 27th, 2006 at 5:20 am
Hi Iam writing a story(screenwriting) and my dream is to see it real movie in Hollywood. what is the steps I should do to make it real? Iam confused… Thanks
May 28th, 2006 at 4:48 pm
Dear Mr August, I’m not sure if there are too many stories around like mine. I am writing in the 3rd person but that won’t matter if published, and produced. I’m a bit nervous about that.
I am 53. I grew up in the 60’s in Manhattan. I had a painful life threatening illness part of the time combined with parentental neglect. Bleak but comical beginnings.
I soared high occasionally in the late 60’s with the goings on in the city. Did a lot of drugs, and sold them. Had some fun, and had wonderful girlfriend.
Ultimately I get in trouble with the police, and soon after flip out on LSD, and have a trip I never recovered fully from.
I get sent to boarding school at a Dude Ranch in okla.w/cinderblock barracks. My father goes off to live in Madrid to start a new family and live the good life.
Where is the redemption in this? There is humor, violence, sexual perversion, but up to that point of my life it just kept on getting worse. I showed it to someone who knows me well and he said he cried at the end; out of the tragedy.
My question is, do I need redemption(if it is written well)?
My belief is that it is not necessary, but harder to sell. The French cinema doesn’t seem to care.
The only redemption the Joe Pesci’s character in Casino got was to be beaten to death, and to watch his brothers baseball bat ending(if I remember correctly). Deniro’s character got to live but at a reduced capacity.
Any ideas are welcome for consideration.
K
May 30th, 2006 at 2:51 pm
I am really excited to see how Prince of Persia wil turn out…as a Persian actress, I’d love to see a cast of real Persian actor/actress in this movie…i hope it happens… Best of Luck, Parisa
June 2nd, 2006 at 12:54 pm
Surely I’m not the first person to notice this, but if you haven’t seen it yet…pretty bizzare, especially after just reading/seeing Big Fish.
http://www.msnbc.msn.com/id/13052808/
June 5th, 2006 at 8:17 am
Hi John– my question concerns referencing branded objects in a screenplay. I’ve read that including name-brand references should be avoided in screenplays because you would need legal clearance in order to feature them–
that being said, what if my character drives a Chrysler LeBaron? Can’t I say he drives a beat-up Chrysler LeBaron? And not just as a description, but if it was mentioned in the dialogue as well.
If my screenplay is a comedy can I include a reference to a song if it’s meant as part of a joke? Say if he sings some of the lyrics to “The Gambler” while playing poker or something like that…
Understandably, name brand references wouldn’t make or break my script, but I feel it adds a nice level of depth and detail to my characters if you know they like Gucci shoes and not fancy Italian boots.
I guess my question is, what are the dos and don’ts of brand name references– even if it’s related to parody?
Thanks for your help!
Aaron
June 13th, 2006 at 7:06 am
John,
Can you give screenwriters advice on contratual matters. Perhaps shed light into the negotiation process, the do’s and don’ts. How long before a writer is paid, do did you feel the first time you were paid ? Psychology, did you feel your quality of writing improve or diminish before of the cash ?
-fred
June 14th, 2006 at 9:54 am
John,
First, thanks for sharing all you knowledge. Not only is it a great resource for guys like me who are starting out, but it’s a great read.
I recently began a collaboration with an area indie filmmaker. He generated an idea for a feature he wants to either sell or produce. We both belong to an area film group and he spoke with one of the members, who he believed to be a strong writer. She’s a good writer, but not real knowledgeable on style and formating. So he called me in as support. I’m not an expert, but I’m not a novice either. The producer said we’d sit down, all together, and he’d put us both under contract. The project would not be submitted to our film group (the group pools resources and creates shorts that we also screen).
So, the woman and I were suppose to brainstorm from an outline that the producer/director had given us. We both wrote our take on the introduction to the story. We were both worlds apart, but it wasn’t anything that couldn’t be combined or even replaced. The producer then asked the lead writer (the woman) to add some material that she deemed as “questionable”. She wrote me an email and told me that she didn’t like that the script was going in the rated R direction and that she didn’t like his outline. She said to me, “I’m dropping out.”
The producer told me that the lead writer misunderstood what he was asking for, but that he wanted me to take the lead and work the script in whatever direction I saw fit. There were several things he wanted to see, but for the most part, the entire feature would be mine to write.
The next week, we met with our film group. The former lead writer came to me and said, “I want you to read my script and tell me what you think.” What she handed me was a script based on the idea and the outline of the project that she had abandoned. I didn’t get to read it until we had disbanded and I was on my way home. My wife read through it and said, “It sounds like your friend’s outline a little.” I got home and read it and then called my producer friend. I told him that she’d gone on and developed her own idea and submitted it to the group. He was puzzled and thanked me for the heads up. I was confused and I figured maybe he should be told. Bad call?
A day later, the woman called me, stark raving mad. She told me that the film group leader had shelved the script and would not help her produce it. She went on and on about the producer wanting to take her material and that the idea was hers. When I asked her why she continued to write after she said she had abandoned the project, she said, “Because I don’t like to leave things unfinished.”
To sum up, the producer still wants to continue with the project. As do I. We can take the material in a completely different direction that her script. But she’s convinced that the producer will take her material and not give her credit and I believe she thinks that she conceived the idea.
If we continue with the project and manage to sell it, will we have to cut her in on the profits? She’ll want to make a case that we stole her ideas.
Also, I have just begun to write, but the producer hasn’t come up with a contract yet. He told me to write it up. Should I stop until we get it signed?
This is a mess. I know common sense should prevail, but I’m working on my own project right now and my brain is mush.
Thanks for your help.
June 14th, 2006 at 6:57 pm
I’m an English major with a creative writing focus, whos starting to freak out about getting my foot in the door. I have hopes and dreams of writing for a cartoon or something similar, however I have no information to go on how to get started once school is done or even employment opportunities that I should be seeking out in own area while still attending class. Any ideas/suggestions?
Elmo Oxford, WI
June 23rd, 2006 at 1:18 pm
John,
As a film student I have been interested in adapting a short novel as a short film outside of film school. As a screenwriter and the producer of the prospective film I am concerned about the copyright.
I would love to have permissions and rights from the publisher to write and make this short film, but the project has a small budget and the ultimate goal would possibly be a festival revue. What kind of clearances do I need?
On another, more artistically interesting note, ethically, how close an adaptation requires clearances? Today it seems that intellectual property is so complicated it seems a laymen is easily confused. I know I am.
Thanks!
June 29th, 2006 at 8:39 pm
Mr.August, As a 16 year old aspiring director i have several questions about the business and where exactly i can get started. First I would like to thank you for helping me out. The first question I have is if I am too young to do anything right now besides direct small films with my friends? I have alot of ideas for movies and sometimes i become frustrated at the thought of having to keep them for so long since I’m not even out of highschool yet. Do you know of many people my age or maybe slightly older that have been able to send there work in to be examined and maybe even have impressed the director or screen writer they have sent it into. Also, because of my age and education would it be more likely that if I do send any drafts of my scripts in, that they will be overlooked due to the fact that they’re older and more experienced? Would someone of my status even be taken seriously? I understand that you must receive several letters everyday asking you these questions,and I also understand that everyone has dreams, but I would just like to know where I stand among the rest. I also understand that many scripts and screenplays must get rejected everyday, and I just want to be prepared with my work and know where I’m going. But even if what I do isn’t good enough of course I will continue with making films with whoever I can. Thank you for your help.
Pharin Cincinnati, Ohio
July 1st, 2006 at 2:47 am
I’ve heard it said that writers are typically only skilled/talented at one, MAYBE two, genres. Is this true of screenwriters too? You seem to cover multiple genres in your own work… Do the same rules apply as in regular writing (i.e., write the genre that seems natural)?
Abe in Bozeman, Montana
July 2nd, 2006 at 4:25 am
John, Your site is great! I live in Georgia. Unlike the west coast, there are no opportunities for screenplay workshops or to have my work reviewed prior to a submission. What do you suggest for writers out of the LA area. Thanks.
July 2nd, 2006 at 7:46 pm
DEAR DR PHIL MY NAME IS KELLY AND I AM 17 YEARS OLD AND I WOULD LIKE TO KNOW HOW CAN I GET A BOY FRIEND I NEVER HAD ONE AND I AM TIRED OF BEING SINGLE AND SEEING MY FRIENDS WITH THERE BOYFRIENDS AND ME FEELING SAD
July 3rd, 2006 at 12:57 pm
i would like to take a chane to b da prince
July 5th, 2006 at 4:50 pm
Hey John,
I’ve just completed my first draft. I now have 20 contacts I am mailing too- mostly friends and family. What is the best way to reproduce scripts.
Some will take digital copies (PDF’s) but others I would feel more comfortable sending a hard copy.
I can print 1 copy- and make additional copies. I can buy a printer and print
Any advice? Printer costs/ink/paper may outweigh copy machine?
Any resources out there that i’m not thinking of.
Thanks for your help
July 6th, 2006 at 2:04 pm
John!
It’s great to see Drake alum doing well. I remember when you were SAB prez – you were also the peer mentor to my pal Yvette. We both thought you were pretty cool way back when – damn, it’s been 16 years.
No, you won’t remember me, I’m pretty sure of it.
But now I’m working at a big studio right here in Culver City and I get the pleasure of distributing some of your biggest successes to retail locations around the good ol’ U.S.A.
just wanted to say hello – and nice work!
Adina
July 8th, 2006 at 12:45 am
Hello there, John. First off, love the site.. love it. Love a few sites, actually, and most happen to be stuff that you link to.. so.. fantastic, and… fantastic taste! Here’s the question.
I’ve written a short film (and am currently in the middle of a couple other feature length scripts). I am producing and directing the filmed version of my short film script this August [turns out it's the name of a month too.. go figure]. Anyway, I’m wondering what your take is on an as-of-yet unsold writer taking things into his own hands and doing this whole thing manually. I have a small crew, including a quality camera and cameraman, so technically I’m not alone but… is this really a great avenue to take to sort of ease my way into the Hollywood circuit? If the film is good, is there MUCH chance that I actually get noticed?
Second, this is smaller.. would you consider it healthy or detrimental to be writing to or three very different scripts at the same time? The abrupt mental change required of me between each script seems to jump my creativity.. but is it possible that I’m losing something at the same time?
Thanks in advance.. and in spades.
Reece
July 13th, 2006 at 4:03 pm
Dave in D.C. asks:
As you link to the also-wonderful Josh Friedman blog, I’m wondering if you can use your superpowers to bring him back. He seems to have disappeared into the Phantom Zone. I understand he’s actually busier than those of us who pester you guys with questions, but still–he hooked us so quick and so deep. Even a monthly fix would suffice.
Or should there be an official retirement ceremony for the link here. It tempts me every time. Then again, how rude is that–deleting a link to a friend’s blog. What would Lucy do?
Thanks.
DN
July 17th, 2006 at 1:59 am
mr august
is there such thing as character-based script or a plot-based script? i just thought of it while watching films like as good as it gets, spanglish, lost in translation, eternal sunshine of the spotless mind, etc.
you see, i noticed that in as good as it gets, the plot is not as strong as jack nicholson’s character. i mean, the movie more or less, revolves around jack nicholson’s character, so with helen hunt’s. and the movie is memorable because of jack nicholson’s character (that’s what i think ok?).
in spanglish, the plot is not something new (husband goes crazy over his insecure wife and falls in love with the help who is his wife’s exact opposite) but the characters of adam sandler, paz vega and tea leoni make up the unique factor in the story. do you know what i mean?
in eternal sunshine and lost in translation though, both characters and plots are considered equally. eternal sunshine has a very quirky plot and even more quirky characters. in lost in translation, the plot is simple, so they play with the characters’ emotions (that is, being alone in a foreign world).
but in movies like (hmmm…) braveheart, etc. it’s all just plots and to make the plots happen, they put the right characters, like a brave warrior.
maybe i just imagined it, or maybe it really does exist (the difference i mean).
now, i really appreciate the so-called character-based movies because plots of new movies more or less are just spin-offs or half-replicas of plots from old movies and the only element that can make it different are the characters.
hope this makes sense. i believe in it, though.
thanks, ivi rodriguez
July 22nd, 2006 at 7:23 pm
Revenge in Hollywood
There’s so much bad behaviour. And writers often experience it more than any other profession in the biz. So, I just wonder what someone who has survived the slings and arrows to become very successful has to say about…revenge. You know, when you come across someone who did something really un-nice, and maybe you’re in a much better position now than she/he is. I am coming to think that revenge is a dish best served by writers.
July 27th, 2006 at 7:09 pm
I was reading your response to a question about a writer looking into writing a sequel to a movie. You are correct in most of your response. One can’t just write a sequel to Holloween and expect to get away with it.
However, some derivative works have been writen and unsuccesfully challenged in the courts. The Supreme court regards some writing as Transformative works if it meets the standards set by copyright laws.
I am writing a second part to a 23 years old movie in wich most of the characters died. The original writer may have not been aware that he or she left the door opened for a sequel. I intend to ask for permission to use some material from the original. But, in the case that my request is denied I intend to go forward with my writing. It is better to ask for permission and not get it, than to write the book without permission.
In a sense, copyrights is like a patent. If you can make a better product of an existing one, it is posssible to get a patent as long as it is diffenrent and better and your claim is different or unique.
When writing a sequel or something close to it, it must be greatly transformed to stand up to a copyright violation claim.
sincerely,
joel g. Connecticut
July 28th, 2006 at 5:32 am
John,
That music clip you posted sounds a bit like Jethro Tull!? Nonetheless, here is some info. about ‘Big Fuzz’:
“Big Fuzz is the solo name of the guitarist from jazz funk collective Deep Banana Blackout. His music is best described as very similar to the groove of DBB, but with more country and rock influences.”
Hope your movie’s going great guns.
Regards
Peter
July 30th, 2006 at 12:08 am
Hello John,
Great site!!! I love the discussion threads. I’m working on a third draft of my screenplay – ‘86′. I’m happy to say that my project has been selected to proceed for final consideration into the Sundance Writer Lab. – I’m working to submit my third draft by August 1st. It’s an ensemble piece, and I’m basically struggling to keep the page count down. My first draft came in at 115 pages (good), but I did not develop my characters thoroughly enough (bad), and I subsequently added some scenes that forced the page count up to 134 (bad), and I can still see that it may go even higher. I understand that I’ll need to go back and tighten things up, and concentrate on only those scenes and/or actions that reveal character, but I want to know if there is a little allowance for the type of story I’m telling, given that it is an ensemble character driven piece. My story is a stylized multi-plot drama about four groups of people who embark in separate life-and-death missions across Southern Arizona until their worlds collide after running over a border crossing couple on Arizona State Highway 86.
Thanks a lot for your Reply!!
Warmest,
Marco :-)
August 2nd, 2006 at 2:05 pm
John,
What happened to screenwriters of the 60’s 70’s or 80’s. Do Hollywood tells to go to hell or do they keep pumping films ? In other words, do a screenwriter’s life expires because of age ?
August 4th, 2006 at 2:14 am
Dear Mr. August,
I am an aspiring screen writer who just moved out to L.A. from Maine. My mom bugs me everyday asking if I have a plan if there was an earthquake, tsunami or other major disastor. Since the biggest disastor one has to plan against in Maine is a moose on crystl meth, I have not formulated such a plan in my new place of residence. You seem like a responcible person that would have such a plan, so I defer my mothers question to you; What does one do in case of a natural (or not so natural) disastor in Los Angeles.
August 6th, 2006 at 11:55 am
I sent two of the same question by mistake – my ‘write random thoughts down quickly and unedited’ version that I do in TextEdit and the ‘real’ version that is corrected in Word. Why, oh why, did you approve the ‘random thoughts’ version and delete the real one??
August 6th, 2006 at 4:29 pm
I would like to know your opinion on what the current standard is concerning “MORE” and “CONT’D” in relation to page breaks. I have read in many places that the “MORE” format is not for spec scripts (many others say that it is) but the dialog “CONT’D” is a must. Further more, I have read that the “CONT’D” is more acceptable when formatted as “CONT.” What’s your opinion?
August 8th, 2006 at 12:58 pm
How does a synopsis differ from an outline? Is there a certain style/format to it? Thanks.
August 9th, 2006 at 9:20 am
I use Final Draft for my scriptwriting. I can’t stand dialogue breaks at the end of the page because of the way Final Draft formats them onto the next, yet I can’t always space them onto the next page through carriage return or what have you because Final Draft assumes you want to ener another field by hitting “return” twice. I don’t like putting page breaks into Final Draft because I haven’t found a way to undo them once they’re there and they can screw up the rest of the script if I go back and add or cut to scenes. So what can I do to work around the dialogue breaks? Changing the line spacing option doesn’t count because it can result in the same problem.
August 11th, 2006 at 3:20 pm
Hi John:
I am in a bit of a desperate situation (or so it seems to me anyway).
One of my projects has been picked up by the production company that I used to work for and the development person has taken me on as an “acting manager”. I have yet to sign a contract for either. In the past six months, my “manager” has gotten me some great pitches with networks/studios and the EP of the prod. co. is incredibly interested in the project.
Somewhere along the line, my manager became depressed and started hating her job as a d-girl…her boyfriend broke up with her, the boss yelled at her…yada yada yada. She became INCREDIBLY catty and oddly vindictive toward me. This all started around the same time as the boss offering me a sponsorship with an incredible “guild” and NOT her. This week, instead of picthing me to one of the networks that asked me back in to pitch, she saboatged me. She lied and gave them information about me that they should never have been privvy to, costing me a relationship with a network Development Exec.
Now, I have the biggest pitch of my life (with the one network I REALLY want) and I have to go with her because there’s no one else…
I’m scared to death that she’ll ruin this for me.
I want out of this relationship, but if I leave, I lose my “deal” (which I don’t have a contract for).
I do not have an agent (though I obviously need one desperately).
I would love to move on to a different manager, but don’t know how to broach the subject when initiating contact.
Can you please advise me as best you can? Any advice is GREATLY appreciated.
Thank you in advance, John. I’ve learned so much from you and this website and I absolutely respect your opinion.
Mallory in Los Angeles
August 16th, 2006 at 4:32 am
DUAL STORY lines – I had written a story where the protagonist life is split into parallel story lines- but it seems that my dual story line confused most of my readers.
So I searched until I found SLIDING DOOR’S SP and bought it, only to find this:
This is an integral moment. From now on we will follow the TWO stories of HELEN. The one that caught the train and the one that didn’t.
For ease of differentiation the story of ‘HELEN’ that caught the train will be written in NORMAL PRINT. The one that didn’t in bold italics
Now to me this seemed so vague as to appear amateurish, but it obviously WAS filmed.
Now mine on the other hand- starts with Jim and Simon and at the turning point says: TIME REVERSES, as if a tape were being rewound at high speed, until –
EXT. NIGHTCLUB – NIGHT
A second Jim and Simon (#2) stand outside the club.
From that point events transpire so that Jim becomes CLEAN-CUT JIM (#1) and the second SCARRED JIM (#2), with each subsequent scene stating which Jim is in it.
Do you have any suggestion for helping the reader follow the dual lines?
August 20th, 2006 at 1:34 pm
John,
Would you be interested in participating in our study on my website on Subtext in Dialogue? Friends, writers, and bloggers have been submitting to me their favorite scenes in which the dialogue is filled with Subtext. It’s not easy. I just recently posted a scene from Pride & Prejudice.
In any case, feel free to email me your submission or post your thoughts on your own blog, and I’ll just reference it. Any way you’d like to do it would certainly be fine with us.
Warm regards,
-MM
August 24th, 2006 at 11:33 am
John…
I’m stumped as to how to introduce an animated sequence into a live action script. Should it be in the scene heading similar to the use of FLASHBACK, a slug of sorts directly beneath the scene heading, or explained in CAPS similar to pointing out on-screen text, such as WORDS ON THE SCREEN: “Dardogne Forrest, Black Perrigord”?
Thanks,
Scotty, Sea Isle City, NJ
August 24th, 2006 at 7:36 pm
Dear John,
Im currently writing a script about a historical character. Is it normal if I have it done in one month? Also when I send it in for consideration do I have to patent the script or some legal action of that sort.
Thanks,
H.
August 27th, 2006 at 6:02 pm
Dear John,
I was looking into rewriting a film in the public domain. My biggest question has to do with how much of the original can I keep? I’ve found most of the dialogue, characters, and selected events to be acceptable. I was going to change the tone, a few of the main events, rework the intro, and change the ending. Would I be allowed to keep a good portion of the original elements the same? Is there a percentage guideline I should follow when reworking public domain films?
What’s stopping someone from ripping off a public domain film, and then just sticking their name on a screenplay? With giving credit, do I credit the screenwriter(s)? or the director? After all, I am working off of the finished product and not the screenplay. Or am I obligated to even give credit at all?
August 27th, 2006 at 9:12 pm
was that you on the flight from denver to los angeles today(8/27/06)?
September 5th, 2006 at 10:19 pm
would you have any tips, suggestions or magic fairy dust that would help me with pitching? I think;hope;PRAY that I have talent as a writer. If not then this has been an exceptional excercise in stupidity. I am hopeless in what I now consider to be the art of pitching. I get nervous, lose my train of thought and sound like the village idiot’s less gifted brother! I am not completely lacking in self confidence normally but I really come unglued the few opportunities I have had to pitch either a script or treatment. I am going to a pitch fest next month for practice more than anything else so I can at least hone my public speaking talent in anticipation for my upcoming career in panhandeling when this doesn’t work out. Any suggestions you could give would be appreciated.
Thanks
Mark
September 6th, 2006 at 7:30 am
I come up with lots of stories I don’t necessarily have interest in writing myself. How do I set up pitc meetings with production companies and studios to divest myself of these bastard stepstories for someone else to write yet still collect the six figure pitch fee?
Rob, Minneapolis, MN
September 6th, 2006 at 7:31 am
I come up with lots of stories I don’t necessarily have interest in writing myself. How do I set up pitch meetings with production companies and studios to divest myself of these bastard stepstories for someone else to write yet still collect the six figure pitch fee?
Rob, Minneapolis, MN
September 12th, 2006 at 8:14 am
John, I have used the website http://www.soyouwannasellascript.com to submit a few query letters for my screenplays. I am currently without an agent and my contacts in the industry have so far not been able to help me get representation. So this website has been the only way I have gotten production companies/agencies to read my scripts. I was just wondering if you could verify this website as a valid one for submitting query letters. It seems pretty good to me, as I’ve gotten people to read my stuff before, but I just wanted to make sure.
September 18th, 2006 at 3:42 pm
John: I’ve been writing screenplays for about 8 years now. I have written about 20 high concept and a few period pieces, some romantic comedies and a couple of nice action features. So far, from what I have gathered, for a screenwriter, acquiring an agent is about as difficult as getting struck by lightning indoors – it rarely happens. I’ve queried, written cover letters, had introductions from contacts and have yet to receive at least one promising reply. I suppose it really is “who” you know than “what” you know in Hollywood. Any tips on how I or my fellow writers, might acquire an agent.
September 21st, 2006 at 1:13 pm
John-
I finished a screenplay filled with several instances of dialogue being interrupted by other characters. I always used a hyphen to cut off the original speaker, but I have read on several screenwriting websites that one major rule is NEVER END DIALOGUE WITH A HYPHEN.
First of all, why the rule about hyphens? Secondly, what are reasonable alternatives? Points of ellipses don’t seem abrupt enough. “Holy sh…” doesn’t carry the same effect as “Holy sh-” in my book. I want to adhere to the basic rules, but I don’t want my screenplay to read slower than intended.
Thanks, Michael Itasca, IL
September 24th, 2006 at 1:23 am
John, this seems like a friggin nightmare to even finish a script let alone acquire an agent and all the other B.S. that goes with it. Is it worth it ? I want to finish mine but after reading all these desperate souls comments on here it seems a lost cause. As with every other fool on here I’m confident I’ve got one hell of a story to tell but trying to get it to the masses is a VERY monumental task and I’m not sure if I won’t to sell my soul to see it through.
October 6th, 2006 at 9:39 am
I’m looking for a job right now, and while perusing Craig’s List, I noticed a few listing asking for screenplay submissions. Things like, “LOW BUDGET HORROR SCRIPT NEEDED ASAP” or, oddly, “SCRIPT SEEKING HORROR“.
This seems like a bad idea, even if they’re just asking for a quick cover letter and synopsis. Is that the right instinct, or am I missing out on opportunities here?
Thanks, Matt Los Angeles, CA
October 12th, 2006 at 10:07 am
Hey John,
I’m writing a short film using Final Draft 7. The whole thing is narrated and goes for around five minutes. However, I’m not quite sure how to set it all out (format it). I have action occuring in first person as he talks (constantly) so there really isn’t room to break up dialogue.
Is there any way I can set up the narrative dialogue and the action side-by-side on the page? If so, how can I do that with Final Draft 7?
Many thanks if you can answer!
October 12th, 2006 at 3:57 pm
John,
We’re looking for an old PITCH BOOK (PITCH BIBLE) sample for an 22′ TV animation series concept. We want to make sure the format and structure of it meets studio/producer expectations.
Thanks!
October 12th, 2006 at 9:32 pm
John, sorry that you’re not in L.A. from 18th-23rd for the CS Expo V. You are “THEE” / “the” screenwriter with the most impressive modern list of varied scripts. Take care.
October 16th, 2006 at 11:39 am
LAUNCH OF FREE TOOL FOR WRITERS.
The Scriptwriter’s Life is just a diagram. I say ‘just’ a diagram. In fact it puts the whole of a scriptwriter’s life, everything we would need to do to be successful, all the elements that would need to in balance for a long-term career, EVERYTHING, all on one page.
For the first time ever.
This diagram is free to every writer in the world. Its been developed at the grass roots level from writers across the world – bloggers, forum users and podcasters. It is free of any bias due to current trends and it doesn’t bow to any producer or particular company or any special way of working. It is genre free and medium free. This is, simply, what we need to do if we want to successful.
With no launch it has already been downloaded by over 500 writers from http://www.scriptwriterslife.com
They are already using it, exploring it, sharing it, discussing it, printing it and changing it – its a work in constant progress. Just as we are as writers.
It looks great – and it helps writers. That’s why I was wondering if you would want to feature it on your blog John or give it a plug in any other way. Its not really a plug – as I don’t make anything out of it and its a free resource that I think others may like. It is currently spreading in a viral way through people like yourselves and I prefer to work that way than pimp it around the big mags.
Keep up the great work.
October 16th, 2006 at 6:37 pm
Hi John,
This isn’t really screenwriting related, I guess it’s more about the writer’s life. Since writing isn’t physical work, do you work out or do something to otherwise stay in shape? I know being on set is pretty physically demanding, so it probably doesn’t pay to be unhealthy.
Alon in Toronto
October 19th, 2006 at 7:16 pm
Hi John,
I’m Jo from Ballarat, Australia. I have several ideas/plots that I’m very keen to develop, but don’t really know where to start.
I was wondering if you could recommend a good online screenwriting course to enroll in?
Preferably accredited, from a reliable/reputable institution would be good.
I was going to enroll in the 12 week online screenwriting course run by Australian Film, Television and Radio School – but they cancelled it! I’m very disappointed and am looking for a good alternative.
October 25th, 2006 at 5:23 am
Not so much a question, as a suggestion for a topic of disgussion.
Online distribution, residuals, credits, and other things that go bump in the night. LOST, DESPERATE HOUSEWIVES, GREY’S ANATOMY, BATTLESTAR GALACTICA, and many other TV shows, go up on their own dedicated websites as essentailly reruns 24 hours after first run, but the writers aren’t getting paid like they’re reruns. In fact it seems that in some cases writers aren’t getting paid, or credited, at all.
Note this dispute between R.D. Moore’s BATTLESTAR GALACTICA, and NBC/Universal…
http://www.msnbc.msn.com/id/15264007/site/newsweek/
“The times they are a changin’”, and quickly. How, how much, and in some cases it would seem, even whether or not writers get paid, could all be up for grabs soon.
Worth a few words here and there don’t you think?
October 25th, 2006 at 12:49 pm
From your most resent posting I link to an older posting you had called “A movie by any other name” which reminded me of a question that’s been rattling in my head all week. Everything has to pass by Legal before it goes on-air, or the silver screen but… When working on your idea should one be concerned when your pitch title includes a licensed property? I wonder how powerful of a pitch “Harold and Kumar Go to White Castle” would have been if they couldn’t use “White Castle” in the title or the premise for that matter. “Harold and Kumar go to a Generic Hamburger Jointâ€? just doesn’t sell. This also brings up the idea of attaching a Star to your idea. Which you don’t do unless you know the star or know someone that knows someone etc… Again Harold and Kumar have Neil Patrick Harris. The movie would have moved forward without him, but a gem of a sell if it was in the original pitch. Would “Death to Smoochyâ€?, be a bigger film if they could have used Barney?
October 25th, 2006 at 11:51 pm
Fred, Sweden I have recently been working on a big budget (by swedish standards) movie shooting in Stockholm. The production was plagued by disorganization, delays and long hours. Every setup took forever due to long discussions between director and cinematographer. We maybe got 70 percent of the scheduled setups each day. The director was a first-time director and my mind boggled as I realized there were no storyboards in sight. Afterwards I also learned that the director hadn’t even met his cinematographer before the start of production(!). Now that you’ve directed The Movie, what are your thoughts about the use of storyboards and running a smooth production?
October 26th, 2006 at 12:43 pm
Hi John,
Any useful tips on creating character names?
October 31st, 2006 at 4:42 pm
Hi John,
How would you handle it if two characters in a script had the same name?
November 1st, 2006 at 8:44 am
I have just finished my sript, it is a 170 pages long, and finaly translated to English. I need a tip what to do next.Should i protect my copyrights?It is a script for a high buget movie,i have put it in Final Draft, and i was wondering should i do anything else?I am very objectiv person and i will not stop trying, so any good advice?Oh yes, and i am from Croatia, where is no informations about a movie industry,in short we had a high buget movie in 1900, when we was in Jugoslavia.I am desperate.
November 1st, 2006 at 8:51 am
Again, I am Sandra from Croatia, Europe.So i don’t know if i understand and wrote the question right?Don’t speak English perfect.
November 2nd, 2006 at 3:31 pm
Hey John,
Not a question, just a belated thank you. I went to the “got career” seminar at USC last Saturday and really enjoyed it. I just wanted to thank you for taking the time to come talk to us. It’s funny, I was reading your statement of purpose tips on this site about this time last year, and now I’m getting to hear you speak in person. It’s all very cool. Thanks for not forgetting your roots and for sharing your time and thoughts, we really appreciate it.
November 2nd, 2006 at 4:01 pm
Hi John,
Excellent work in screenwriting ! I have a question regarding the box office tracking of receipts. Variety ran a story sometime this summer where they discussed the inaccuraties in the market. Why is it so difficult to know how a film is performing at the box office ?
-Jose
November 3rd, 2006 at 8:00 am
John…
This is “Eric in Indiana” who is NOW in Denver [I just realized I asked the FIRST question on this portion of your site--and you turned it into a post!]
I just read your Boulder commentary for “Catch and Release” and had forgotten that is your hometown. My wife and I LOVED seeing the Pearl St. Mall in MAY when all the tulips were in full bloom. Breathtaking.
I’d love to snag coffee with you if you’re home for T-giving later this month. I know you’re busy, and I promise NOT to pitch any ideas to you! I’ve just followed your site for a long time and now that I’m living in Denver, thought I’d be opportunistic.
Anyhow…you have my site/email info in this reply, if I could cajole you into a semi-random internet meetup.
Thanks!
Eric
November 3rd, 2006 at 4:55 pm
hey john, love the information it’s been very helpful. I was wondering if you could post or explain to me the key points needed in coming up with a reality show script. I know you had an outline(s) posted however, I can no longer find it? also to whom I could interest in buying or how I would go about targeting the market to interested buyers of new ideas and concepts? lastly I have been haveing some difficulties establishing any form of dialogue which was one of the points you emphasized in the post you left as well as the host? I mean is it really nessesary for me to come up with the dialogue and who I want to introduce the show if it takes off, I feel the network would be rpetty anal about who is chosen and would have the final word anyway…right? let me know, thanks John, looking forward to hearing from you.
matt
November 6th, 2006 at 5:14 pm
Hey, John. Love the site. (okay, love is a strong word. Let’s say, I have a very strong liking for your site.) But that’s still a compliment.
Getting to my question…
Is there a particularly favorable time of year (winter, spring, summer, fall) to approach the studios with a new spec? Is there a definable “busy season” or “slow season” for spec sales? I’m assuming they have X dollars to spend by Y date for Z year. Is that right?
Thanks. You rock. (okay, rock is a strong word. Let’s say, you roll.)
Bradley
November 8th, 2006 at 3:53 pm
Howdy John,
I used MMS to write my latest screenplay. My producer and I have been shopping it about for a year now, and only now has one complaint come back to us- the margins. The default margins on MMS are 0.3 inches on the top and bottom, which, under those parameters, my script comes in at 118 pages. However, someone told us that I cheated on the margins, that they should be 1″ at the top and bottom, and that my real page length was 128 pages, which they had decided was too long.
Is this true? Why would factory default settings on MMS give you something that is frowned upon or not standard? I spent countless nights bringing my script down to 118 pages, and now apparently I might have to do more. Bloody hell.
peace and gratitude, sridhar.
P.S. my producer is a USC Starkie (Anthony Samu, 2005) and said he enjoyed your lecture so much when he was at Stark. He sends his regards, and both Anthony and I send you our solidarity as former Boulderites. Cheers!
November 13th, 2006 at 2:21 pm
Hi John,
I was wondering if you do any college campus lectures? I am a student and the Art Chair for Union Program Council here at California State University Northridge. I am working on a lecture series for Spring 2007 and I would love to have you come out and speak.
Please let me know. Thank you.
November 13th, 2006 at 3:13 pm
Could someone please explain what Executive Consultant means for a TV series? How involved are they in production? Are they really removed or could they be in the writers’ room working with them every day(if they aren’t on the writing staff or a writer)? Thanks for your help. great site too!
November 13th, 2006 at 4:55 pm
Not really a question; I just wanted to endorse a new book on screenwriting that came out last year called SAVE THE CAT by Blake Snyder. I am a working screenwriter and I have nothing to do with the book what-so-ever, so this is truly a selfless endorsement. I just finished the book and it’s great. It’s fresh, funny, and genuinely helpful for any level screenwriter. That’s all.
November 15th, 2006 at 6:07 pm
This a question regarding format/craft. I’m having difficulty labeling consecutive slug lines – not because both are flashbacks – but because the second occurs before the first one in linear time. I know, sounds confusing. For instance, we move from the present day, to a quick flashback that occurs two years prior. The following sequence that plays out occurs one month prior to the first quick flashback. I know, didn’t help, did it? Let’s try this:
INT. FRED’S ROOM – DAY (PRESENT DAY)
Fred loses consciousness as the needle pirouettes from his arm.
EXT. MOJAVE DESERT – SIDE OF ROAD – DAY (TWO YEARS AGO)
A thumb pointing skyward belongs to a lone figure on the side of the road.
A closer look reveals it to be Fred, a duffel slung over his shoulder. He looks lost, dirty, bedraggled.
A car whizzes past and sprays a dust cloud into this face.
INT. FRED’S FIANCE’S APARTMENT – NIGHT (ONE MONTH PREVIOUS)
Fred and his fiance, NANCY, twirl spaghetti with plastic forks. The sound of plastic scraping against paper plates fills the silence.
Fred tenses, doesn’t speak.
(Etc… and please forgive the rather crude example – but here is my question: for the third scene, I labeled it “ONE MONTH PREVIOUS” in the slug line – is that accurate? I don’t want the reader to make the mistake of assuming that “One Month Previous” means one month prior to the Present Day, but one month prior to the “TWO YEARS AGO”.
If anyone out there knows the answer to this definitively, I would be absolutely grateful.
Thanks,
Ted
November 18th, 2006 at 2:05 pm
Re: “Do screenwriters really matter?” in The Onion A.V. Club.
I don’t know if you have read this article yet but I am interested on your take, now that you have directed a feature length movie.
http://www.avclub.com/content/node/55082
November 20th, 2006 at 4:19 am
Hi John,
If you were asked to write a script for a movie, where the production budget was only $1000, but the objective was still to have a commercially successful project — what differences would it make to the way you approached the project as a writer?
I know this sounds like an academic question — but actually it isn’t, as I’m a UK based writer/director who has taken on exactly this challenge.
I’d be really interested on your take.
Thanks Clive (In the UK)
November 21st, 2006 at 2:18 pm
You know, I really shouldn’t try to type in url’s into little boxes when I’m dog tired — sorry the link in my previous post was SO far off the mark!
November 24th, 2006 at 10:48 am
John,
My novel, “Sunshine Assassins,” was published this past May to good reviews. It is about a band of democratic revolutionaries that attempt to overthrow the corporate fascist power structure in not-too-distant-future America. In some ways it is similar to “V for Vendetta,” but more realistic and thought provoking.
What’s the best way to get my book and a film treatment of it into someone in a position of power who could turn it into a film?
Thanks!
John Miglio
You can check out “Sunshine Assassins” at Amazon.com: http://www.amazon.com/gp/product/0977475727/sr=1-1/qid=1145898514/ref=sr11/102-1000067-2611344?%5Fencoding=UTF8&s=books
November 26th, 2006 at 11:47 pm
John:
I’m really past due in doing this. I volunteer for the Austin Film Festival, I also am a member and attend every year. I usually write thank you notes to panelists who are particularly inspirational, or who I just want to thank for taking time out of their busy schedules to attend and share their words of wisdom. This year I vowed to go up to panelists and thank them personally. That’s difficult for me, as I’m an introvert. I didn’t do that with you this year, but I did with other writers, none of whom I’m as long time a fan as I am of your work.
The first panel I attended was with you and Jessica Bendinger: “The Art of the Pitch”. You and Jessica changed my life. I finally started writing again after that panel (thank you). It’s been five years since I’ve been able to write. Four of those years I’ve had some characters and a story rattling around in my head. That’s not the story I started writing, but I’m reserving the right to bring them out anytime I want (and I’m looking forward to their journey). The script I’m working on, I’m completely in love with my characters and the story I want to tell about them. I have a friend who is a talented director (we’re hitting the festival circuit with her short film “Blue Suede Wings”), and she wants my script to be her first feature. The pressure is on, but I love it (the pressure), and she believes in my story, and my ability. Her belief holds so much value to me as a writer. I might actually suck at this, but it comforts me to no end that someone I know who is talented, believes in my ability.
I can’t thank you enough. From the bottom of my heart, your time, your words, your connection with writers, it’s all the least of what you’ve done for me. Don’t mean to be in creepy mode or anything, just want you to know how much I appreciate your time and energy spent on writing and writers. You’re extremely generous with your time and teachings. Thank you!
Monica PS Would you try to inspire Shane Black? He’s so talented, and so lost . . . I doubt he knows where to look for help, or inspiration, and salvation can come in the unlikeliest of places. I don’t know if you know the feeling or not, but being lost and not really knowing how lost you are, is the absolute worst . . .
November 27th, 2006 at 8:06 am
What do directors do to get actors to cry ? Do they take Visine or must they wait endlessly for the moment ?
November 29th, 2006 at 6:43 pm
Hi John,
I’ve already looked in formatting archives but couldn’t find an answer to this ques–
How do you present a quotation in a script that will appear against a black screen? Not just the quote but also the person who said it. Thanks in advance.
Steve, Pasadena, CA
November 30th, 2006 at 12:31 am
Hi John,
An established agent is reading one of my screenplays with interest (I was recommended to her by a friend who is one of her clients, and I have it on good authority that she likes the script). At the same time, two managers asked to read another screenplay, which I recently sent them. It’s entirely possible, of course, that all three will pass on me. However, I find myself considering the possibility that all three might say yes. At the same time.
Which leaves me wondering: should I have an agent and a manager? Or is one preferrable to the other?
If, for example, I signed on with the agent first, and then one of the managers expressed interest, would the agent have a problem with me signing up with a manager, too?
In other words, I’m realizing I really have no idea how the agent/manager political situation works in Hollywood, or which one is better to sign with. Any insights?
November 30th, 2006 at 2:02 pm
Hi John,
I just saw that “The Nine” will be screening at Sundance. Congratulations! I can’t wait to see it. Is there any reason you’re not screening in the competition category? Did they give you the option to pick which category you wanted to screen in?
Bob Barlen
December 2nd, 2006 at 5:42 pm
Hi John, bad question. I know writing a book is so much different than doing a film. How to do a book in to a film. Any advise where, who,or how to start?
Les
December 3rd, 2006 at 10:45 am
Hi John,
I’m about to post a script on InkTip.com and I am hoping for an option or sale from a producer/production company, but I don’t know what to expect in terms of price and duration of option. Any ideas? Also, any tips/horror stories/success stories regarding InkTip? Although WGA protected, should I be worried about posting my hard work on the WWW?
Casey in DC
December 4th, 2006 at 5:39 am
Hey Mr. John,
This isn’t so much a question as it is a… ah…. well a thing…
Thought you would like to see this link, and wanted to beat some of these other nerds.
http://www.scifi.com/scifiwire/index.php?category=3&id=39089&type=0
It’s about this guy,Gary Dauberman, who WB are getting to write a script. The only reason I’m pointing this out is they were aparently impressed with his “western zombie script”.
made me think of you, even though your’s is a zombie western script right?
Chris from Dungog, Australia
December 4th, 2006 at 5:47 pm
Clive, are you from Australia? May be we all should get together. I have a great ideas for a great movie. I have no funds, I’m a nobody. Great minds, great actions. This movie would make us all rich, one day. It needs to be told and sold. Les
December 5th, 2006 at 11:44 am
Hello, all; this poll’s aimed at everyone reading, not just Mr. August (though I’d certainly like the input). If you’re reading, you’re a writer, and it’s your opinion I want.
This is for my final proposal in one of my classes; I’m proposing a documentary about whether Art schools in general are valuable centers of learning or just wastes of time that fleece the students. To narrow the topic, I’m concentrating on what I know best – screenwriting courses. Some say it’s valuable, others dismiss it as a waste of time and money.
I won’t make this doc, of course, I’m only doing the proposal for a grade. I’d like your input, however, as research.
I’m in film school. I know some of you are in a similar position. Some never went. Some have forsaken it as a waste of time. Everyone has their good reasons; I’d like to hear yours.
Do/did you go to film school? Which one? Did you graduate?
If not for screenwriting, what for?
Did you go to a regular college/university and take screenwriting there? Which one?
If so, what was your major?
Has your experience at film school helped you?
Did you find screenwriting classes necessary?
Have you found any modicum of success as a screenwriter?
Did/do you think film school was/is a waste of time and money?
If you never took screenwriting classes, how do you feel about those who do?
If you took screenwriting classes, how do you feel about those writers who didn’t?
What do you think of screenwriting teachers? Did/do you find them qualified? Did/do they care?
What advice do you have for budding screenwriters?
Thanks a million; hopefully you’ll help me out.
December 6th, 2006 at 9:12 pm
John,
How do you control the quality of your text translated into the languages you do not understand completely? Yesterday I was handed a copy of my script in Korean prepared to be submitted with a project package. My first idea was asking for another translator’s opinion. But the story will repeat itself, for I cannot know the truth in both cases.
Best wishes,
Anastasia Pozhidaeva, Moscow, Russia
December 7th, 2006 at 9:01 pm
Hey John,
How come I write so many scripts I never finish? I frequently burn out about half way through. I have completed a few screenplays, but lately, whatever I write fizzles out. In the case of features, about page 60. In the case of 1/2 hour TV, 12 pages. Are you supposed to know the ending before you start? I try and go back to the unfinished work a few weeks later to pick it up fresh and still no luck.
Do you have any unfinished projects?
Adam from the OC
December 11th, 2006 at 3:27 pm
Hi John, I teach 5th grade and am just starting on a script for our annual 5th grade play. It’s already been decided that it will be based on How to Eat Fried Worms. How do you feel about my using parts of your script? I’m not looking to lift lines, but some of your ideas (red v blue, etc) work well for getting 48 kids into a story that only really needs a dozen. Thanks, Evan on Long Island
December 13th, 2006 at 12:01 am
I was recently reading Joe Eszterhas’ latest book, “Devil’s Advocate” (which I must highly recommend as highly hilarious). In it, he recounts with great pleasure how he wrote “Basic Instinct” in 13 days and got paid millions.
Now, while I find this mighty impressive, I have to think this is a terrible example to set. I know Jack Kerouac cranked “Out on the Road” in like three days, ganked off his ass on benzadrine but is that something to really be proud of? Seriously.
John Hughes supposedly banged out “The Breakfast Club” in a 48 hour stint at a motel. While this is a great movie that I enjoy watching, I wonder if Hughes had spent an extra month polishing his script we could have been spared with Judd Nelson’s line:
“You forgot ugly lazy and disrespectful- Shut up bitch! Go fix me a turkey pot pie! What about you dad? Fuck you. No, dad, what about you? Fuck you. No dad what about you?! FUCK YOU!”
…or perhaps even Judd Nelson’s career altogether, which I’m sure would undoubtedly have prevented the Iraq War.
Don’t you agree that while admirable, genius or not, it’s really fucking stupid to pass in a screenplay you cranked out in 13 days?
December 13th, 2006 at 11:34 am
If a scene is still set in the present, but the character is hearing sounds from the past, how would you format that in a script?
December 18th, 2006 at 10:40 am
Hi John! I am an aspiring actress and I was just wondering how you go about casting your projects… Do you look for experienced talent or fresh faces? Or Both!!! Thanks So much!
December 29th, 2006 at 11:12 am
Dear John August, In an archived article you mention your aquaitance with Shane Black. Without sounding crazy or even giving too much away I am going to ask the following question: Do you know if at the moment and last several months he has been M.I.A? Regards, Jodie Swartz
December 29th, 2006 at 11:21 am
P.S. Titian A.E? Amazing. It’s my “I’m sick andy staying home” movie. Thank you for it.
January 2nd, 2007 at 9:40 pm
Dear John August,
For some time I’ve wondered the following: how do you avoid burning out? Not with screenwriting in general, but with specific projects. After 1,2,3,… rewrites, I not only begin to lose perspective but also that intial passion. Any thoughts?
Thanks, Nicholas Matthews
P.S. Love the blog!
January 2nd, 2007 at 10:40 pm
Just for the hell of it, I’d thought I’d ask – What’s your favourite movie line of all time?
January 6th, 2007 at 2:25 pm
Hi John, I’m from Yorkshire in the UK,
I have Asperger’s Syndrome and Attention Deficit Disorder, which probably means The Corpse Bride (which I’ve just watched) went sideways into my head rather than the way it should :-/
I just wanted to say that the crooked-limbed woods in the film was the key-point in the film for me because it acted like a chorus of anticipation and half-imagined things.
I don’t write screenplays, I’m writing a novel for years instead and I study a fine art degree part-time. If I wrote a screen-play every character would be autistic, because I’m autistic and I know this because every character in my book is autistic (it’s inescapeable, if you think about it).
I wanted to ask you if your writing comes from pictures in your head like mine does. I ask this because for me there is darkness and then the pictures come and then out of the silence of those pictures the words come. Some writers emphasise the ‘craft’ of writing; this web-site is imploring people to become an apprentice of language not of money. I can understand this because I don’t meet strangers very often and I stay home a lot except when I’m drawing and painting at college or with my friends.
I wanted to say thank you for co-writing The Corpse Bride and also for those gnarled woods, which you may or may not have seen in your head.
Best wishes Stuart.
January 7th, 2007 at 6:52 am
hiya john…i have developed the above web site for all writers to get the chance be seen and maybe get a contract …i need as many helpfull advice from proffessional persons as yourself in the writing industry as i can get for my advice page…can you help me in any way please…and how can i become an affilliate member with your site…. if that is possible.
charles afele
January 8th, 2007 at 7:57 am
John,
Where did your blogroll go? Your links seems to have done a runner since your last site update… was this intentional?
January 11th, 2007 at 2:30 pm
Hey John, I like the blog, it’s really useful. I am an aspiring writer living in Santa Moninca, looking for all the help I can get. I noticed on IMDB that you’re from Boulder CO. Well I went to CU, miss that place. Now that we have something in common, can you help me get a writing job? Just kidding.
But can you help me get a job though? Kidding. I am in search of my first writing job, anything that will give me some experience in this town. I don’t have any real experience to put on my resume, so I’m getting nowhere fast. Do you have any suggestions that might help me find a way to contribute to a writer’s group, or anything along those lines? I’m not worried about money as much as I am about learning the ropes. Any suggestions you might have would be awesome. Thanks a lot, keep up the good work!
Tommy Mac
January 13th, 2007 at 7:16 pm
John,
How much influence did Tarantino’s work have on the writing of Go?
Kind Regards, Reagan Blacksburg, VA
January 16th, 2007 at 1:14 pm
Great site! Question on selling a television series concept…and the Learning Annex seminars.
There isn’t a lot out there on how to get a TV concept into the right hands. I recently received an email from infolist.com about an upcoming night with ABC Television President, Stephen McPherson. It alledges he will explain the inside of TV, what buyers are looking for and how to get from idea to screen. Do you think this is all realistic? Do certain agents handle TV concepts and others screenplays?
Ronnie, Norristown PA
January 19th, 2007 at 8:17 am
Dear John,
I
m a huge fan of your work and value your advice. My question is this. With Hollywood seemingly dying to find the next great franchise, how does a new writer approach the market? Im working on a story that could be told as one long adventure. Trouble is the script would be at least 200 pages and from everything I have read thats not going to fly with many readers. My thoughts are to write the first half as a “stand alone� story but when I send it out Ill make it clear there`s a squeal (or two) planned that puts a final ending to the adventure. What are your thoughts?Best wishes
Timothy Landrum
January 20th, 2007 at 7:50 pm
I just wanted everyone to know that I have no idea why the font size is so screwed up on my question and hope that it`s readable.
Sorry
Tim, Ohio
January 22nd, 2007 at 9:21 am
Is there any alternative ways to write a screenplay besides the ol’ treatment and outline form?
January 24th, 2007 at 6:29 pm
Hey, I have your old professor, David Wright and he was telling us of a photograph you once brought in of a cat that at first looked wet and angry, then surprised everyone when they saw what it really was. Do you remember this?
January 30th, 2007 at 6:36 pm
Hi John,
I couldn’t find a specific answer to my question in the archives (either that or I am totally confused). My question is regarding Adaptation.
I, recently read a great book which, of course, would make a fabulous move. I contacted the publisher and was directed along a string of agents that the author uses.
When I spoke to the assistant to the correct agent, I was advised that in order to write a screenplay of the novel, I need to “option rights”.
I tried to seek information as to whether a proposal to draft the screenplay differed greatly to a “film rights” proposal, whether they were the one and the same, and/or whether I could instead get permission/consent from the author to write the screenplay which I am eager to develop with the author’s feedback.
My understanding is no-one wants to options rights unless they have a script to feed their imagination, and, most aspiring play/screen writers don’t have the cash to option the rights in order to write the screenplay to submit to people in the industry so that the project can get “green lit”.
In between a rock and hard place. I would be obliged if you would be able to provide any advice on this situation?
Kind Regards Leanne (Australia)
PS. The nasty puppy failed to hit the “hold” button properly when bagging me to the agent which regarded me as “just another person who has no $#@! idea on this industry… I will use the do your research line!” Thus, here I am… doing my research.
PPS. Would it be considered incredibly bad etiquette by industry standards to contact the author to explain the situation and to ask for consent to write the script?
January 31st, 2007 at 10:51 am
Hi John. I wanted to ask you, what’s the distribution company take off a film financially ?
February 7th, 2007 at 4:39 pm
John, question about writing a biographical screenplay. If it’s not based on any one source in particular, say a biography or an article, but you use information from those sources, do you have to get permission from the authors? Let’s say I wanted to write a screenplay about John Belushi (I don’t btw), can I read everything written on him and write a screenplay based on information from all the sources? Or do I have to get permission for every little fact I use?
February 8th, 2007 at 3:51 pm
This is a follow-up to Jason’s question you posted. I just wrote a script that my agent is really excited about and it is now in the hands of a famous production company. The VP of production has the script and is supposed to be reading it. How long does this process usually take before we hear back from the production company. I am fairly new at this and this is only the second time I have written a script that influential people have read. My first script got me an agent, and then my second one made it into the hands of a producer. What happens from here?
February 9th, 2007 at 3:15 pm
Dear John, I’ve written 4 scripts and, of course, am still studying others’ writing skills. Australian Writers’ Guild suggested your site for my question – it refers to formatting. In several scripts I’ve been reading the following occurs: (E.g.) NORRINGTON Think again, Miss Swan. Vile and dissolute creatures, the lot of them. I intend to see to it that any man who sails under a pirate flag, or wears a pirates brand, gets what he deserves: a short drop and a sudden stop. Elizabeth doesn’t know what ‘a short drop and a sudden stop’ means. Gibbs helpfully mimes: a man being hung. SWAN Captain Norrington… I appreciate your fervor, but I am concerned about the effect this subject will have on my daughter. NORRINGTON My apologies, Governor. ELIZABETH Actually, I find it all fascinating. SWAN And that’s what concerns me. Elizabeth, dear… we will be landing in Port Royal very soon, and beginning our new lives. Wouldn’t it be wonderful if we comport ourselves as befits our class and station? ELIZABETH Yes, father. Chastised, she turns away, to look out over the bow rail. ELIZABETH (CONT’D) (to herself) I still think it would be exciting to meet a pirate… The fog still hems in the ship; very little of the sea is visible – – but suddenly, a FIGURE comes into view. A young boy, WILL TURNER, floating on his back in the otherwise empty water. There is nothing to show where he came from, or how he came to be there.
(From Pirates of the Carribean; same applies in Cold Mountain)
The query relates to why it is that action is also placed in with dialogue?
Respect, Ly, Australia
February 9th, 2007 at 4:50 pm
It’s beyond my capacity to think of a rational idea as to why anyone would take your advice seriously. After all, you wrote Charlie and the Chocolate Factory — one of the worst of movies of 2005 and of all cinema in general. Perhaps some adored that horrible piece of garbage, but are they going to be wanting to watch Charlie’s Angels anytime in the near future? Equally, if not worse, Angels was an insult to the movie industry. Frank Capra is rolling in his grave! You, John, need to go back to school and take literature courses and learn what makes a good story. Little hint: Michael Bay movies are not good! Sorry to disappoint you.
February 11th, 2007 at 10:32 am
Hi John-
After twenty-plus years as a well-produced and published playwright and professor, I’ve tried my hand at writing a screenplay of (of all things) a historical musical drama of mine. It’s such a rare genre, that I’m having trouble finding entrees to agencies.
Any quick thoughts? If I’m really serious about this new direction, do I really need to give up tenure and move out there?
February 12th, 2007 at 11:07 am
Hi John, I noticed that you’re doing a screenwriting workshop at the Boulder High School on Feb 18th but I don’t see much info on it. How long does it last? Do people have to bring anything along? Can I just buy a ticket on the following page?
http://www.bouldertheater.com/event_detail.php?id=576
Thanks, Peter
February 20th, 2007 at 4:13 pm
Hey John,
I hope this question gets your attention, because I really need some advice. I know you’re not in this situation now, but maybe you were in the past. Check this scenario… A producer has optioned a script from you for a dollar. They like the idea, but want massive changes based on their notes, most of which you don’t even agree with because they consist of monumental cliches. The notes are so many that it is fundamentally like writing another script. How many, if any, of these rewrites do you do for free? They would own (or could claim to own) the changes anyway, yes? I’m very confused, this whole part of it seems so daunting.
Best regards, Axel Los Angeles
February 27th, 2007 at 3:34 pm
Dear John August, I’m sixteen years old and writing my second semi-full-length screen play. The first one I wrote entitiled “The Alphas” turned out alright (at the time I was writing it, it seemed to be sublime) and its finaly out of the preproduction stage and into the production. I feel like though I wrote something I had very little knowledge for, it was just entertaining for me to write. Now that Im in the process of writing the second, I feel pretty close to this one, however Ive run into a problem, I want a charecter in the story to get knifed by a homeless man, if you had read the script you would have to understand how out of key this is, and Ive never had a friend knifed before let alone by a homeless man, Im not trying to portray this scene as dramatic but as an akward comedy. Im sorry this is taking so long to ask… But does every detail in a script, every theme, do I have to feel as if Im connected with it and have experience inorder to recieve full authnicity?
I understand if you dont respond this, but I would greatly apreciate it.
sincerly, dominick roney.
p.s. Im a fan of your work.
February 28th, 2007 at 6:53 pm
who would i go about getting premission on writing a script from a book?
March 5th, 2007 at 11:27 am
Hello John,
I read in a special screenwriting edition of “Writer’s Digest” that age was a major consideration in Hollywood’s acceptance of a new writer. In particular the article I read said that if one was a beginning screenwriter over the age of 35 that it is very dificult to break into the business because, states said article, producers and studios perceive younger writers to have a grasp on what’s hot and new, especially in their age range.
How true is this assertion, and is it at all possible for a mature writer (30+) to get a start in screenwriting given said perception?
Thanks,
Michael M. Byrd Colfax Ave Denver, CO
March 15th, 2007 at 11:11 am
Hi John,
It was a pleasure meeting you yesterday at the Publicity 101 event. I’m the lady who came up and said I was at the Palm Springs fest during your Big Fish Premiere. I’m a screenwriter and director of a film festival (www.centurycitycellphonefest.com) and screenplay competition, as well as a founder for a non-profit organization (www.thebroadcaster.com). I also do some freelance writing assignments for screenwriting websites.
Do you think you would have some time available in the near future for an informal interview for a well-known screenwriting website?
I look forward to hearing back from you.
Take care. Patrice
March 16th, 2007 at 2:50 pm
Dear Mr. August,
I would just like to thank you for doing what you do. I’m a young writer and I often refer to your website for help and guidance. I have no questions for you (you pretty much created a heaven for writers right here on this site), but I would just like you to know that you are helping a LOT of people. I wish there were more successful writers like you, willing to share their wisdom. You have inspired me, and I’m sure a lot of other people, to not only be the best writer I can possibly be, but to always share whatever tiny succecss I accomplish in this life. Thank you. :-)
Izzi
March 16th, 2007 at 2:53 pm
Plus,
I’m sure it would help my career if I ran spell-check once in a while. ;-)
Izzi
March 19th, 2007 at 2:16 pm
Hello,
I am writing two feature scripts with CG/ animation stories interwined. The first is live action as a teaser to the animation feature,(which is written by the hero/ main characters in the live action), and the other has live action in bits as they “tell their story”. I am having a bit of trouble getting this one producer who likes the idea of this “two-fer” to evision these. I think part of the trouble is mechanical and the other just the stylistic know how with a creative edge. Can you reccomend a book, sample script or other materials that would help? Thank You. Parrish Percy
March 20th, 2007 at 12:35 pm
Hey John,
I’ve been knocking around LA for about 5 years as struggling screenwriter. Four months ago I finally broke through the first barrier of entry… getting a manager, then the agent, then the entertainment attorney. Collectively they lay claim to 25% of what I get paid (I don’t argue with it nor do I doubt that they earn it.) However to date that amount is zero.
Now I’m not complaining, I know a lot of people would kill for a team of people and all this stuff takes time. My question is how long is too long before something goes out? And if things keep dragging on, is it a bad sign and I should expect to be dropped as a client by one or all of my crew?
Take care, Mike
March 28th, 2007 at 12:01 pm
John,
I’m trying to decide which screenwriting MFA program I should attend- UCLA or USC. I know you went to USC, but in your opinion, is there one that is considered to be “better”?
Thank you for any thoughts!
Natasha
March 30th, 2007 at 6:20 am
Dear John,
Just searched your site and don’t think you have covered this before…
I have to write a synopsis for a feature script I have already written (currently in it’s 8th draft). What are your tips/suggestions for writing a good synopsis?
Cheers, Abe
March 30th, 2007 at 9:24 am
Hey John August great website.I’m a writer.I was wondering if you would be interested in a piece I just wrote.Very intense.Maybe you would be interesting in reading it.
April 4th, 2007 at 9:02 am
How would you break the news to someone that they just cannot write? I’ve already been well paid for my writing. I’m no John August yet, but I have some faith I can get there given the right opportunity. In the meantime, I get saddled with all sorts of bizarre below-the-radar projects. Including the latest: a co-writing project with a director. He’s a very nice guy. His ideas seem creative enough when we discuss them, and then he hands me his treatments and scenes. They’re just not remotely close to what I call acceptable writing. They’re nonsensical. They ramble incoherently. Characters all sound the same and scenes have no beginning or end. Exactly the kind of writing I see from any other joe off the street who tried his hand at a screenplay. I realize writing is a fairly rare talent (which everyone apparently imagines they’re blessed with).
My dilemma is that I want this director to do well, because he likes me and he’s a swell guy. I want to preserve our relationship. How do I tell him he will only get any further in his career by admitting he cannot write? He needs a screenwriter and needs to stay out of the typing altogether.
April 5th, 2007 at 9:10 pm
Hey John,
I have awebsite i developed from scatch for my CSUMB art thesis(www.xdragunn.com) the anime link has character designs, that match really interesting storylines. how would i get the interest of other companies that are looking for fresh new ideas?
thanks, Dustin
April 7th, 2007 at 2:04 pm
Dear John,
I am writing a big budget sports comedy and wanted to know if you thought I should write in real teams or if I should create fake teams. Of course it would be better if the movie was made with real teams (ie: “Major League”) but sometimes they don’t get rights to the teams (ie: “The Replacements”, “Any Given Sunday”). Should I write the script with a real team in mind so the reader can better comprehend the story or should I make up a team so the reader doesn’t think that we have get the rights to buy the script/make the movie?
April 8th, 2007 at 11:42 pm
Hi
I have self-published a book called Super Samson. This (humorous) book is about Samson a ten year old super hero with God given power, just like the biblical Samson. He helped a lot of people and finally rescued his wealthy uncle after being kiddnapped. He lived with his uncle in a mansion with many colourful characters such as, the fighting twins, the waitress who waits till the last minute before ‘flying’ into the toilet to wee, the always ‘happy’ cook and perfectionist Ralph, who manages the mansion.
How could I turn this book into a movie for kids? And I don’t know how to write screenplays (Not that I want to) or know anyone in Hollywood, and this is also my first book, however, of many series. I have approached few agents with no luck, but yet anytime any child read my book they burst out laughing and get an hooked all the way.
April 9th, 2007 at 10:09 am
Dear Mr. August, I would like to take this opportunity of introducing myself. My name is Carlo Coratelli, I am 27 years old and I live in Italy. For the past six years, I have been writing for an online comic books information site (www.comicus.it), the reason for my writing this message is to ask if you would kindly answer a few questions for me about the movie Shazam and if you will allow me to publish your answers online.
April 22nd, 2007 at 11:30 pm
Hi John,
Can you please talk a bit about why you decided to go into the Stark producing program, as opposed to a dedicated screenwriting program?
Thanks,
Bob
April 24th, 2007 at 2:55 pm
John:
Wanted to give you and your readers a heads up re: the excellent Scrivener (www.literatureandlatte.com) as a screenwriting tool. After a search, there seems to be no mention of it on your site, and it’s a superb “working draft” app for Mac-using screenwriters. I’m not affiliated with the developer (he’s one guy) in any way, other than my persistent pestering on his forum for added screenplay functionality. Because he’s a good guy (and a fabulously responsive developer), he’s added said functionality to Scrivener — and I thought the least I could do is let people know.
Note to potential users: Scrivener is a workflow writing app with very basic formatting tools, not a standalone screenwriting app like Final Draft. FD is still the industry standard, and you’ll still have to use FD or Movie Magic (or whatever) to properly create your final script. Scrivener is a great first draft tool, though, and it lets those of us who don’t love (read: kind of hate) FD work without it for awhile.
April 24th, 2007 at 5:12 pm
Steve in Oviedo, FL:
I was curious how you felt about writing music into scripts. I know the cardinal rule is to never do this, as licensing may be an issue and it isn’t your job necessarily as a writer.
However in reading someone like Cameron Crowe or Wes Anderson, they seem to use music written into the script a lot. Crowe in particular, though I guess he has an excuse with Almost Famous considering the movie is based around music. However, if a first-time envisioned a script such as his with so many music calls, would it ever have a chance?
April 26th, 2007 at 10:04 am
I’m hoping you can settle a dispute. My writer friend thinks every scene should end with an action, regardless of the dialogue in the scene. He sees an action line as the best way to carry the momentum of the current scene into the next. I think a good line of dialogue can do exactly the same thing. What do you think?
April 29th, 2007 at 12:19 pm
Hey John. I’ll take you up on your offer to submit for a personal reply/comment/critique on my submission. #107. Thanks for the time you volunteered for all this. Much fun! Later.
April 29th, 2007 at 12:21 pm
Congratulations to the two winners!
May 1st, 2007 at 1:07 pm
John,
Question concerning what to include in a query letter for receiving a reply. 1. Should I include a Self Addressed Stamped Envelope? 2. Or, a Self Addressed Stamped Postcard? 3. And if a postcard, what type of replies (check boxes) should I include?
Thanks for your time.
Regards, Mike in Raleigh, NC
May 1st, 2007 at 2:26 pm
John,
I apologize. My question concerning query replies pertains to queries directed to production companies.
Thanks, Mike in Raleigh, NC
May 3rd, 2007 at 10:54 am
John, There’s this obscure song that tells a small story that can easily be expanded on, so it peaked my interest as a good idea for a script. I’ve been developing a larger story around it and I’m finding myself straying from the original song but the basic concept is still there.
Is it possible to get away with not optioning something and to just be influenced by it when you’re developing and writing a screenplay? Or is the concept the heart of it all?
Thanks, Sean in Philly
May 3rd, 2007 at 10:54 am
John, There’s this obscure song that tells a small story that can easily be expanded on, so it peaked my interest as a good idea for a script. I’ve been developing a larger story around it and I’m finding myself straying from the original song but the basic concept is still there.
Is it possible to get away with not optioning something and to just be influenced by it when you’re developing and writing a screenplay? Or is the concept the heart of it all?
Thanks, Sean in Philly
May 10th, 2007 at 6:00 pm
Hi, John.
I’ve been lurking about your blog for some months now, and as an aspiring screenwriter, i must say i respect you a lot.
My question – as everything i try to do – is bullshit-free: can you give me your opinion on the British Short Screenplay Competition? (www.kaosfilms.co.uk)
Sure, it might be a way in the industry. But, still, because they offer nothing but to produce the 3 winning scripts (all rights waived, of course), i’m not inclined to send my best script to them. Is it pretentious of me to think i can make money of it? yes, i am new at this. I can write, but this script selling businness is pretty dusky to me.
Any thoughts?
Thanks, Rob
May 10th, 2007 at 6:01 pm
by the way, i’m in Bolton, Lancashire.
Cheers, Rob
May 13th, 2007 at 11:28 am
Hi John,
I was wondering, with the possible writers’ strike this summer, how do you feel it will effect writers like me who aren’t members and have no representation yet? What are your overall feelings on this?
Thanks for your time and the great service your website provides.
Cheers,
Charles
May 13th, 2007 at 10:36 pm
This isn’t a question, but rather a comment. I, like John, am a screenwriter living in Los Angeles. I’m 25 now and came out here directly after college to pursue a career in Hollywood. I always loved stories and I knew I wanted to tell them. Movies were always an escape for me and I always loved to write.
I struggled hard for a solid two years, working retail, selling pens at Mont Blanc and being an assistant to a Hollywood starlet. In my free time, I wrote. Through a stroke of luck, an agent at a big three signed me (I guess it’s big four, if you count Endeavor). I thought my life was set. They would sell my Little Miss Sunshine; the “crossover indie” they called it. It’s didn’t sell, though. I went back to writing. And I stayed in retail. I’ve been writing for a year and half now. No money, but I couldn’t be happier because in not having immediate success, I’ve learned the craft and am still learning it. That, I realize now, I wouldn’t trade for a million dollar script sale a year ago.
I wanted to share with the folks here what I’ve learned in the past year and half. This was not time wasted, but where I educated myself. My new script was picked up by Fox. I’m not a millionaire, but I got the story down. Here’s some advice I have.
“Character.” Everything starts with character. Remember the movie BORAT? No script, right? But high character. Borat had a goal. He hit roadblocks at every turn and he finally got what he wanted in some fashion. Hence, this was character-driven as they come. That’s a big reason why it worked. It’s a big reason why it made so much money. Of course it helps to get that great comedic lead. Look to a more sophisticated motion picture, though and you’ll find the same thing. Take Woody Allen’s BROADWAY DANNY ROSE for example. The opening of the movie is in a deli and it’s all about character. We get stories about Danny Rose. We get his ups, we get his downs and we quickly get to the crux of the movie: Danny Rose finds the talent and when they get big, they leave him. Bang, we’re rolling. We care about him. The script I wrote that got me signed was character-driven and I didn’t know it then because the person I wrote about was real. I wasn’t conscious of it. Now I am. Know your character, even if you don’t actually know them. It matters. Big time.
“Outline.” This may seem obvious, but until I learned that one needs a road map, I spent months writing and wasted paper on trying to write out of problems where they would have been fixed with a proper treatment. Robert McKee says a talented writer should have a huge, 90 page treatment and while I hear the likes of the Terminator director do that (as I think John mentioned) it’s not necessary. What is is having the beats.
“Watch movies.” Even if they suck. See what’s wrong and why.
I hope this helps some of you. We’re always learning.
May 14th, 2007 at 6:13 am
Totally random, but wanted to offer congrats to fellow frequent commentor Andreas Climent. We’re both top 11 finalists in the MovieMaker Vancouver Film School Scholarship competition. Good luck!
May 15th, 2007 at 10:10 am
Hi John,
I know TV isn’t your area of expertise, but I was hoping you or someone you know might have an opinion on the issue of submitting older specs of an existing show. To clarify, some of my stronger specs were written BEFORE major plot developments occurred during this season — does that mean they’re worthless? How “current” should these specs be? On the one hand it seems like a writing sample is just a sample and it shouldn’t matter, but on the other hand I don’t want to imply that I’m not up-to-date on this season’s plot.
If you have an opinion on this, I’d love to hear your thoughts.
May 15th, 2007 at 5:43 pm
I bought the Hollywood Standard off of your recommendation, and it’s been of incredible use, but I have a question regarding its recommendations.
Whenever I have someone on the other end of a phone line, right now I have something along the line of
CHARACTER (V.O.) (over phone) Dialogue.
which seems unnecessarily complicated, story-wise, when I could just replace (V.O.) with (OVER PHONE) and rid myself of the wryly. I assume the standard way of doing this is meant to notify the filmmakers to record the dialogue not originating in front of the camera separately, but is it really necessary?
Which leads me to my greater question: if the standard doesn’t work for you, is it really a big deal to just do what feels right? In other words, if the drama’s there, is anyone going to notice the formatting?
May 21st, 2007 at 10:48 pm
I was hired some time ago to write a pilot television spec for a music industry professional who scored an independent feature that I wrote and produced. We soon collaborated on a number of other projects including two screenplays which we co-wrote. I find myself in the unfortunate situation of estrangement these days and wonder what rights I have to the screenplays.
Both projects were his concepts, and I did the majority of the writing work. Neither of us signed deal memos or any formal agreements. I like the work and want to know if I can still use it. I cannot get a hold of this guy so I don’t know what his interests in these scripts are.
May 28th, 2007 at 10:18 am
Lionsgate Productions used my daughter’s song without her permission in the 2006 movie Akeelah and the Bee (as well as included her name/title of song at the end of the movie in the credits). Her song is copywrited with the Library of Congress in 2004. Is this illegal?
May 30th, 2007 at 8:20 pm
Hi John- I know you are a busy man with very important things to do, but last Sunday’s (5/27) “Personality Parade” is just begging for your snarkiness.
I appreciate all the information you share here on your site. However, it is your PP comments (that’s “Personality Parade,” not a reference to a body fluid) instigate hilarity that makes carbonated beverages spew from my nose.
May 30th, 2007 at 10:49 pm
John is there any place on the web could see a copy of your short film “God”. Surprisingly youtube doesn’t have it. Maybe its not surprising, i just figured they had everything ever produced in the history of televison on their site. But anyway…yeah.. so any place i could find that film? it would be a great help. Thanks. Oh, by the way..(You tha man!)
May 31st, 2007 at 1:41 am
Hi John,
First off, I love your site. (And you’re surely racking up the karma points for selflessly helping out all of us wannabe screenwriters.)
I’m wondering if you could give any advice on adapting short stories into screenplays.
I’ve put together a writer-centric podcast, which has Hollywood actors reading short, pulp-fiction stories: http://welltoldtales.com
The idea is to build an online audience first (and we’re doing OK — about 1,000 subscribers and another grand downloading piecemeal, which ain’t bad for a new podcast), and then try to develop our stories into films, TV shows, graphic novels, etc.
Obviously, you wrote the “Charlie and the Chocolate Factory” script based on Roald Dahl’s (short) novel and the “Big Fish” script based on Daniel Wallace’s novel, so I’m hoping you can speak to both business and artistic considerations.
Thanks for your consideration, Finn Colgan WellToldTales.com
June 2nd, 2007 at 4:51 am
Hi philip and brian from cork ,ireland, myself and my friend brian have this great idea for a comedy film,if it was registered how would we go about getting directors/producers and so on to see it or hear our idea, we live in ireland which is a far cry from hollywood but we are really determined and 100 percent sure our idea would end up on the silver screen, also do you need an IDEA to be turned into a script or can you just write about the plot/characters and pass that as an idea ?? this is our first time so we are kind of lost as to how all this works, any help would be fantabilistic :)
June 5th, 2007 at 5:02 pm
The past year, after a good decade of pounding the pavement, I got my breakthrough. A major studio optioned one of my stage plays and hired me to adapt it.
Now, I’m somewhere in the middle of my newbie step-deal, fielding executive notes left and right. I’m writing my guts out hoping this project gets somewhere. Getting encouraged, getting discouraged. My biggest fear is that this will fizzle and I’ll be back to square one.
How do you continue to work in the industry, as a writer? I haven’t got an agent or manager right now — just a lawyer. Assuming the script that breaks you through doesn’t actually get made, what’s the next step?
June 6th, 2007 at 8:13 am
I have a question. I did not find the answer to this question yet. I am writting a script for televison show and simple wanted to do know do you put in camera angels and cut to’s. I read a script of my friend who is also a writer and to me it seemed like the script just read better. My background is writting for film. And all of my teachers have said not to do this with my film scripts. Is this an okay thing to do for a televison script. I have also read my scripts online, they have the angles in them as well. Thank you for all your help your website has provided
Kesha
June 7th, 2007 at 12:17 am
Hi John! This is Mohaan Azaad from Reliance Entertainment, India. Reliance has been the leading industrial house of India and also world over and are jst stepping in on the entertainment world. I am a creative director of the company and also have a national award wining and widely acclaimed Indian film, CHANDANI BAR, to my credit as the writer. I am curious to know if you would be interested in writing a film for Indian audience. It would be a honour for all of us if you agree. May I also know if you conduct workshops on writing and would you prefer to travel all the way to India for the same. I am hoping to get a reply from you. Thanks and please take very good care of yourself.
Mohaan
June 7th, 2007 at 8:02 pm
John First of all, thank you for undertaking this project, there are MANY of us who love the big red cheese and have longed for a faithful representation of him on the big screen. True, he has been stuck in a time warp of sorts, but then again, the essence is what remains, and, unfortunately DC sometimes doesn’t seem to know what to do with him. What I like, from what i hear and read is that you are keeping the wonder of the character in place. That is to say, the child like wonder that can fuel this character in place. I know there will be changes, and as long as they are keeping in tone with the character, I and many others will (hopefully) will not have any issues with that. I have been pondering fairly recent quotes by the director which is attached, along with possible “ROCK� solid actors whom seem interested. From what they have said you are capturing the essence of who and what this character is. I have thought about more particulars as well, such as the big red cheese’s outfit. I may be overstepping my boundries, but I was thinking, since the original outfit was based on a military uniform, (thus the the somewhat odd looking cape and rank stripes on his sleeves) maybe young Billy could be somewhat facsinated with history. Perhaps his heroes are figures from history, or at least a factor, so his uniform is subconciously informed, once he is transformed into the Big Red Cheese, by his love of what he has either studied, or fantasized about. Just a thought on how the character could be brought to the screen visually with some semblence of a reason of why he looks like he does (Heck, Supe’s Dad gave him his…Bats has armor he modifies….why not let the one hero who could whup them both have a reason for being and looking like he does, even if it is unspoken and the audience makes the connection?) Just a thought. Thanks again for the care and attention you are bringing to the process. I look forwardd to the finished product. What do you think?
June 7th, 2007 at 10:07 pm
Hi John, Have you ever thought of having a screen writers’ workshop in Africa? Our film and TV industry is a bit stuck in the infancy stage and mainly its because most of us have no idea what makes a good entertaining script/story. Many would pay for a good short course on screen writing that will help us tap into our creativity. Wanjiku Nairobi, Kenya.
June 7th, 2007 at 11:52 pm
Hi, John–just wondering: are you still a sole proprietor or did you go ahead and officially incorporate at some point? I’m taking a class on forming production companies and a lively discussion has sprung up over the right kind of company to form, and more particularly, when the time is right to get all official about it. Thanks.
June 9th, 2007 at 7:36 pm
John, great website! My brother and I covered Sundance again this year and both agreed that “The Nines” was one of the best films we saw there. He’s nine (yes, “9″) years younger than me, and got the avatar thing earlier than I. We grabbed a slice of pizza and a beer after and the conversation was thick. My brother is in seminary and probably headed into the NAVY as a chaplin and just couldn’t shut up about it.
I’ve got a great theatrical review in the hopper to tell people about it. My bro and I will be talking about the film on radio here in Atlanta too (mentioned it in passing, I’m sure already). Anyway, I’m sure this is buried on yer site here somewhere, but when will it be released theatrically?
Thanks,
Jonathan W. Hickman President and Editor Einsiders.com, Inc.
June 9th, 2007 at 10:08 pm
Hi John,
You have a really cool Web site (just discovered it via the WGAw Web site) and I plan to visit often. Fun stuff, man. Thanks for all the helpful info and whatnot.
Best regards from Seattle,
David Rech
June 10th, 2007 at 1:39 pm
Hello there,
When submitting a treatment for a screenplay you have already written that has a pivtoal twist at the end, is it the ‘done thing’ to include the details of that twist in the treatment or is it more sensible to just allude to it so the impact of said twist in the screenplay isn’t diminished, or indeed dissippated, by fore knowledge?
Thank you.
June 15th, 2007 at 12:07 pm
Hey John, What is the big difference between your agent and your manager? I imagine that your agent is more interested in your monetary dealings with your current studio projects, while your manager is more invested in your long-term career. Specifically, I wondering how detailed that relationship is with your manager- I understand that every client is different, but as a general question, what do your managers do for you? Do your managers read your drafts before they go out to the studios and give you feedback? Are they more involved in shaping what kind of career you want? Are they willing to go to bat for you then your agents when you have a conflict with the studio? Are they more trust-worthy than your agents? I’m just trying to get some clarification as to what their role is with a writer client compared to that of an agent. Thanks a lot dude!
June 15th, 2007 at 2:19 pm
You have written before about the importance of PR for a writer. What are your thoughts on reality TV and being taken seriously in the industry? Is reality TV just a candy bar approach to getting work out there, or is it a fantastic opportunity for exposure? Do people really care how you got there if the work is good? I’m not talking about Survivor or reality game shows here. Thanks!
June 15th, 2007 at 2:56 pm
I’m in search of a French Canadian screen writer. Someone who is bilingual.
Please email me at rsironsangel@gmail.com
Thank you!!
June 19th, 2007 at 3:03 pm
In an old column at http://www.wordplayer.com/columns/wp22.Ink.and.Paint.html they say: I’ve never heard of an animated project happening on the basis of a spec script. Not once. Ever.
Is this the case these days?
Ps – Bonus Question: Are you positive they have a decent ending in sight for Lost, aren’t making it up as they go? I’m amazed at the lack of pay-off in this show. Either it is the most amazing thing ever created or… it’s the biggest travesty in TV history.
Thank you.
June 19th, 2007 at 8:12 pm
Another question here: if you had an idea for a TV show, or reality show, would you find people interested in developing it… and more important: paying you good money for that?
What about John Doe doing the same on spec?
Thank you.
June 21st, 2007 at 12:52 am
Say a person sells a script and it actually gets made. During editing a scene the writer loves hits the cutting room floor never to be seen on the big screen. Can the writer then use that same scene (in written form of course) in another story?
June 22nd, 2007 at 6:59 am
Hi John–
In the event that I would ever be called into a meeting to meet with studio executives, how should I dress? I mean, I’m a writer. I understand you’re supposed to look the part. So does that mean t-shirt and shorts? Blazer and jeans? Do studio executives even care?
In your experience, what have you found to be the best operating procedure?
Thanks!
June 24th, 2007 at 2:22 am
Hi John, good site. I have a question. I’m an English novelist and in 1998 a book of mine was published called GO. It did okay, sold about thirty thousand copies in the UK, though it was never published in the Sates. It featured three interlinked stories, some set in the underground party scene, including a story about two guys who hit a cow with their car, hide the body, then later discover that in fact the cow was alive. A few years after my novel was published I watched a movie you wrote, called GO – three interlinking stories, some set in the party scene, dead body comes alive. And there were a bunch of other similarities, nothing I would say was stolen but the tone was eerily familiar… and, oddly, the main character was an Englishman called Simon. So, fess up please, writer to writer. Did you read my book? I’m not thinking about litigation, you have my promise. But I’m curious. I like your work – and wonder if you like mine.
June 24th, 2007 at 8:17 am
Hey, John. You seem to be really out there lately with quotes about the looming strike. Your take seems very on target and obviousoly pro-writer! So have you ever thought about running for President of the WGA?
Curious,
Allie D.
July 9th, 2007 at 6:22 pm
Thanks for a great site. Is an animation script the same format as regular script?
Thank you
July 17th, 2007 at 11:30 am
Hi John, We loved your photos and video from Malawi! We are Sally’s mum & dad (Sally who is out there with Tom) and the pics have given us a real taste of FOMO, the people and the beautiful children out there. It is great that high profile folk like you are raising public awareness about the poverty & issues in that part of Africa. I hope you have recovered from your culture shock! I think I am meant to ask a question on this bit of the site so here goes… Are you planning to visit the Fomo project again soon?
July 19th, 2007 at 9:03 am
Dear John, Yesterday in the LA Times there was a brief article about a doc. by JamesL. Brooks called “Dreams on Spec.”, and basically it was about how making it in screenwriting is the same as winning the lottery. I’ve heard the doom and gloom speech before in all areas of the film buisness, but do you think becoming a successful screenwriter is any harder that becomeing a successful actor or director?
July 19th, 2007 at 10:09 am
Everything takes time to build a career – whether it’s a realtor, doctor, etc… The point is…how badly do we want it!!!!
July 23rd, 2007 at 10:20 am
Hi John,
I am currently working on a tv pilot for a 30 minute, single camera comedy. I have written several features, and am very comfortable in the format. This being my first tv script, I am very confused as to the act breakdowns for television. It seems as though every tv script I read, particularly in comedy, has a different structural system. I feel like the most prevalent is the Cold Open/Two Act system. Is this correct?
-Jack, L.A.
July 31st, 2007 at 10:30 am
Hi John,
Do screenwriters typically form a small business or incorporate themselves?
How do I educate myself on this subject?
Is it really small business education? Yeah, a newbie…
Seems like it might get tricky with screenwriting so I can’t just consult an accountant. I also do occasional acting and possibly will be directing in addition to screenwriting.
Where do I find the answers to the questions you post? LF
August 1st, 2007 at 8:53 am
“VOICE” & REWRITING FOR HIRE…
John,
Please help me before I shoot myself in the foot again!
I’ve been hired twice to analyze scripts and subsequent to my analysis, to rewrite said scripts. The first had a greenlight from a medium-size investment consortium and a budget of $15 million. The second still has an Academy-Award-winning filmmaker/screenwriter attached as Exec Prod, and a good possibility of Canadian investment for a budget of $14 million. In each case the producers loved my writing style and agreed to everything I pointed out as problems in their drafts, from pacing, to plot-point structure, to humor (lack thereof), to characterization, to tone. They were also impressed with my screenwriting, so they hired me to rewrite their scripts.
With the first I told her it was a page-one rewrite; when I was done, she begrudgingly admitted she loved the script, but was angry that the script no longer read as if she’d written it. After some consternation, she decided to film my draft. But unfortunately the money fell through and when it did, the producer decided to scuttle my draft and rewrite her draft so it would “sound” like she’d written it.
With the second I told her it was going to be a significant rewrite. The first act, which she wanted to see first, would have only one extant scene — and that scene would go from having seven characters present to four with entirely different motivations for said remaining characters (changes she agreed to). When I did exactly as we’d agreed, and turned in the pages, she fired me without any explanation beyond, “I am very upset. It doesn’e even ’sound’ anything like me anymore!”
Clearly they were both pissed off, not that I’d improved the story, characters, etc., but that their scripts didn’t read like they had written them anymore. I scratch my head thinking, “But you are producing this! Nobody’s likely ever going to read the script — They’ll see your movie instead.”
Here’s the question: when you are hired for a page-one rewrite, or in the least, a substantially significant rewrite which includes many new scenes, etc., ARE YOU EXPECTED TO MAINTAIN/MIMIC THE VOICE OF THE ORIGINAL SCREENWRITER? Or is it assumed that the voice of John August is part of the expected — and desired — outcome?
I really don’t want to make this mistake again. I’ve done the work, not gotten paid, and now will have no positive word-of-mouth either.
All the best, Rick
August 10th, 2007 at 9:55 pm
Hi John,
I just wanted to comment on your interview in the Advocate and your trip to Malawai. I was deeply moved to see the photos and hear what you did to help those orphans, as well as the community.
I currently donate large scale murals to children’s facilities around the world. I just returned from Thailand last week where I did a 25 foot mural at a children’s school. I leave Monday to do another in Ireland at a school as well. After, I will be in the Philippines, Mexico and Bolivia, all donation murals for orphanages/schools.
In the future, if you have a children’s facility anywhere in the world that is interested in a donation mural, please let me know. I donate and bring everything…They just need to give me a wall and a ladder.
Sincerely, Nichole in California
August 12th, 2007 at 8:36 pm
Alright I read almost all replies and questions and still cannot figure out where and how and to who to pitch a new reality show idea… my idea seems so much better (to me) then most of the get rich quick shows out there. I would love to see a show that follows entrepreneurs from beginning to end. “Welfare to wealth” or something like that. Since most Americans are tryingg to live the “American Dream” things sure are hard to figure out in the beginning. I am a welfare mother of 2 TRYING to start a multi million dollar project in Las Vegas…This project is GREAT!!! The people that I have figured out how to contact LOVE IT!!! Simple terms a covered water park/motel… but there is nothing simple about it… it is a grand 5 star park. The road has been bumpy (to say the least)I dont know where to start and there is no end in sight but wow what a reality tv show my life has turned into… so I think it would make a GREAT show AND show millions of Americans that it can be done and this is how….. “WELFARE TO WEALTH” tell me what do you think? I would love to pitch this to a network or something but AGAIN…. I DONT KNOW HOW!!! HAHAHAHAHA…..
August 15th, 2007 at 8:46 pm
I’d like to see you do a “day in the life” of John August. Why don’t you map out a typical day for yourself so we can ll see what it looks like. Not too specific, just something to give us an idea of how much writing you actually do in a day…i.e. “woke up at nine, managed blog for an hour, wrote for half hour, walked dog, met with studio”….etc.
August 17th, 2007 at 8:18 am
Hi John, I run a non-profit that’s begging for a documentary. I’m the first to admit that I’m biased as all get-out, but being able to sell the project is what has kept us alive and funded for the past five years. So, if I wanted to hike up the skirt of this organization, flash its legs about town, how/who/where would be a good jumping off point? We’ve been featured on National newscasts, and we have shot some homemade vids to edit and post on our youtube site, are these snippets something I could include in a cold-call style letter? Do I approach filmmaker/their representative(s) first, or production companies? Our goal is to increase exposure to youth and their allies, who could benefit from participation in the program; but also to create a pedagogical tool that could be used to address current silences experienced by youth in schools (particularly those in rural Canada/US).
Thanks kindly for your tremendous work – the MH article is fantastic! Sarah
August 21st, 2007 at 10:26 pm
John–I’m writing a screenplay that has a lot of dialogue delivered over walkie-talkies. I know the standard style would dictate:
INT. COCKPIT — DAYCaptain Oveur grabs his walkie talkie as it crackles to life. ROGER MURDOCK (O.S.)(filtered)We have clearance, Clarence.
CAPTAIN OVEUR(into walkie-talkie)Roger, Roger. *with apologies to “Airplane”.
What I’m wondering is will all the (filtered) and (into walkie-talkie) parentheticals be a bit overkill after a while? Is there a simpler solution that wouldn’t confuse the reader for this kind of thing?
August 22nd, 2007 at 7:43 pm
I’m writing an opening scene during which the main character has a long monologue in a restaurant. Throughout it, other characters in the scene react non-verbally; describing their actions breaks up the huge chunk of TALK on the page in a non-disruptive and – hopefully – affective way. I like the way it reads now. BUT I would also like (throughout the monologue) to have a series of images and/or shots that sum up a key relationship. They would be very simple, provide a nice juxtaposition/enhance what is being said, and establish important backstory (kind of like those photographs during the opening sequence of “The Break Up”). My problem is in how to format the scene. I don’t want to disrupt the flow of the monologue with a barrage of additional description, but adding a little note at the end of the scene about what is going on visually doesn’t feel right either… What do you think?
Best Regards,
Cindy.
August 28th, 2007 at 7:15 pm
I am doing a school assignment on the career I wish to pursue and screenwriting was the career I chose. I need to know some of the abilities required, and a good description of screenwriting. Anyone can help me with this. Please.
August 29th, 2007 at 6:25 am
Great Sage, My question has to do with the current script I am working on – or it’s working on me, not sure yet. In it, there’s a specific scene where a character is listening to as well as singing along a song on the radio as he’s driving. He’s also got his own little routine to go along with the lyrics that he’s singing. What is the proper way to write this? The way I currently have it, the character’s spoken words/lyrics are written with a parenthetical description of the movements/gestures to go along with that particular piece of lyric. Is there a better way to do this but still acomplish the goal? Thanks, John “Skooby” Hesterman
August 29th, 2007 at 6:25 pm
Hi John, would you please consider giving a few minutes or a few hours (when you’re able to come up for air after “The Nines” opens, of course) to our non-profit organization, The Writers’ Building? We’d love to have you stop by and share some of your incredible experience and insight with our aspiring screenwriters. More info at the page below; thank you so much for your time and for writing a GREAT blog. Sincerely, Dan Calvisi, West Hollywood President, The Writers’ Building, Inc. http://www.thewritersbuilding.org/pro.asp
August 31st, 2007 at 12:57 pm
Hi John – Great site! Wondering how working with Nancy Screiber was. Am a fan of her work, especially on “November”, directed by S.F. local boy Greg Harrison…Good stuff with “The Nines” – Go get ‘em!
August 31st, 2007 at 2:45 pm
Thanks for showing us THE NINES in SC.
Spoiler
I think I finally realized why you picked G for the protagonist(s), because he is the God of that world. And I think I know why you picked M for Melissa’s characters. She is much like the Maries in Jesus’s life.
But I don’t understand why S for Hope. She is not Satan; at least I don’t think so. Is there a reason for her to be S?
Or am I just way off?
Thanks.
Sincerely,
Matthew L.
September 1st, 2007 at 2:39 am
Hi John,
I’m a London-based screenwriter who has just reached the Semi-finals of this year’s Nicholl Fellowship. Should I be booking a swift visit to LA?
I have never been to Hollywood, have no representation and do not know a single person there. I want to capitalise on my result but time and money are in short supply, so I need to choose my visit strategically. I suspect that if I take off to LA for a week or two, I’m going to spend all my time blindly bumbling around like a tourist, and even if someone does take interest I’ll be back on my return flight before we’ve even made eye contact. I’m prepared to do whatever it takes but also need to be realistic.
I’m a 33 year old Avid Editor in Television, and am relatively new to screenwriting. I have written just two scripts so far: my first made the top 10% of Nicholl, and the Quarters of American Zoetrope, and my 2nd script is as mentioned above.
My gut feeling is to try using my results to land a London-based agent who also has an office in Hollywood, and bury my head in another script. Perhaps I‘ve just answered my own question. Do you agree?
Very Best,
James
September 1st, 2007 at 10:40 am
Hey John,
David Koepp has an interesting passage in his introduction to the ‘War of the Worlds’ shooting script, in which he muses about finding the “Fun Part” of the screenwriting process. He starts by saying that early in his career, he thought that writing the first draft would be the fun part, because it’s just you and your imagination. But once a script actually gets made, that’s where the fun really starts, right? A big crew is putting your scenes on actual film! But wait, they’re doing it all wrong, that’s not how you pictured that scene in your mind! And what are you gonna do, linger around the set and to be the “Word Cop”? None of the following stages of production – the editing process (which might be fun as a final rewrite, but it’s somebody else rewriting your stuff), the preview screenings, the release, the reviews giving all the credit to the director and actors – none those stages end up being as much fun as you’d once thought they would be.
David ends by saying “So after a few movies, a realization creeps up on you and you discover that the Fun Part might be what you thought it was in the first place, the beginning, the thinking it up, the first couple of drafts when it’s just you and your ideas and your music and the clack of the keyboard when things are going well.”
With the Nines, you didn’t have to hand over your script to a director, you had final say over the edit, and nobody could claim that the director rescued a shoddy script. Which is why I’d like to extend the question to you: what was the funnest part of making the Nines? Did the experience notably differ from movies in which you only contributed the screenplay?
Matthias Sonoma, CA
September 4th, 2007 at 11:03 am
Mr. August,
When do you find time to write?
I hope this question doesn’t come off as rude or snide, because I truly appreciate the work you do on this blog and admire (yes) so much of what you write.
I ask the question above because, since the announcement of the “Shazam” assignment, you have:
Not to mention having a young child at home. That last fact alone is enough to fill the days of many people I know.
My sense from the “Shazam” notice is that the studio is expecting a tentpole production. So don’t you get at least raised eyebrows from them as you carry on your exceptionally (to me) busy life? I just finished a (paid, thank you) treatment which kept me up ’til 3 and 4 a.m. for weeks. (Maybe I’m slow…)
So, seriously, when do you find the time to jot down that trademark Augustian dialogue?
Thanks,
DN
September 6th, 2007 at 10:23 am
John,
I read your article in Men’s Health entitled “My Glorious Defeat”. I’ve got a paragraph about what you said posted on a dry erase board that I read every day, because, well frankly its the probably the most succinct and intelligent writing about how scary life can be but also how important it is to not be discouraged and find strength in failure. Hopefully someone that may have missed the article can see the quote below or catch it now that this is posted. In short, thanks.
“When that nagging little voice pops up, wondering what’s going to happen if you fail, just ignore it. Yes, it’s hard. As humans, we’re programmed for loss aversion. But money is just money. Your job is just your job. Your life — the adventure of your life — is all you really have that’s yours.” – John August
Bill
September 7th, 2007 at 6:53 pm
JOHN:
Thanks for a great site and everything there.
Wondering briefly if a personal writing style, one that is visually driven without directing on the page,may be holding my progress back with prodco readers.
I know so many answers are just simply about the story has to be great, and follow the standard format, etc.
But a current script that’s being looked at now and was optioned a year back…really has it’s own unique, visually driven writing style, which the producer liked so much and told me it was a big point in him optioning the script.
I’m just wondering if this producer was not the norm…and if I might be overwriting a bit too much.
I don’t go more than 3 lines a paragraph, and really try to keep it down to 1 line as much as I can.
I just feel my style flows well enough, and really progresses the story forward in a page turner type of manner.
But I’ve also read other scripts selling…that are really more dialogue driven as in a play, than are really screenplays.
Does it really take a so called big break…before Hollywood lets you write whatever way you want to write screenplays?
And this is all after grad film school, and selling a few low, low budget scripts.
Any thoughts would be cool on this.
Thanks.
MARK11
September 9th, 2007 at 12:26 am
Hey John, this really doesn’t pertain directly to screenwriting itself, but I am curious if you have any suggestions on where a young and aspiring screenwriter/director might want to consider moving if relocating to the Los Angeles area. A neighborhood with a decent mix of price and value, with a little soul in it’s bones, and a good variety of coffee shops to write in (I have virtually no focus at home… too many comforts and distractions). I’ve been looking into West Hollywood the most. Everywhere is expensive, no doubt. Thought perhaps you might have been through the geographic/career move once yourself before making it (I am not familiar with your “breaking in” story). If you can lend any advice whatsoever, it would be much appreciated. Thanks much.
September 9th, 2007 at 12:26 am
Hey John, this really doesn’t pertain directly to screenwriting itself, but I am curious if you have any suggestions on where a young and aspiring screenwriter/director might want to consider moving if relocating to the Los Angeles area. A neighborhood with a decent mix of price and value, with a little soul in it’s bones, and a good variety of coffee shops to write in (I have virtually no focus at home… too many comforts and distractions). Which, I hear is kind of a thing down there, but I started doing it well before ever hearing the jokes about that (not that it matters, just stating for the record). I’ve been looking into West Hollywood the most. Everywhere is expensive, no doubt. Thought perhaps you might have been through the geographic/career move once yourself before making it (I am not familiar with your “breaking in” story). If you can lend any advice whatsoever, it would be much appreciated. Thanks much.
September 9th, 2007 at 12:29 am
Oops, thought I stopped it from uploading. I just added a sentence. No delete option. Sucky.
September 9th, 2007 at 12:34 am
Oh, and I hate using the same word twice, let alone back to back… much.
Yes, I am as quirky and compulsive as I seem. Delete whatever you like. :) Sorry!
September 10th, 2007 at 2:13 pm
John:
I am looking to purchase a nice leather journal to write my screenplays by hand, adding extra information for myself. I want to do this so I can have an area of a bookshelf years from now with my own material. I only want a good journal that, if my script ever gets sold, the journal could be a one-of-a-kind rarity. I am open to any opinion.
September 10th, 2007 at 2:21 pm
John:
You should really think about getting some t-shirts made for those who post on this website and friends. “I’m on John’s crew!” could be a good one with a massive picture of your head imposed on the front. A reference to the bottom of your page: “Oompa-Loompas created this t-shirt in ______ seconds.” Just a suggestion. Hope to see you at The Nines Premier in Austin, if I can make it.
September 11th, 2007 at 10:24 am
John:
OK. I’m breaking the rules…Sorry…
My partner (Ghostman MC) and I have a song in the “The Nines” – Trucha.
It happens while Ryan Reynolds is showering during the crack binge. Would you have a couple of one-sheets we could have for posterity? Please? We would really appreciate it!
We loved the movie – script is amazing and the acting incredible!
Kendall
September 11th, 2007 at 2:14 pm
John, not much to say except that I empathize wholeheartedly with your experiences as a screenwriter here in Los Angeles. I’ve worked on several big shows as an assistant editor and know lots of people and I still can’t get anyone to stand behind any one of my five screenplays. They’ve read them, say they’re all great reads, but that right now they can’t do anything about it. Right now is WHEN? This very moment? In the next fifteen minutes? Or in the next fifty years??
Anyway, thanks for the rants. It really helps. I’m very proud of you that you’ve been able to get some of your stuff filmed and I’m anxious to see your turn as a director with The Nines. Ryan seems great to work with and I hear he does marvelously as the three separate characters. He’d actually be fantastic for the lead in the script I’m trying to push now, a thriller. But that’s another story. :)
Still Hopeful, Sean
September 12th, 2007 at 1:44 pm
Rafael from Brazil here.
What do I do with an idea for a reality show? Besides keeping it to myself, that is.
Thank you.
September 12th, 2007 at 3:15 pm
Hi John,
How do you get into / find the zone to start writing. My head is filling up with stuff for my screenplay but I just can’t get motivated to write it down. Do I narrate it to someone and get them to do it or just lock myself away for a couple of weeks and force myself to do it?
Looking forward to The Nines when it comes out in South Africa.
Cheers, Michael
September 12th, 2007 at 7:12 pm
I’ve heard conflicting reports, and didn’t even know you were involved until just now, so…
Is HANCOCK a comedy or a drama or something in between or what?
Can you shed any light on this flick, yet?
September 13th, 2007 at 10:40 pm
Hi John
Love your site and your advice for young/new creators.
I am a writer/director with one completed indie feature in the can, but haven’t built enough cred for the unions yet. I’ve read a lot about the upcoming speculative WGA/DGA/SAG strike(s) and heard how it is affecting members of those unions. I’m curious – how do you think the strike might affect those of us outside of the unions? Will it be harder/easier to find work? If it’s easier to find work, will it be harder/easier to get in the unions once they find out you’re a scab?
Cheers, Dan Washington, DC
September 14th, 2007 at 2:18 pm
Hi John,
I am responding to Marc the 40 year old screenwriter who is contemplating quitting screenwriting. I find it curious that he said he’s been writing for four years which tells me (this might be an assumption) that he started at 36 years old? I am in my early 40’s and have been writing my entire life. Not just screenwriting but also short stories, poetry, essays, copywriting, and I am currently working on a novel. Writing is hard work. And hard work can only be fueled by passion.
I am born and raised here in L.A. and have grown up around the entertainment industry. I am always concerned with folks that say that they “want” to be a screenwriter, a director, an actor or producer. I always ask them what they are doing to make that desire a reality. I ask them what fuels their passion. Because at the end of the day your passion will be the only thing you can look upon that will quench your desire.
Unfortunately, and maybe this is just the folks that I meet, but these folks really do NOT want to do the work to make their desire a reality. What they really want is what they perceive as success – fame and fortune.
If you want to be a screenwriter then by golly be a screenwriter. Think not of the outcome but of the journey.
By the way, I have supported my writing for years working as a sales rep. It wasn’t until the last couple of years that i’ve been able to earn a living as a writer. My passion saw me through times of discouragement and uncertainty. But I would rather live as a poor writer than a rich sales rep anyday.
If you want something bad enough you will find a way to make it happen. This is true of everything in life.
E.T. Los Angeles
October 3rd, 2007 at 2:54 pm
Hey there ! So I have been looking ALL over the place to find out Canada release dates for “The Nines” with no luck. So far it seems the movie isn’t even planned to be released up here.
What gives ?
Cheers !
Erik
October 11th, 2007 at 8:11 am
Hey John, I want to thank you for writing “My Glorious Defeat”. I’m going through one of those periods in my life that makes me wonder why I get up in the morning. I got fired over three years ago and haven’t been able to pull myself together. It rocked me to the core and I’ve felt like I’ve been sliding deeper into oblivion ever since. Your article sort of snapped me out of my stupor and made me look at my past mistake more as just a deep cut and less as a chainsaw. Thanks for the slap in the face, John. Best Wishes Jerry
October 11th, 2007 at 9:22 am
I just read the Variety article about WGA’s strike rules. Among other things, it says that “nonmembers who perform banned work during a strike will be barred from joining the guild in the future.”
I currently work for a small, non-union show that plays on cable. (It’s kind of a cooking show, only with herbal remedies.) Every once in a while, my boss lets me write a short segment. I don’t get screen credit for it. It’s just experience.
If I do this during the strike, does that make me a scab? Or, since the show and network are non-signatories, am I safe?
Thanks!
October 12th, 2007 at 7:47 am
My question is about pitching an adaptation:
There’s a book (at the time, very topical), nearly forty years old. There’s a movie of said book, about 30+ years old that was a close adaptation of the book. If you’ve written a spec that is an updated version of the book, and has the same title the same plot, etc., but, by virtue of updating the story (making it topical for today) the story has become ‘different’ – how do you pitch that? How do you pay proper attention to the ’source’ material without burying your unique take, or vice versa … Think the original Manchurian Candidate and the more recent version – but with a slightly wider gulf between original and current.
October 19th, 2007 at 11:05 am
Hey John, love the site, your time is very appreciated by a lot of people out here.
My questions is do you have any advice to give some friends and i about writing and producing a webcast? We’re doing this to get our feet wet in writing/producing/post/editing while we get ready to move out to LA and finish our degrees out there and start to work. At the moment we’re limiting it to about 6-8 minute shorts centering around one subject with a comedic basis. We’re well on our way into the script for the first episode and all really excited about it. So again, any advice you have on what we should expect to learn from this, or what we can expect to not learn from it, would be greatly appreciated.
thanks again, bryan from Texas
October 19th, 2007 at 11:36 pm
Hi John,
When you have some time, can you please go into more detail about your directors’ prep for The Nines? Did you do storyboards yourself? You have some elaborate shots – how many setups per day did you do?
Bob in Toronto
October 20th, 2007 at 5:34 pm
Hey John, I have a question you may get a lot, but I don’t think you have anwsered and if you have, forgive me.
Like many others who read your site, I am a rookie in this field, a film student to be frank, but I love writing. I feel a need to take my ideas and express them in a screenplay and ultimately have them come to fruition on screen. So, while I have written one feature before, it was more of an experiment in getting use to the format than anything. So as a first timer, or newbie in WoW terms I am sure you understand, what is the best type of script to write?
I Think there is a compulsion for every fanboy to want to write their Neo-Noir, SciFi, space opera, or their 1000 page three movie script with elves, orcs, and a ring, but as we all know, those movies cost Fort Knox to make. Is it better to write a script that you know could be done on a low budget, something that if taken to producers, execs, and higer-ups, they would be more willing to make. Basically, is it stupid to write a WWII epic you know has to have a 70+ million dollar budget to be done right, or should I focus on making something that is realistic to produce.
I know that the first movie you directed, even though you could toss around you Hollywood clout, was low- budget by studio standards. Is that the best way to go? Or if I get the urge to reinvent the Sci-Fi genre, should I do that? Is it what is both personal and exciting to you? Or what is both personal and exciting to you, that could also have the potential of actually getting made. I mean what is really the point of a script that stays a script, other than exercise.
Sorry for rambling, thanks for your help.
Andy
October 23rd, 2007 at 3:59 pm
John,
As someone who has had some pretty big writing assignments, and probably gets paid a substantial amount, how exactly do you get paid? By that I mean, are you paid in installments, or do you just wake up one morning and your whole pay packet is in your account? I ask because I read that Reese Witherspoon is getting paid $32 million for next movie, and I just wondered if the studios just give her a cheque for that much. Can you shed any light on this? Thanks.
October 23rd, 2007 at 4:41 pm
Hello John,
Thanks for providing such a great resource for the informationally deprived :) My question is in regards to obtaining scripts. I live in San Antonio, TX, not exactly the entertainment mecca, but I have access to some very well to do people, that have expressed interest in finacing a movie, I have worked on several non-movie related projects with these folks and have built a trust, my question in how do I get scripts to read in order to find one worth pitching?
Thanks, -Jason In Texas
October 27th, 2007 at 1:14 am
Hello John,
I’m writing a feature length about a small group of thirty-somethings that are having a hard time getting their shit together. Three of the characters have a tendency to use the word “fuck” a lot… in a variety of ways. I average two “fucks” per page… and let’s not forget the other “naughty wordsâ€? that so often tag along with “fuckâ€?, they’re in there too.
I’m concerned that those who purchase screenplays might look at this and be turned off. But then Pulp Fiction and Super Bad hit my brain and I stop worrying so much. Although when their scripts were picked up, Tarantino was at least semi-established and Rogen had the whole, I know Apatow thing going for him.
So, here’s my two part question: 1. How do producers/readers look at the word “fuck” when it appears so often in a new writer’s script? 2. Is there a rule as to how many “fucks” you can have per page without getting your script discarded? 3. If so, how many? 4. With no nudity and minimal violence, what’s the chance of this film (if made) landing an NC-17 rating?
Okay, so it was a four part question…
It may seem like a pointless topic but I can’t help but think it’s going to effect someone’s decision to buy or not to buy.
I appreciate you handing out all the free advice. You’ve yourself a superb site.
DQM
October 27th, 2007 at 1:20 am
Hello there,
I’ve been visiting your site for a while now and I’m glad to say it’s proved quite a valuable resource to me.
If you don’t mind a link to another site, I’ve written this article – http://www.dontmagazine.com/#/5/just-do-it/ – on the work of Quentin Tarantino (in the light of his most recent offering, Death Proof) and I have had so many really interesting responses to it. I would love to know your opinion on it, John, and any of your readers who might care to read it.
If not, thanks anyway and keep tossing us those nuggets……
Andre.
P.S. click the arrow to turn the page. The magazine site is quite avant garde and navigating it isn’t as simple as clicking #back#…..
October 27th, 2007 at 3:36 pm
What is your opinion about using jargon in scripts? I have written a pilot set within a fairly specific world that I have knowledge of. A couple people have read it and commented that there were too many specific references, but some other people weren’t bothered by them at all. I feel like I need a fair amount of jargon for it to be authentic. For example, I have no idea what the medical stuff in House and Grey’s means, but I’m okay with it because it just grounds us in the world. Do you think that it’s okay to use jargon as long as we still understand what the characters want – or should I dumb it down?
October 28th, 2007 at 1:57 am
Hi John,
First, I have to say that I just found your website three weeks ago, totally by accident. I love reading all the advice you give. Then, I was thrilled to learn that you were a guest speaker at the conference last weekend. I thought your talk was very informative. Thank you.
As for my question, it pertains to the pitch part of the conference. I know there was a line of questioning on your site about the value of pitch festivals, and found everyone’s comments useful and interesting. However, I am wondering how to qauge the responses I received from the executives. Of 22 pitches, 18 asked to see my script. I left feeling like a million dollars! However, now that I’m home and knocked back down to reality, I’m wondering if they merely asked for them to be kind (or worse yet, if they were told to be very receptive by those who run the conference in order to keep a high opinion of the conference). How much stock would you truly take in their reactions? Do you know of anyone who’s ever sold a project through this avenue? One executive went as far as to tell me to be patient, that their script reader is very slow. Should I take that at face value, or with a grain of salt? (I feel I need to insert a comment here that I do not pepper my writing with these over used phrases I appear to be throwing out as I write this… just can’t seem to stop myself). Thank you again for all your advice. I look forward to learning more from you.
Jen
October 28th, 2007 at 4:50 pm
Would you happen to have a reality show script? I have an idea and need to know how would I write a script or present it. Please help.
Thanks,
October 29th, 2007 at 5:52 am
Sorry, not a question, John; just a largely favourable review I thought you might wanna check out over at Empireonline.com. It’s of The Nines, by the way.
http://www.empireonline.com/reviews/review.asp?FID=135163
October 30th, 2007 at 9:20 am
Hey John, just wanted you to know that your footer is broken. FYI
October 30th, 2007 at 9:33 am
Scratch that. It’s fixed again. Weird.
Anyway, is the WGAw going to strike come Nov. 1?
November 2nd, 2007 at 5:09 pm
John,
With the writer’s strike upon us. What does that mean for the talented, but unsold writer? Is there a potential upside for us? Will managers, agencies, production companies be seeking unsigned writers at a faster rate during this period? Will writing assignments be available to non-union writers and if so, do you advise someone trying to break in to do so at this time? Will it be any easier or accessible to sell my spec now or just as hard as usual?
Thanks for the advice, I wish more successful SC’ alums were as active and supportive as you. Much appreciated :0)
November 5th, 2007 at 8:54 am
John,
I’m a police officer in Miami. It’s the greatest job in the world and I love it. I also write screenplays on the side as a hobby. Assuming they are any good, is there any realistic chance of writing and selling screenplays as a part time gig from Miami? Or is it one of those deals where if I want to write screenplays that get maide I’m going to be forced to quit being a cop and move to L.A. or NYC?
Thanks!
November 5th, 2007 at 2:27 pm
Terribly selfish question here. I know you’ve been deeply involved with the Sundance Screenwriters’ Labs over the years and they’re considering a script of mine right now. Will the strike affect the lab? I’m looking for a glimmer of hope in this rough time.
Oh, and SOLIDARITY!
November 6th, 2007 at 12:39 am
Dear John,
I’d like you to ponder something. I have been troubled by the recent deals where established or “name” writers band together in order to get improved gross participation and creative rights. The concept bothered me the first time I heard about it back in ‘99 when the first group did it at Columbia. You say you were part of that group of thirty writers. I was not on the list of thirty, although, under the criteria of the deal I did qualify. Back then, it struck me that making lists of writers for the studios was not a good thing and I feel just as uneasy about it today.
Is it possible that groups of name writers who band together take economic opportunity away from other writers, both established and newcomers? It occurs to me that creating these exclusive pools of talent will discourage unimaginative executives from looking beyond their lists to find other material or writers. I’m certain that the studios’ motive is to create a reliable stream of product from the best writers in town. Sometimes the best writers by studio standards are the most cooperative writers or writers that the studio execs enjoy having dinner with.
I am personally familiar with some of the writers on these lists. They may well be the best writers in what is a very subjective field, but banding together in self-annointed groups may not be the best strategy for the larger community of screenwriters as it is sometimes promoted. It could be viewed as a somewhat self-serving method of consolidating their present status. I believe that most of these writers are well meaning (as I’ve mentioned, I know some of them and they are not bad guys), but there seems to be some false logic in their plan. I think it should be re-evaluated by these scribes in terms of how it affects their brother writers.
Finally, I guess I should defuse the appearance of bitterness… I’ve been in the Writer’s Guild for thirty years. I’ve served in every writing capacity from spec script seller to production rewriter. I’ve worked for EVERY major studio… OF COURSE I’M BITTER! But that’s besides the point. Every interview from these groups of writers is laced with bitterness and tales of woe. I have plenty of those to share. I just think we need to take a long look at these deal and analyze what they really end up accomplishing. Tell me your thoughts.
Sincerely,
Randy Feldman
November 6th, 2007 at 5:49 pm
Hello,
I wanted to ask you a question about getting into TV and Hollywood work. I have a degree in English Lit and I do creative writing, but I’m completely stumped as to how to get into this industry. Do I submit my own scripts? I was always told to not send random pieces of creative writing because no one will read them. What exactly should I be submitting to work in TV and what should I be submitting if I want to work in movies? None of my professors could ever help me, so I’m hoping a professional can!
Hillary in Lansing, Michigan
November 7th, 2007 at 9:55 pm
You seem like a reasonable guy. Straight shooter and all that, so here’s my question (actually a couple, deal with them as you may):
I’m not a WGA member and am just a little confused. Are ALL writers in the movie business members of the WGA? And now that there’s a strike on, are there writers submitting scripts to companies that aren’t AMPTP signatories–companies like Focus Films and New Line come to mind. What are the consequences for me if I submit scripts or story ideas to these companies?
Thanks.
DK
November 8th, 2007 at 2:58 pm
John,
I was wonderin g if now would be a good time to send out spec scripts and querry letters to agents. I was going to send them out but the writer’s strike gave me psuse. Is the writer’s strike a reason not to send out specs/querries or does it actually provide a good time for aspiring staff writers to get on after the strike. Also, I would assume that agents actually have time to read the submits and may be more apt to accept new writers for future projects. Please let me knonw if it is a good idea or if I should just hold out on it until the strike is over.
Signed,
Trying to get outta TX
November 8th, 2007 at 8:00 pm
Not a question more of a post directly to John on another Blog site which has featured one of the trailers from THE NINES competition which ran a little while ago.. Just thought you’d like to mosey on over and check it out..
http://www.rougewave.blogspot.com/
Fully behind you guys on the strike even though I’m a Brit, hope this resolves for you guys.. I really do..
Peace..
November 9th, 2007 at 12:12 pm
just kidding. I remember reading somewhere years ago that actors and/or writers try to do every genre in order to broaden their ability/appeal/ego. good idea or no, does that mean we can expect every top name actor to be doing at least one western if they haven’t already? albeit “zombified”, but even YOU have a western script under your belt. I’ve been a true fan of the western up until Russell Crowe wanted everyone in the audience to know he could (nay couldn’t) sing and to check out his moronic rock band after they saw the abortion remake of 3:10 to Yuma. I mean, did anyone catch that part or was it just me that wanted to throw my pepsi at the screen when he started compassionately crooning to “they’re gonna hang me in the morning”!? holy crap! oops, time for my ritalin! but let me know if this urban legend is true anyway.
thanks john,
November 10th, 2007 at 1:10 am
I’m checking Scriptsales.com (Done Deal Pro) and noticing deals going on post-strike, for example, an Untitled David Goyer project logged 11/09. What gives?
November 10th, 2007 at 1:47 am
Not really sure why my question didn’t show up. Perhaps I should re-phrase it. John, the current sales list on scriptsales.com suggests that some deals have been done after the strike had been activated. Why are they undermining the strike efforts, and how can the WGA community be informed of their exploits?
November 12th, 2007 at 6:04 am
Hi Mike and Dave Kotzin,
Regarding your recent posts about the script sales announced after November 5th, 2007 and your questions about submitting scripts, etc., during this strike period…
My educated guess is that the buyer of the script (production company) is NOT a WGA Signatory Company.
Therefore, a non-WGA writer could sell a spec script to a non-WGA Signatory Company and would not be in violation to the current strike.
Below is a link of all WGA struck signatory companies: http://www.wga.org/subpage_member.aspx?id=2537
However, to use a personal example…
Days before the strike began, I was in final contract negotiations to work on a script for a Signatory Company. Once the strike began, all contract talks were over (the deal is essentially dead and my directing the project is looking shaky now because of it-unfortunate, but what can one do?).
Even though I am not a WGA member (this was to be my first Guild contract), I cannot provide any writing work or even continue my contract talks with this signatory company, lest I wish to jeopardize any future WGA membership/work. Because doing so constitutes a breach to strike contract. ie a scab writer.
The company tried to continue contracts talks with me all last week (during the strike), which they are not allowed to do and they were reported to WGA for this conduct. I was told WGA attorneys will send a, oh so polite letter to the company on my behalf.
If however, you do find a writer working for a signatory company, such as your examples of Focus and New Line, you can call the WGAW STRIKE TIP HOTLINE at (323) 782-4898, because the online form is not set up yet. http://www.wga.org/subpage_member.aspx?id=2562
So while the strike takes its course, I’ll be taking advantage of the time and getting my butt in gear to finally shoot my dream project (hopefully Jan 2008).
In the interim, I will be following John’s advice and will go see if Barnes&Noble is hiring. :)
PS John, I hope to see you at the picket lines. It’s been ages, dare I say?…Kudos and contrats on all your accomplishments since that time, including this site.
November 12th, 2007 at 9:08 am
I work as a PA on a very popular network show. I fully support the writers strike as I am an aspiring writer myself. I really don’t want to cross any picket lines, but I know how expendable I am. If I don’t show up for work, I will be replaced within hours. I’ve been using the back entrance to my studio where there are less writer’s picketing (more importantly writers that I don’t know), but the fact is, I just feel like a guilty horrible person. I am directly going against people who are basically fighting for my future well-being.
I want to show my support, but I am unsure how to do that without losing my job. I was going to spend my lunch breaks on the picket lines until I learned that anyone still working for the show would be fired if they picketed (can they even do that if it’s my lunch break?) I was also doing this t-shirt a day thing where I wore a new pro-WGA t-shirt every day. I was pulled aside and basically told to stop since my job brings me in contact with a lot of network execs at other studios.
I am actually looking forward to being laid off so that I can picket and express my opinions more freely. Quitting would be shooting myself in the foot though because when all the wrtiers go back to work, I would still be unemployed, having left probably the most successful show I will ever work on.
Do you have any advice for someone like me who is forced to cross lines, but very strongly believes in the writers’ cause? What should I be doing in this situation?
Thanks.
November 13th, 2007 at 8:38 am
Hi John,
I’m currently a freshman in college and I have grandiose dreams of becoming a screenwriter and director. What is the academic/extracurricular/proto-career path you would recommend an aspiring college student take (both during the school year and the summers)?
Michael Middlebury, VT
November 14th, 2007 at 1:47 pm
Hi John,
I have no experience whatsoever in the behind the scenes process (i.e. directing, writing, editing, etc.) but I want to write a pilot for a show. So what makes the pilot different than a script? How do I go about writing a pilot?
Thanks for your help,
Bella
November 14th, 2007 at 11:13 pm
Hey John,
I know this sounds like a strange question, but what is talent? I hear people gush about how talented this person is or how you can’t make it in this business without talent. I guess my real question is, how do you know if you have talent? Are physical signs? Is there some sort of screenwriting aptitude test you can take? How do you figure out whether you’ve actually got “it” or whether you’re just like the millions of other people that think they do? Thanks.
November 15th, 2007 at 6:23 pm
John,
Brilliant teenage minds need informed high school English teachers to foster their growth in writing. Any leads on university courses tailored to teach secondary educators the basics of screenwriting (if there are indeed basics)? A number of my students have expressed interest in screenwriting, but I am woefully unqualified to stretch beyond documented essays and personal response to literature. Perhaps a marriage of film studies (already taught at my school) and English? Suggestions are welcome.
Still teaching Paige
November 16th, 2007 at 2:35 am
John,
never underestimate the power of the movie poster. Check out this thread from the Football365 forum:
http://forum.football365.com/index.php?t=msg&th=433605&start=0&
Please note: this forum is rated R
Can’t wait to see it – opens here on November 30th…
Peter
November 16th, 2007 at 5:47 pm
I’m hoping that a question completely unrelated to the strike might pique your interest enough to provoke an answer.
It’s a bit of a geek question. I’m looking into buying a laptop in the new year. As an aspiring digital filmmaker, I want something robust enough to handle the technical rigors of video capturing and editing. I’ll admit right now that I’m absolutely clueless about what sort of technical set-up I might need to purchase… so I suppose that’s my question. Being a bit of a tech/film geek yourself, is there any advice you can give me on hardware that I’ll need to handle the editing, etc. of a digital short film (camera notwithstanding)? At this point, I’m open to both Mac and PC, though I’m currently far more familiar with PC. Right now I’m only looking at hardware considerations–I’ll worry about cameras and software later. Internet searches provide me with great specs for gaming and other audio/video intensive past-times, but I’m having trouble finding any, say, minimum specs for a multimedia editing machine.
Hoping you may be able to provide some insight,
Sam in Edmonton, Alberta, Canada.
November 21st, 2007 at 8:01 am
In your article about dialogue you have suggested:
It seems to be really stiff to me is that because you are trying to tell the audience what is happening. In your article about dialogue you have suggested:
November 21st, 2007 at 12:29 pm
if only we could make as big a wave striking against our idiotic government. learn to unite more like you guys as a nation and we might be able to pull out of this crater forming nosedive.
November 26th, 2007 at 1:01 pm
Dear John,
I have always wondered…Will being bald and having glasses help my screenwriting career? I am balding, should I wait till I am completely bald to launch my career?
November 27th, 2007 at 8:02 pm
John,
I have a career. I work in IS and I’m a certified project manager and web analytics professional for a Fortune 500 company. So, I’m in a different boat than a lot of people here. I’ve always had a strong interest in writing, which I dabbled with in high school and college, but left behind as my IS career took off. Recently, I’ve been interested in re-exploring that old hobby of mine.
Do you know of any free software for script writing? It doesn’t need to be perfect. Just something that will limp me by while I explore writing again. I don’t want to sink $800 bucks into software yet, until I’m sure that this is something that I’d like to pursue more seriously?
Also, are there scriptwriters out there that are professionaly writing scripts that have ‘other careers’ like myself? Can somebody in the midwest be a good corporate citizen by day and a paid scriptwriter by night? Is it being done?
I thought I saw an interview with Mike Judge saying that he had a background working in software engineering or something before moving into movies. I’d like to do both. Suggestions?
Sincerely,
Alice Cooper Fan Minnesota
December 4th, 2007 at 7:39 pm
What did it take to become a writer of your caliber? What does a writer need to do if he wants to write for a Tim Burton?
December 4th, 2007 at 9:48 pm
I’m curious about how much personal writing you do in a non-strike interval: journaling, essays, warm-ups, letters, etc. How does the amount you are writing for yourself impact the amount you write for a script or other profit? And then there’s email… which can suck every last word out of a writer, if left untamed. Not to mention blogging. What’s the tipping point for you? Thanks.
December 5th, 2007 at 2:27 pm
John,
What did you mean when you wrote something about that “spike-of-envy” article that you’d probably quit if you didn’t get that spike every once and a while?
December 7th, 2007 at 12:48 am
Dear John,
Is there a general rule of thumb regarding the number of scenes a movie should have? I’m talking about a general commercial-type rom-com. Any industry standard?
I talked to screen writing students here in Israel. While they learn the material in Hebrew, the screen writing lingo is all in English: scene, sequence, arc. etc. But to my horror, as we talked about “the premise of the movie” (they used “premise” in English) I realized that screen-writing teachers here forgot to pick up the dictionary and look the word up. So they now think that “premise” is the theme of the movie, the message. To clear things up could you supply us with a concise explanation, or an example, of what a premise would be? Let’s say of “Go”?
December 11th, 2007 at 3:34 pm
Hey there John, I just found this site a week ago and it has consumed most of my week. I love it. Bravo. Anyway I was wondering if there was a site just like yours about the other aspects of filmmaking. Such as directing or producing or cinematography. Thanks and keep up the good work. Sai Ohio
December 11th, 2007 at 4:37 pm
Hey John, I saw that you posted my short Mano a Mano on your blog– coolest thing that happened to me all week– thanks so much for doing that and for your compliments in the heading of the post– its on youtube and there is a flash file you can direct link to on my site of you want to embedd it instead of linking to my site.
would love to speak with you more about it– thanks again– tss
December 19th, 2007 at 7:18 am
Hello John,
Three of the characters in my screenplay have a tendency to use the word “fuck� a lot… in a variety of ways. I average two “fucks� per page… and let’s not forget the other “naughty words� that so often tag along with “fuck�, they’re in there too.
I’m concerned that those who purchase screenplays might look at this and be turned off. But then movies like Pulp Fiction and Super Bad pop up and I stop worrying for a while. Although when their scripts were picked up, Tarantino was at least semi-established and Rogen had the whole, I know Apatow thing going for him.
Questions: 1. How do producers/readers look at the word “fuck� when it appears so often in a new writer’s script? 2. Is there any sort of rule as to how many “fucks� you can have in your script without it getting discarded? 3. Can you receive a NC-17 rating for strong language alone?
Pointless topic? Maybe, but I can’t help thinking it’s going to affect someone’s decision to buy or not to buy my first screenplay.
I appreciate what you’re doing here… Great site.
DQM
December 22nd, 2007 at 2:22 am
John,
I have a screenwriting book that indicates you should use the word SUPER in order to indicate text is placed on the screen. An example would be…
SUPER “BAGHDAD, IRAQ�
…to convey to the audience that the scene is taking place in Iraq.
However, I just browsed through your script for The Nines (Thanks for putting it up) on page 5, you use TITLE OVER.
Is there a difference or do they serve the same purpose?
Thanks!
December 23rd, 2007 at 3:36 am
Basically, my situation consists of a storyline with deep symbolism so I need to mention how certain scenes need to be shown to make the most impact. I know I can put different techniques with camera angles that haven’t been brought to the screen, which makes my screenplays that more exciting. Also, I found a way to put the camera angles in the screenplay without interrupting the story. I feel that my transitions are flawless from one scene to the next. I must explain them even if it takes off some of the edge or “flow.” With these notes would people take time to read them at a company and if I wanted to direct it what would be the first couple of steps?
Gratefully,
Daniel
December 31st, 2007 at 6:02 am
Hi, I wanted to tell you that how happy I am about prince of persia movie is going to be made.I won’t talk about who should be the actor as long as he is suitable to play the “prince”. I just want to say that the movie should be at least 10 times cooler than the “300″ movie and “300″ is a cool movie.Prince of Persia should be written with a new artistic point of view plus giving the warrioristic feel to it.To make it feel more real it must show some gore or it will lose that flavor.And the movie should be a bit longer than traditionally movies are. Anyways enough of my chattering, I wish you luck for this project may this be the coolest movie I ever see!P.S can I submit some of my written works,I don’t even need credit just looking at my work up-screen someday would be good enough for me.Thanks Good-day!Chow!Khuda-hafiz!
January 2nd, 2008 at 11:53 am
Hi John,
I have an idea for a TV series which has been inspired by a person living person. What does the law says on writing a television series on this ?? It’s a some what generic-name such as John Smith, but, also specific enough to be catchy.
Your thoughts.
January 2nd, 2008 at 4:09 pm
Hi John,
I’m a trainee English/Media teacher, in Cornwall, UK, and I’m writing a series of lessons for Year 7 (11 year olds) on “The Moving Image”. I have chosen to use your version of Charlie. I would like to use a small snippet of your script, compared with a small snippet of Dahl’s book, in order to explain how a book is transformed into a shooting script. We’ll then move on to directorship- camera shots etc…
Is your script-or parts of it- available for educational purposes? Can I buy a copy? Or-are you able to send me a small excerpt? It would be very kind, and in return, you would receive letters of thanks from my lovely students, I promise!
Happy New Year, Helen
January 5th, 2008 at 11:26 am
Hey John,
Is it proper for me to look for an agent during the strike or should I wait until it’s resolved. Furthermore, are agents even interested in picking up new clients right now? Thanks.
January 6th, 2008 at 3:04 am
I am a Mass Media Graduate from Mumbai(India)with no background in film. Although as a part of my course, I have dabbled in film-making on a very superficial level and am a fairly good writer . I was planning to apply for NYFA’s one-year film-making course and wanted to know if it is really worth it ?
I am looking for a Masters or a post-grad course in film-making as I don’t wish to do another graduation course .Is there any other university or institution offering such a course ?
Would really appreciate the help as I do need the guidance . Thanks .
January 6th, 2008 at 7:20 pm
Even though it may be out of fashion I would like to download the Prestige Pica font for my own use. I’ve searched all over Google and can’t seem to find it. Any ideas?
Rob, Minneapolis, MN
January 8th, 2008 at 10:58 am
When does it make most sense to set up a formal reading of one’s screenplay? I’m currently revising my Third draft and feel I’m getting close to a working ‘Final’ draft (is it ever?). I don’t see the story elements changing much, but I do need to make some cuts and I’m finding it hard to pick out which scenes are working and which aren’t. Thanks!
Matt NYC
January 8th, 2008 at 7:38 pm
John–
An amazing thing has happened since the writers have been on strike– people are actually being forced to pay attention to the election with nothing else on TV. Maybe the WGA should stay on strike until 2009.
January 9th, 2008 at 4:32 am
Hi John
I’m currently writing a dissertation on the writers strike and as it is such a current affair getting you thoughts and opinions on the subject would help me out a great deal and would give so much credence to my work. My primary thesis is; how the strike will affect the industry in the future, what it will mean for future WGA members and also whether or not “new media” devices are a profitable media outlet in the future.
So the couple of questions I have for you are these: Which issue do you feel is the most important that the WGA have raised? And what do you feel will be a negative outcome of the strike, if you think there will be one at all?
I hope you find these questions interesting enough to warrant an answer and if you feel like elaborating and commenting on other areas of the strike and the WGA and AMPTP then feel free as again it would help me tremendously.
Thanks for reading, your website has been a fantastic resource for my dissertation and on a side note I loved The Nines which lead me to your blog in the first place. I look forward to your reply.
Yours Sincerely
Dave Scarborough, Cornwall UK
January 9th, 2008 at 8:35 am
Would a scene that takes place in a pool of water that follows an establishing shot of a jungle be:
EXT. JUNGLE – POOL – DAY
or
INT. POOL -DAY
Thanks,
Scott
January 11th, 2008 at 2:40 pm
Hi John,
Just wanted to point you to this link before asking a question: http://www.aintitcool.com/node/35247.
That news-bit basically states that a studio has a project (Conan) moving forward with attached screenwriters. Isn’t this against strike rules?
I mean, if all studios eventually just enter into invidual negotiations for the use of certain screenwriters, doesn’t the strike just sort of…implode?
Ted
January 12th, 2008 at 4:51 am
Dear John I’m studying Dramatic Literature in University Of Tehran, Tehran, Iran. But my interest is writing screenplays. So far, I have written several screenplays but as you may know making films in Iran is not easy due to extreme censorship and I have not had any opportunities in selling my screenplays in Iran.
I am writing to ask you about an agency (I can find them on the web but I do not know which one is trustworthy) or a good screenplay festival, in which I can present my screenplays. I have sent one of my screenplays to the Screenplay Festival (www.screenplayfestival.com) and I have been chosen as one of the semi-finalists, but I do not know how much that festival is valid and well-respected. I would appreciate it if you can tell me a bit about that festival too. Thank you in advance,
Ehsan
January 15th, 2008 at 12:02 pm
I saw, The Nines recently and since I’d appreciate a note from you about a feature I wrote and directed I’m making a huge presumption in writing you about your show.
I haven’t read any reviews and I don’t review films so I’m guessing I’ll spout a few opines you’ve heard more than once by now.
1) You nailed the casting with one exception: Ms. McCarthy.
Your show was the first time I’d seen her on screen: Yes, I’ve very successfully avoided what certain suits call American broadcast television because I just hate it that much.
As for Melissa: She’s too fat. What do I mean by too fat? Too fat is someone who makes me wonder what their doctor says to them during an office visit, or what their blood glucose level is on average, or if their ass could squeeze into an airliner seat. Yes, I am a height/weight proportionate guy but I have to work at staying that way and if I can do it…
In a nut, Ms. McCarthy’s weight distracted me even though she’s an excellent actor. Besides, it’s not healthy for a woman pushing 40 to be obese. And yes, I feel the same way about Jeff Garlin :)
2) Hope Davis is hot! I last saw her in, The Hoax but she didn’t present (to me anyway) as a viable love interest. Now I’d like to take her to dinner. And I’ll point out that she’s NOT skinny by my standards but she looked great.
3) Ryan Reynolds showed me he’s got some juice. Kudos to you and him.
The Story/Script
You of course bear full reponsibility as writer/dirctor–nobody to blame but you, Mr. Finalcut :) And yes, I know the feeling albeit on a significantly smaller scale.
The first thing I noticed was the self-aware almost a wink-nod in my direction–pushing that fourth wall. I don’t automatically bridle at that technique but in your case I could tell I was being set up for something…
The BBC did 30 minutes recently on the life and works of Edgar Allen Poe. One of the lit wonks made mention of, “the unreliable narrator” often used by Poe for dramatic effect.
I got that feeling from your show but he effect was interrupted at every episode break because I was waiting for the next piece of the setup.
Gods and Monsters
I’m an atheist so I’ve learned to live with one god or another popping up in stories and some of my favorite films include an iteration of him/her/it, e.g., It’s a Wonderful Life.
I didn’t like the idea of Reynolds’ character being god. It might have worked better for me if I’d known or just suspected his role sooner.
I didn’t like the plot twist revealing that the god of humanity got addicted to the white American lifestyle, but not because I can’t imagine a god becoming a metaphorical crack addict. I was irked because I didn’t get a payoff. Everyone was way too nice to a god who’d become a bit of a dufuss. I wanted someone (McCarthy maybe) to rip him a new one.
As a writer (spelled, c-r-e-a-t-o-r) I can appreciate your message and your angst while picking on the details :)
David
January 16th, 2008 at 5:59 am
John-
I find it utterly fascinating that the WGA strike gets little to no media coverage. Is this because the studios either have direct or indirect contacts(or own) with the media outlets? Thanks Carlos
January 22nd, 2008 at 6:13 am
Dear John,
I’m a writer living in London. I have an agent over here and he has taken my spec to Endeavor and CAA who both want to sign me. Just wanted to know your own ‘personal’ thoughts on who you would opt for if you were in my position. Is there a downside for me?
K
January 22nd, 2008 at 7:32 am
Dear John, I have one – to me – burning hot question. Maybe you have an answer for me, since you might be someone, who knows. My question is, do you think there’s different writing styles between European and American scriptwriters? I’m not talking about the format, I mean the way they express themselves. The reason I ask is that I have a friend, who is the father of a well known actor. He and his wife gave my script a read and than told me exactly that. He said that he thinks, there’s a difference and I said that I think that it’s just me and my own personal style. What do you think? Do you have an idea?
Thanx and greetings to Cali. Sabrina
January 27th, 2008 at 5:48 am
Hi John. Saw your The Nines yesterday…
I’m a bit curios about quite a few things in that story. I’m for shure to sound a bit… hmm… well. Crazy is probably a good word for it. (Not that it matters to me anylonger, I’m fully aware that everyone lives inside their own creation either way)
I would like to get in touch with you, in what ever way you see fit. There are so many key elements in The Nines about, that well, the life that I have experienced, is uncanny in similarity. (not the parallell lifes things, but pretty much all the rest)
I’m more then a bit blown away by it, to say the least. I find it difficult to find words for what I feel right now, but I would greatly appreciate if you find the time to reply to this.
Namaste In lak’ech
Amrit
January 28th, 2008 at 6:47 am
Hi John,
Thanks for the great website!
I’m a writer in NJ, an Indie Prod Company loves my script and has sent me some contracts to sign. I re-read your article of 11/11/07 WHY WRITERS GET RESIDUALS and was struck by the line: “…you the writer control the ability to make derivative works”. When I sign a Literary Purchase Agreement, is this a write I am typically giving up? Does this mean a prod company can make a sequel, for instance, without me? But I would still collect royalties on any derivative?
If this is the “industry standard” is it out of line for me to want to include a right of first refusal on scripting a derivative?
Thank you! Mark
January 29th, 2008 at 11:38 am
I just saw The Nines (twice). What an incredible film. Rarely do I feel compelled to contact a filmaker/ writer about their work.
The Nines is now in my Top Ten List next to PERFORMANCE and FIGHT CLUB.
If you like Surf/Lounge music, check out my site: http://www.pascalrecords.com.
Keep up the great work.
David Pascal
January 29th, 2008 at 7:04 pm
I just watched “the Stupid Nines”
fuck you
January 30th, 2008 at 2:31 pm
Hi John,
I’m an aspiring/first-time screenwriter who wants to learn the best way to write a screenplay – not in the sense of how-to-construct a three-act structure, but the best way to write character introductions, action description, a style that flows and sucks the reader in: things like that. In short, which screenplays should I read? And what screenwriters? What are the best screenplays to learn from, and which ones are considered masterpieces of the art form?
Hungry to read the masters,
B in New York
January 30th, 2008 at 4:51 pm
JA,
Quickly, I’d love to know some of the other blogs, websites, and mags you frequent (mostly related to the idustry). Love your work here, and assume you have great taste.
Peace,
MWH Jersey
January 31st, 2008 at 9:44 am
All these blog entries about the strike are boring as hell. It must be twice as so actually having to do it instead of working on your films.
February 2nd, 2008 at 8:21 am
Hey John,
I’m looking to do a first DVD viewing of The Nines in the next few days. Any liner notes you’d like to share w/ newbies?
LIP
February 4th, 2008 at 11:19 pm
Hey John ~
Much thanks for your site.
Will always remember this is where I learned how to do a beat sheet. : )
I just recently heard back on a script I was able/allowed to submit to an A-list agent. My script was finally covered and it received an overall positive review with some small suggestions, but the last line on the coverage was:
“Although increasing tension will improve momentum, the lower budget piece could find a niche with art house auds and may interest an indie production company. WEAK CONSIDER”
Q: John what does this mean? I was told by a well respected WGAer that the scale is probably: WEAK CONSIDER, CONSIDER and STRONG.
Do you think there may be interest? I have yet to get back to them (was told to contact w/ any questions, etc.)… this was my first script covered.
Cheers & Thanks for any input.
R
February 7th, 2008 at 3:31 am
Why did Edward Bloom leave Ashland?
February 7th, 2008 at 6:49 pm
John,
I’m currently in the middle of writing a couple of different screenplays at the same time, this way I can keep both ideas fresh and work on one when the writer’s block gets tough. My question has two parts.
1) Is it OK to start rewriting a script when you aren’t happy with the way it is going or should you just ride it out.
2) Is it a good idea to write different projects at the same time or even write a few at a time?
Thanks
Jarrett, Sayreville, NJ
February 10th, 2008 at 6:38 pm
John,
You’re maybe the most accessible screenwriter on the web, so I’ll say thanks to you to say thanks to all the writers who went on strike. I hope to be a guild member before too long and I’m glad gains were made by writers willing to take a bullet so maybe I won’t have to.
Sincerely, thank you and your colleagues for gaining ground. I’m glad it’s over.
Russ
February 15th, 2008 at 12:01 am
John,
An independent producer recently approached me and asked if I’d adapt a novel (he owns the rights) into a screenplay. There are already interested financiers but their waiting on a screenplay. The good news is – this is an opportunity. The bad news – I’m paranoid. So, here are a couple of questions for you and anyone else who can help me.
1) Should I sign a contract before writing/showing the material I’ve written to the producer?
2) I know (from piecing together several statements made in meetings) that the producer and financiers know some “big players” that might be interested once a screenplay is presented. How can I avoid having my screenplay being used as a way for the producer and financiers getting their foot in the door only to boot me for a more experienced writer?
I know that there are some legal issues involved here, and that you’re not a lawyer but I’m a newbie.
Thanks,
Edward New Mexico
February 15th, 2008 at 3:16 am
Hey are you familiar with our little indie rock band “The Nines”? We had a couple of songs on American TV shows (Dawsons Creek) through Tristar, and a small cult following in the power pop scene. Cheers from Toronto…
February 15th, 2008 at 1:47 pm
I would just like to say i watched ‘the nines’ and it was fantastic i loved the ideas in this piece. thank you
February 18th, 2008 at 11:45 am
I’ve seen the nines twice now. I had no Idea that Ryan Reynolds was so versitile. He actually stopped being Ryan Reynolds which was a trip for me because I never expected it. This year I’ve had my view of his abilities completely overhauled, and The Nines is the icing on the cake. I live in Oklahoma so needless to say it took a while for me to see this movie. Melissa McCarthy was wonderful also, and I loved the short film “God at the end”. The thing I love most about this movie is that It’s so well written, My fiance speaks sign language and it was spot on! Well cast Well written. Made me want to try Crack! ha ha Good job man!
February 18th, 2008 at 3:38 pm
Hi John,
Now that the Writers Strikes are over, and you’re back to work hammering out creative genius, I was wondering if you could please start to dedicate more of your blogs to the “Craft of Screenwriting” again?
Don’t know if you remember, but your New Years Resolution last year was to focus more on the nuts and bolts of Screenwriting, and while there have been a few blogs about it, I crave more!
I would particularly like to read more about Pitching, Dealing with the Studio System, and getting ideas off the ground into script form and into production.
All subjects you’ve dealt with in the past, but since the subjects are so large – there’s plenty more to cover!
Thanks very much! Jo
February 19th, 2008 at 9:28 am
Cheers mate.
I’ve been scouring your website for an answer and have yet to come up with one, so thought it time to ask.
I’m working on a short film, or atleast what I thought would be a short film with some buddies of mine from work. We all work in a dead-end television job but have various degrees of expertise in film. As a writer, my suggestion was, “How about we go back to basics. I write a great low-budget script, we shoot it, and get the hell on with our real careers.” So I have decided to go back to basics, find stories that intrigue, at a low-budget cost, and something we can work on, on weekends. So one night listening to the BBC radio after work, I heard a story that intrigued me so much, I couldn’t get out of my car after I had parked, hanging on every word. Afterward I knew I had found my idea for our short. I did some research on the Internet and sure enough, there were newspaper articles scattered throughout the east coast on the same story. So here is the question: What’s public domain and what is copywritten? If I write this script, and my friends and myself create a short with it, will it come back to bite us in the ass? In the story one man was arrested and sent to jail for life, another woman was still living in her trailer park, but doesn’t care about the man’s conviction. So 2 people involved are still alive.
So if the story is broadcast on the BBC radio, and in newspapers, does anyone have the right to make a short film about the story – or even a long film for that matter? I obviously wouldn’t use their real names, but what other precautions would I take?
Also, the script is turning from a short (2-10 minutes) into a longer short (20-30 minutes). The problem with this is I think it is a viable story as a short, because it is short and sweet, and intriguing…but if it gets any longer, I fear I may lose my audience, the payoff isn’t as great, and I don’t think it is worth the 2 hour sit (though I’ve seen a lot of 2 hour crap lately that states otherwise).
Some advice would be most helpful and appreciated in this arena. Thanks.
February 20th, 2008 at 2:36 pm
Question… any tips on being subtle as possible in regards to writing dialogue. If this has already been covered then please point me to a link. What I’m specifically looking for is how to write between the lines. How to peel back the obvious in dialogue. How to strip it down.
Thanks.
February 24th, 2008 at 4:58 pm
Hi John,
I’ve noticed that with most of your screenplays on the site that you happen to use a darker font than the one provided by FinalDraft. What font would that be by any chance?
Thanks, Michael – CA
March 2nd, 2008 at 12:09 pm
Dear Mr. August,
I’ve been working on a dreaded “Serial Killer” spec for a few years. It’s mainly a back burner project, but I’ve worked out some plot kinks an think my skills have advanced enough to really flesh it out.
The Killer preys on young disenfranchised gays and male prostitutes from an underground rave scene, Street kids, runaways who come from the sort of ignorant places where “coming out” would destroy their lives.
A few people have mentioned that it would probably be more saleable if I maid the victim set female, because the wider audience may not be as sympathetic to the plight of gays.
I really don’t and most likely won’t make the change. I really think it would ruin my work, but I need to, on the other hand close a sale or secure representation. I’ve been at this for 15 years and need a victory, not just another “pass”.
I’d like to hear your thoughts on this as you probably posses a unique perspsctive.
Also, I hope father hood is finding you well. I have a 2 year old Son. Parenthood is alternately terrifying and gratifying and I am forever a different man. My wife and I are also due again in late August!!!
Cheers, Peter
March 3rd, 2008 at 6:20 pm
John,
I’ve been writing for sometime now. I write my ideas in long hand during the day and at night I come home and transfer my ideas into final draft. My question is this a good idea or not. I know that a lot of writers now a days don’t write long hand any more, because of modern technology. Am I writing for a lost cause or just keeping the faith alive.
Jarrett, NJ
March 5th, 2008 at 9:50 am
Hi John
As a huge fan of the movie, I was pleasantly surprised to see the whole of Alex Wurman’s music score for the Nines posted on facebook today. Is there anywhere we can download or buy the complete score? I know a few are up for download on Alex’s website but there are a lot of great tracks missing!
George in the UK
March 5th, 2008 at 8:55 pm
Dear Mr. August, I guess you probably already know about this, but the coverart for the region two DVD of “THE NINES” (which I loved, by the way) has been posted on DVD Active.
http://www.dvdactive.com/news/releases/the-nines2.html
Thanks again for the website! Michael in Alabama
March 8th, 2008 at 12:31 pm
Dear John, I am a Drake alum. Go bulldogs! I am giving it all up and moving to LA. I have 2 good spec scripts, one historical fiction (Forest Gump meets Last King of Scotland) & one action adventure; an award winning short and several treatements. What are the first five things I should do when I get there? RJ frm PA
March 16th, 2008 at 11:23 am
John, since we are well into a recession, I am curious in getting a sense of the costs involved for getting a script noticed and on it’s way to the big screen.
Say I have a script completed, what steps/processes are needed to go from a script to a hypothetical movie in the making. Am I required to travel to be onsite, what costs are involved in marketing, wga fees, agent fees, a reader/attorney, other hidden costs. What are the upfront monetary costs and what can I expect to see down the road. Could you outline these costs?
Thanks. appreciate it.
Mike in DC
March 16th, 2008 at 3:31 pm
John,
just watched There Will Be Blood, and I know it isn’t your script, but I’m really perplexed by the critical adoration heaped on this film.
I don’t expect you to respond to that, but my question is: does it really matter if your main character doesn’t change from the start of the movie until the end? As long as they fascinate and transfix the audience?
BTW – Michael Clayton… why didn’t this clean up at the Oscars?
Pete
March 16th, 2008 at 4:01 pm
Should add, I know Michael Clayton isn’t your script. But I just thought that it was astonishingly brilliant – a gold standard in terms of screenwriting.
Pete
March 26th, 2008 at 12:40 am
Hi John, A friend has offered to submit one of my screenplays to his agency. Although they are primarily an acting agency – they are now interested in representing writers. This friend has asked me for a finder’s fee. (I never said he was a close friend…) Of course this is cart before the earth has cooled but if I got repped and the script sold – what would be a reasonable percentage to offer as a finder’s fee? Are finder’s fees even heard of in the world of literary sales?
Thank you, Richard.
March 26th, 2008 at 7:44 pm
How do I break into porn?
March 30th, 2008 at 8:53 pm
Hi, this is Jolene Kennedy, a freshman journalism major at Drake University! I recently met with Professor David Wright (I think you know him?) and he suggested I speak to you because you’re a Drake Alum. Although I am currently a journalism major, I’m starting to realize I’m much more interested in screenwriting than research-based writing. I think I could really have a future somewhere in television or film, but I know very little about breaking into the somewhat intimidating industry. I wondered if you had any suggestions or insights for me.
Also, I am going to be in Hollywood for a good portion of the summer (my dad lives there) and wondered if you knew of any internships that could be beneficial to me. Yes, my experience is limited, but I feel could really do well in this industry and am very eager to learn all I can! If you know of anything at all, please keep me in mind.
Thank you for your time, Jolene
April 2nd, 2008 at 8:32 am
Hey John,
ever thought about coming back to WoW? I read a little about your first jaunt into WoW’dom, and it sounded a bit like me. WoW just ended up being too good for me, too fun, too engaging…. so i spent too much time playing it. It sounds like we quit at about the same time, i dropped it for a girlfriend, Valentines of ‘07 cause she was begging me to go out with our friends like the old days.
But I recently grabbed another copy as i have a bit of spare time every few days. And it’s changed a little bit for the better, I play maybe 7-8 hours a week and just do the PvP (arena) side of it, it’s what i always enjoyed and they’ve made a very casual avenue for playing it.
Either way if you’ve got a past time already that’s as cheap as WoW is than more power to ya, but if not you might want to try WoW again….. just be careful of her temptress side…
April 3rd, 2008 at 6:28 pm
Hello John, I’m a senoir in highschool and was assigned to make a foutry minute film with five other classmates. I thought that the main problem would be writing the script but I found that it wasn’t as difficult as I first thought. Currently we have the 36 page script and storyboards finalized and we just began filming. I’m finding now that the difficult part is the filming aspect. We are all rookies and we end up having to shoot each scene multiple times becuase something or the other goes wrong. We are very limited in what we can film because nobody takes highschool films seriously so finding appropriate locations is tough. Also not having final cut will tie our hands when it’s time to edit. I was hoping to get some tips and advice that will help us counter some of these disadvantages. Thank’s a bunch
April 6th, 2008 at 7:08 pm
hi john. a quick note to let you know i’ve just returned from bali where your movie ‘the nines’ is available as a pirated dvd. i mostly saw it with your regular cover (badly printed) but also a cover featuring ryan in his three guises… side by side. i guess it’s a ‘you know you’ve made it when…’ moment only second to an oscar… or golden globe.. or stubbing your big toe. regards, roger melbourne, aust.
April 8th, 2008 at 8:55 am
Hi John,
I’ve been reading your site for several years (thanks for all the great info!) and I don’t think I’ve ever seen you discuss how, exactly, professional screenwriters get paid. I know the breakdowns are in the WGA contract, but since it’s tax season, I was curious about the nuts and bolts of screenwriting income.
Is your check from the studio 1099 pay, or do they take taxes out? When you’re done with a job, can you go on unemployment? Do you pay estimated taxes throughout the year? And finally, how soon after a sale does it take to get your first check?
Just curious how it works in the world of the professional writer. Thanks again for running a great site!
Matt Los Angeles
April 8th, 2008 at 9:04 am
Roger: The “3 Ryans” cover is the UK (and possibly elsewhere) one.
I picked it up today. Had a bit of trouble finding it – it had been filed under “Ninos” (due to someone not realising which letter had been switched for a reverse “9″ in the title)
Looking forward to finally getting around to watching it again – and hopefully figuring out some more of what it’s all about!
April 9th, 2008 at 5:06 pm
There is a novel that I’m in LOVE with, a major studio adapted this novel like 40 years ago. I’m interested in acquiring the rights of this book not the SCREENPLAY that the Studio developed and made a film out it. Today… after 40 years, will the Studio own the book rights in perpetuity or does the rights revert back to the Author. And I could rebuy them from the author…. is there a standard practice when it comes to the time frame as to how long does one control the property… 10 yrs, 15 yrs, 30 yrs???… any light anyone can shed on this would be very helpful.
April 10th, 2008 at 11:10 am
@ SilentG: Best thing to do is contact the author’s (or estate’s) agent. Find out who that is by Googling “Author’s name” + “agent”; by searching the database at http://www.publishersmarketplace.com; or by contact the Rights Dept. of the publisher.
I don’t know what the standards were 40 years ago for control, but these days if a movie’s actually made, producers try to hold onto the book forever and ever and ever, unless someone’s willing to pay pots of money to buy the rights. But that may not be the case with this property. Ask the agent. She’ll be able to tell you the status, and you’d have to go through her if the rights were available anyway, so may as well start there.
April 10th, 2008 at 3:23 pm
Is anyone prepared to share/sell the Writers’ Bootcamp manual, if they have it?
hnif2003@yahoo.com
April 17th, 2008 at 8:24 am
Dear John,
After completing a few drama scripts I came up with a great premise for a horror script. However, after watching more horror movies to get better acquainted with the pacing, I found a lot don’t explore the main character’s “inner motivation” or “inner goal”.
It seems the only goal is outward survival. Am I correct in assuming you don’t really need an inward character arc for a horror script? Or am I trying to hard to find a profound character change?
(The intended audience for my script skews young — more The Grudge/The Descent/Final Destination than Rosemary’s Baby/The Ring, if that matters.)
Thank you,
Carol, Colorado Springs, CO
April 17th, 2008 at 10:27 am
Hey John,
All right, here goes: I’ve finished my script, it’s polished however it is 89 pages. I’m happy with the script, but after reworking it etc. It still comes in at that length.
Is that an unacceptable length?
Mark
April 22nd, 2008 at 2:06 pm
Historical Fiction.
I’m working on a television pilot that is (loosely) historically based. There’s so much from that period that puts the stressers on my characters, and ultimately shapes what is going on at the moment we step into this reality. The issue I face is, what needs to be spoon-fed to the audience, and what do we give to them over time? An example would be, for the pilot episode, at the very beginning, for the teaser, do I give a small expositional history lesson on what had recently happened, historically, to bring my audience to speed while slowly helping them to adapt to the environment they will enter? The only example I can think of is Deadwood, where there obviously was no “history lesson”, the show just dove right in. Which worked great for Deadwood, but the opening teaser for Deadwood was also an 8-minute long scene introducing Bullock and Star, and had nothing to do with Deadwood itself – a very unconventional way of starting a pilot or an episode…but it also has David Milch to its backing. But Deadwood was such a household name before the show was created, no one needed exposition to catch people up, whereas the place I am writing about is a lesser known environ. I also know Exposition=Death. So as far as pacing goes…what is best to do? Dive into small vignettes of these people’s lives, or a historical “education”?
Thanks, Chris
April 28th, 2008 at 2:24 pm
Hi John,
I have been tossing around an idea for an animated feature film. I have a ton of notes, character breakdowns, beat sheets, outlines, etc., etc. Now its just a question of putting it down on the page.
My question is fairly simple and straight-forward: Am I wasting my time?
I’ve read that writing specs for animation should be avoided, as the big studios typically take pitches, ideas, and submissions internally. Is this the case??
I know you are credited on Corpse Bride and Titan A.E. I’m assuming those were both work-for-hires. But what do you think about specs?
April 30th, 2008 at 7:08 am
Jason – Calgary
Hey John,
Many thanks for this website. You and Jane Espensen are my patron saints of the struggling screenwriter.
My screenwriting group just read ‘Go’ in our monthly meeting. Everyone enjoyed it and were impressed by the level of craft – your rising conflict, excellent method of giving out information in small amounts and deftness with dialogue.
However, two criticisms seemed pretty strong and I wonder if you’d like to comment. One was that there are really no character arcs. Everyone is pretty much the same person from start to finish. Everyone may be a little wiser, but they remain essentially unchanged. Do you think this is an issue?
Secondly, what is your theme or controlling idea? What are you trying to say with this movie? Is it as simple as, “Shit happens?” or maybe that humans are all connected? Do you feel that you should tell people what your movie is about or would you rather they take whatever lessons they want from your work?
Also, any comments on your title? What are were you trying to say with it?
Anyway, thanks again for your marevelous site. Congratulations on a great movie in ‘Go’ and continued good fortune in your career.
May 1st, 2008 at 8:39 pm
Hey John,
I’m an aspiring screenwriter who is planning on moving to California in the future (maybe around 5 years from now) so I can immerse myself in the industry, network, and so forth.
There’s one big catch though – I live in Toronto.
As immigration has just reared it’s ugly behind to me within the recent days, I’ve been giving my plan second thoughts. Will I be able to get a visa and stay in California in order to land a career as a writer? With all of the trouble that professionals have (lawyers, etc) immigrating to the U.S, one must wonder what an aspiring writer’s chances are.
I’m currently attending University in Toronto, will come out of it in 3 years with a degree in Creative Writing, and will have specs under my belt for the trek to the Golden State.
There are alternatives. I could deal with Toronto’s film industry or move to Vancouver, but these places are not where I’d like to ‘end up’ so to speak. Los Angeles is obviously the best place to network and get my name/work known. Of course the competition is tougher there than in the Canadian film/television industry, but this is of little concern to me right now.
I’m just somewhat cock-blocked (for lack of will to use a better term) by the immigration policies that make my plan to move to L.A seemingly near impossible.
Thanks so much for hearing me out and hopefully responding, John.
May 2nd, 2008 at 1:10 pm
WRAP WOOD!!
All right, I’ve finished the script and polished it to as good as I think it can be. I sent it to CAA where an agent is reading it!!!
Wish me luck!!!!
cheers,
Mark
May 2nd, 2008 at 1:12 pm
Beginners luck? Is that supposed to happen?
May 5th, 2008 at 9:07 am
…I don’t want to re-invent the wheel, nor do I have any allusions that I have what it take to write a screen play. I do, however, have a great idea for a sequel to a movie and I was hoping someone could shed some light as to what I do, or how I go about, putting the wheels in motion?
Without writing the script, would I have any ownership to the story? How do you articulate a story line with out someone taking it and run–should I contact the original writer/director—and where do you even begin? There is legitimacy behind the idea, but how do you even get in front of the stake holders in the first place?!
I’m not looking to make a fortune, I just want the thrill of having my story heard by those who can do something about it…any information you could offer would be greatly appreciated! If anything, point me in the right direction to get the ball rolling–if need be I’ll fly to CA and pitch it myself, I just don’t want to waste the time and money doing this blindly. Thanks a million!
May 5th, 2008 at 9:46 am
Okay so I think a subject everyone would benefit knowing about is financing. I know you’ve experienced it on several levels, from the nines to the new web pilot you mentioned, to God, all had to be financed independently, right?. How do you go about getting money to make your movie. You have a good script and you want to turn it into reality, what are the options. I know there are different ways to do it, depending on if you want to shoot a 5,000 dollar short or a 5 million dollar feature, but what is your experience. You don’t have to name specific financiers, but as a writer and director, I just wonder where is somewhere to start to get money to make your movie, besides loading up Visa cards. Thanks for your help. Andy
May 5th, 2008 at 11:35 pm
Mr. August – Thank you for The Nines…you have opened my mind in more ways I could have imagined a movie ever doing….the beauty and simplicity of the film finally hit me tonight after about the tenth viewing. Things are so clear now with every aspect of the story and when I pieced it together – it broke my heart, it lifted my soul, and it gave me peace. Thank you for sharing this with the world…”If that’s all there is…that’s enough.” Please keep your stories coming – and let me know if there is any way I can help (donations, etc) to help your projects stay alive so we can all share your next story.
May 7th, 2008 at 12:33 pm
Hey,
Great site. Quick question, more directing related than screenwriting:
Before directing The Nines, how much did you know about cinematography? Did you just have a basic understanding and let your cinematographer worry about the nitty-gritty aspects, or did you take more control?
All the best,
-Dave
May 7th, 2008 at 2:50 pm
Hey,
Great site. Quick question, more directing related than screenwriting:
Before directing The Nines, how much did you know about cinematography? Did you just have a basic understanding and let your cinematographer worry about the nitty-gritty aspects, or did you take more control?
All the best,
-Dave (Vancouver, soon to be Los Angeles)
May 8th, 2008 at 3:28 pm
John, in the “Big Fish Sequence Outline” posted in your “Download” section you have boxes around certain sequences (i.e. sequences 3,5,8 etc.), but not around others.
What do these boxes reference? Is it a checklist for tracking structure that you could share with your readers? Or something else altogether?
Thanks,
Gerald in Mississippi
May 9th, 2008 at 7:06 am
I have a question:
I have written a screenplay and have tried to make it fit into the classic three act sequence, with 25% in Act One, 50% in Act Two and 25% in Act Three. But with my screenplay complete, what I have as the finished product is 20% in Act One, 53% in Act Two and 27% in Act Three. My question: Is the aforementioned just a guideline or will my screenplay not be considered “acceptable� or “right� if it is in a 20%, 53%, 27% final form?
Thank you for your willingness to help with this question.
Dirk Brinkerhoff 1st Time Writer
May 13th, 2008 at 9:57 pm
Just wanted to say Thanks for the website. It’s the one website besides http://www.wordplayer.com that I check in on religiously…but yours is much more updated and personal, which is great. I wanted to say that I used to teach English to children in Korea for a couple years and when we first got there the school was very regimental in the way they wanted us teaching the kids. But eventually we proposed 2 weeks of teaching the kids our (me and my girlfriend) way instead. They agreed, and it was a huge success. The teaching method? Show them how things work, give them plenty of examples, give them stuff to talk about, and play with, and plenty of work, then test them in the end. It was most effective. Congratulations John August, you are a teacher of the craft of screenwriting.
Thanks again.
May 19th, 2008 at 8:29 am
I am working on a script; however, having a difficult time on “telling” the story. I wanted a V.O. approach, but there are two main characters,and in a sense, two separate stories, that collide at a point… With one Main character dying, I feel a dead person can’t tell a story. What would you suggest doing. There are a lot of statements I wanted to say, utilizing their roles. Would it be awkward having voice-over narration, from a character that won’t tell the story to the end? Have you had any similar situations? Thanks.
May 19th, 2008 at 3:22 pm
Dear John,
The Nines is simply Brilliant. My question is where did you find the philosophical concept for the script? I have seen many films with the underlining ideas about living parallel lives, dreams within dreams, games within games etc.
Yet “The Nines” has aspects of all these and more. I read a book over a year ago called “Busting loose from the money game” that was very intriguing.
There are amazing story lines in “The Nines” that reflect the basic tenets of that book.
I know that the script for the Nines was completed before that book came out.
So as a screenwriter and director, were you implying ( in the movie…or maybe not ) that if you create a character, you not only create the characters but by default you create the gestalt and the very relational world that the characters play in to help wake you up to the the fact that you are in fact, writer/actor/director the origin genesis of all that is? Or ..is that all there is?
Basically I am very interested in where the Idea came from to do a Film about a infinite being that is lost in his own script. This is genius.
Thank you for the intelligence and beauty.
Michial
May 20th, 2008 at 11:42 pm
Hi John - First, thanks for maintaining this wonderful resource. It really makes a difference.
My question has to do with putting action in parentheticals… Okay? Not cool? To what extent? Anyone care?
I’m operating under the assumption that whatever moves things along smoothly/quickly is best. For one recent example, I had a character making guesses to someone who is repeatedly shaking her head “no.” I wrote it as follows:
HE White?
She smiles, shakes her head “no.”
HE (off repeated head-shakes) Pink. Green. Blue. Yellow.
Is there any convention/expectation I’m breaking by doing this? It comes up often enough to make me curious. Thanks, -Vb
May 26th, 2008 at 10:26 am
John,
You wrote, “Re-read what I wrote, and I think you’ll see that while you might not like the particular example, I was referring to the general sense of, “Hell, even I, a cement truck driver, could write a movie better than ___.�
You could not be more right. I actually am a truck driver who delivers cement products from a quarry in England, and sometimes I’m pretty sure I could write a better script than some of the things I see on TV. OK, in fairness, I have just finished a phd in analytic psychology (paid for in part by trucking), and am currently writing a novel, but you know what I mean…
Best,
Ade
May 28th, 2008 at 3:12 pm
John,
I was thinking about using a screenplay I’d written as a pseudo-outline for a book, and even adding back in some of the scenes that I cut to make the script tighter. My question is, if by a miracle I feel that both products are really good, can I shop the screenplay and the book around at the same time?
Thanks, Chris
May 29th, 2008 at 10:24 pm
Hi,
Along a similar vein for the question last week (regarding sound/silent). I’m writing a scene where a young girl is peering through a slightly ajar bedroom door, to a scene occuring in the living room outside her bedroom. At times she is watching the action, at other times we’re watching it directly. I’ve tried to write this numerous times, as simply as possible, but each time just looks confusing on paper. At the moment it’s something along these lines:
INT. KAREN’S BEDROOM – NIGHT.
Karen peers through her door. She can see the boys chatting in the living room.
Cut to:
INT. LIVING ROOM – NIGHT
The boys are arguing, etc.
INT. KAREN’S BEDROOM – NIGHT
Karen sneaks out of her room, and towards the boys on the couch, etc.
(I’ve abbreviated this for the sake of simplicity but you get the idea)
I’m just wondering if the constant changing of scene heading is necessary, or if there is a quicker/easier way to write this? I.e.: all as one continuous scene? Is there a standard practise for writing a scene that’s being witnessed by another character?
Thanks.
June 4th, 2008 at 10:13 pm
Hey John, I would love it if you could list here some of the exceptional screenwriting books you have read. I’ve wanted to read about screenwriting but I have no idea which books to look for. Your page is the first place I stopped. Thank you, Jerry
June 5th, 2008 at 4:59 pm
Hi John,
Thank you so much for this great website! I’ve been reading through the archives and learning and enjoying so much.
I have a question about when to sell:
I just received an expression of interest on one of two spec scripts I recently started circulating. However, the interest is from a tiny upstart production company – which seems to be just a single director/producer looking to make his first feature. I haven’t had the meeting or a firm offer yet, but it made me start thinking.
Is an ultra low budget bird in the hand worth two of those bigger budgeted studio birds in the bush? Is it worth signing over a script for less money to people with less experience if it means your script will actually get made? After all, I do have that second script I can keep hawking. But at what point do you walk away from people actually offering you money for something you wrote?
Thanks, Sarah
June 11th, 2008 at 7:15 am
John,
I was hired to adapt a man’s autobiography into a screenplay. There are no production deals or options or interested parties yet, so I’ve just been hired for the service of writing. My problem is that the subject has specific events he wants added into the script. He wants to remain extremely faithful and not take too many liberties.
If I had simply purchased the rights to his life, I would be able to adapt the story how I saw fit, by combining many characters, deleting many sequences, and taking considerable liberties. But since he is paying me out of his own pocket, I’m wondering what your advice would be. Should I keep trying to fight for the good of the script (when he initially hired me, he claimed to understand that not everything could make it in the script), or simply give the man what he wants, which is basically his autobiography written in screenplay format?
Thanks,
CM
June 11th, 2008 at 1:09 pm
John,
Is it really worth it to write a bible for a TV series? I’m in the middle of writing one for a TV show that I hope write later this year. Also do you have any tips for doing this?
Jarrett Brown New Jersey
June 13th, 2008 at 7:09 pm
Hey John, I rented The Nines tonight, and just finished watching it for the first time. I wanted to let you know I’ll be buying it tomorrow. It’s a beautiful film, and on a personal level, it got in my face and kicked my ass a little bit. Thank you for making this film for me, even though you didn’t know you were doing it at the time. You’re a Nine in my book. Michael
June 16th, 2008 at 7:34 pm
John, Just a question about screenwriting, from a clueless novice — does it generally work that a studio or producer comes up with an idea, and then hunts down a writer? Or, does it happen as often that an established screenwriter comes up with a script, and then pitches it to studios? Thanks, Mark
June 19th, 2008 at 8:22 am
I have an embarrassing problem. My outlines suck. And I’m a professional writer. I should add I’m a professional TV writer for the most part. I realize that you, John, have wisely stayed away from TV. But you may still be able to offer me some advice, because the pain of outlines may be universal.
See, I’m actually very good at story. I’m good at characters and it seems that I write very good scripts. My episodes have often been considered “the best of the season.” But I run into a perennial problem, and that is, before I ever get to the script, I have to write an outline, and they always suck. I can’t find that balance between selling a concept on paper and the script itself. My outliens either end up being re-formatted screenplays (thereby way too long) or bare bones skeleteal road-maps to an unwritten script (thereby something like reading an operating manual). I read other writers’ outlines, and these outlines have some zip in them and the producers and networks like them, but often the resulting script isn’t any better than mine. My outlines are criticized as “not being fun enough” or “not really being the show” or “not capturing the voice.” And I’m always a little baffled because I feel like, yeah, it’s “not the show” BECAUSE IT’S AN OUTLINE! Strangely, I’m a talented prose writer too–I have short stories published. Nevertheless, crappy outlines seems to be a problem that I face more than others, so clearly I’m missing some key part of the brain. While I consistently wind up being “a good writer” at the end of the day (i.e., my scripts are well received), I have to overcome a lot of doubt at the outline stage. I even got fired once at outline, even though they loooved my story and took it and made a popoular episode of prime-time TV out of it. I know I could have written the script just as well, but my outline turned them off.
Some showrunners have realized this about me, and end up just accepting this part of “my process.” They come to know I’ll deliver a first draft they can shoot. But I have to prove it over and over again to each new boss who reads my terrible outlines.
Do you ever find the outline to be this painful and unrewarding? Are outlines just a separate talent (a talent I don’t have)? My outlines seem to be akin to looking at a fetus in a petrie dish–all the potential for a beautiful human is there, but the skin and hair and life is missing. I feel like an outline loser.
June 24th, 2008 at 9:10 am
John,
I’ve often heard that screenwriters write far more scripts than their credits on imdb would imply. Scripts are rewritten and credits changed, some get lost in development, some are just plain bad.
But what is the ratio? I’m sure it varies from writer to writer, but how many scripts have you written professionally, versus the number that were actually made into films?
Is this ratio drastically different for TV writers?
Thanks!
June 25th, 2008 at 4:23 pm
Hi, first I would like to thank you for having this site, and helping unknown writers.
I have a few questions, 1. I’m dyslexic will they over look this or will it be like the rest of life where I lose a job because I am or like in college where I was denied entrance into a writing seminar because of it? 2. If you don’t know anyone in Hollywood how do you get in the front door? One site I found said to start in the mail room, I tried that I was told I was over qualified, or should I leave out all my college and some of the jobs I have done. Also the programs the TV stations have say you have to have a director or someone from college read and approve the script you write. My school didn’t have film or script writing or anyone that would know how to write them. So how do I find someone to read them and fill out the paper work for the entry? 3. How do you know what style of script is the one they want, there are so many people saying do it this way, others say don’t do it that way. And when I look at the scripts on line for movies already made there is no one style that I can see. 4. Do you put your legal name on a script when giving it to production companies or can we put our art name?
Sorry for so many questions. Thank you for your time and help, LuvLeighAn
July 2nd, 2008 at 2:04 am
hi john…
i’m wondering what syntax you would recommended for flashing a brief full-screen image during a given scene… for example, flashing an ECU of animal’s face during a dialog scene that has nothing (apparently) to do with the flashed image? (we, of course, find out later what the point of the animal’s face was)
would you use FLASHCUT, or does that necessarily imply white screen?
love to know you view, victor
July 5th, 2008 at 10:26 pm
Hi John,
RE: The Nines
I want to thank you for this film from my CORE.
A brilliant….BRILLIANT film on EVERY level. I guess I should be thankful that not many films are made this well or I would never see the light of the day because I would be lost in the movie theater or watching the DVD’s in my house 24/7!
BRAVO, Mr. August….BRAVO!
July 7th, 2008 at 9:18 am
For argument’s sake let’s say I wrote a spec sequel script for an existing property. Smokey And The Bandit: The Return or somesuch, a property I don’t own any rights to. Would I still be able to copyright my script or register it with the WGA? Also, what is the best way to pitch a spec based on an already established franchise as a writing sample? Most quick pitches are just introducing a brand-new story and protagonist, what would a 1-minute pitch like this be?
July 8th, 2008 at 4:38 pm
I have seen HANCOCK, with Will Smith, and loved it, though I think it could have been a bit better with some tweaking here and there. When I read the supposed original spec script floating around, I was amazed by how little the original and the actual movie had in common. Is that a common occurence in Hollywood? And when you worked on it, was yours more like the original or the finished product?
July 11th, 2008 at 12:55 pm
I’m a working writer living in NY. I’m in my early thirties. Since living here I had my screenplay optioned for 2 years but the company couldn’t get funding. Since i’ve been writing on animated shows for cable networks like Nickelodeon. I feel like i should be further along, and my friends have been urging me to move to LA for years. I feel like I’ve gotten all I can out of writing for animation — but I fear if I go to Los Angeles I’ll have to start over as an assistant. And I’m afraid that what everyone says (that by moving to LA my career will suddenly take off) won’t happen – basically I’m terrified! At my age, and where I’m at – is it still worth it to leave a paying writing job and move to LA with no current prospects?
July 11th, 2008 at 2:02 pm
When a film option on a script lapses, can you still shop that script to agents? Is there a stigma about scripts that have been optioned?
Thanks!
July 22nd, 2008 at 10:42 pm
What is the difference between a logline and a tagline? Did you write, “An adventure as big as life itself.” for Big Fish’s IMDB tagline? Or any of them for that matter?
Colin, Hollywood, CA
July 29th, 2008 at 2:06 pm
Hello John,
As a fellow writer I know you have probably used script coverage services. I wanted to let you know about one service in particular.
Script Smarts Services by David Shapiro. I recently tried to use his services to cover a script that I have been working on. I’ll get to the point.
I paid for a full studio coverage report, to which I have never received any coverage services, I have emailed repeatedly to inquire and not responses. I have contact PayPal to which he uses to receive payment and have not heard back from them as well.
I just wanted to let you know and ask that you get the word out to your followers who read your blog to NEVER USE Script Smart Coverage services by David Shapiro.
I attribute this as a lesson learned and I do not want anyone else to fall victim this nefarious individual.
Thank You and Please pass the word.
August 6th, 2008 at 12:34 pm
Hi John. I’m from Buenos Aires, Argentina, and I’m writing my first spec. Actually, is based on a Graphic Novel I wrote before, and I’m having trouble making a decision.
This is a surrealistic dark fantasy, constructed thru dream sequences and “real life” sequences. I have this “character/two separated characters” named the same, but in dream sequences this character is male and in real life is female. They both have the same name (being that an importan plot point). That might be a little bit confusing for the reader at first. But that confusion is good for me, is part of the script and the character(s).
So… ¿Do you think I should tag them differently (IE: MALE ATREIDES/FEMALE ATREIDES and risk to not surprise the reader? ¿Or tag them both just ATREIDES and let the reader figure that out and translate the distinction to the technical shooting script? ¿Can I relay on the graphic novel to clarify that issue? ¿Or the reader should figure everything out just by reading the screenplay?
August 13th, 2008 at 7:33 am
Hi John,
I’m a young writer who just got his first assignment. The deal is still being worked out, so I’m technically not on the clock — but do I start work anyway? Doing so would obviously be working for free — and would mean abandoning the spec I’m writing — but it would certainly give me a running start. I was wondering how the pros handle it?
Thanks Max New York City
August 17th, 2008 at 11:54 am
Hi John. I found a pretty reliable thesaurus online yesterday and I wanted to pass it on to you and the other readers of the site.
http://wordage.info/
It seems to accept a decent amount of multiple word searches and adjectives. It won’t babysit your typing and correct spelling on searches and it comes up with so many synonyms that in many situations it may take up more time filtering through them than is helpful. I’m always on the lookout for new tools so I wanted to pass this one on. It knows a lot of dirty words as well so it’s kind of fun to mess around with if you have a twelve-year-old maturity level like I do!
I know you hear it so much it probably doesn’t stick anymore but thanks again for your website. It has helped me tremendously… astoundingly… colossally… enormously… immensely… stupendously… titanically… vastly… wonderfully…
Joe Movick Denver, CO
August 18th, 2008 at 6:03 pm
Hi John, I am an aspiring screenwriter, hoping to break into Hollywood one day. I reside in Dubai, United Arab Emirates. This is the best screenwriting online resource that I have come across. All your tips have helped me mold into a better screenwriter.
My question is: What are the chances of an aspiring screenwriter not living in the U.S (like me) making it to Hollywood? What are the chances of a spec sale if I have written a commercial script? I know that you need contacts in the industry to help out with this, but what in this case?
You might not know the answer to this question, but I just wanted to know what tips do you have for non U.S residing screenwriters.
Thanks a lot.
Faisal Hashmi, Dubai UAE
August 20th, 2008 at 4:46 pm
Hey John,
Word is you’re writing the new “Dark Shadows” film. Love that show, love those movies, love everything that is DS. Anything you can share with us fans about the film (non-spoilery or legally illegal, of course), or your thought process in writing the script?
Brandon, Maryland
August 21st, 2008 at 8:10 am
Hi John,
I’m 32. In my pursuit to become a screenwriter, my greatest success was that I came close to an option once. I’m on my eighth spec now, but ultimately I feel like I’m writing for people that don’t want to read or particularly like to read. This led me to the conclusion that because I value the written word so much, I would better be suited as a novelist. But I’ve spent the last six years learning to write with economy, and I am finding my first novel harder than anything I’ve attempted before. Now my concern is that I am in a writer’s limbo of sorts, and I wonder if you have any thoughts or tips in regards to making the transition. Thanks.
August 26th, 2008 at 12:50 pm
Hi John,
I have a formatting question, and it looks like this question hasn’t been dealt with on the site yet. It’s about Car Chases.
In a movie it seems like there are three basic shot types: 1) interior shots of the chaser 2) interior shots of the chasee 3) exterior shots of both cars, the obstacles, and the road (basically the action).
But in the writing, it’s incredibly clunky because these are technically different locations needing new the sluglines. The options I’ve seen in other scripts:
OPTION 1 (sluglines and all):
INT. CHASER’S CAR – DAY
I’m gonna get you!!
EXT. HIGHWAY – SAME TIME
The Chaser’s Car accelerates, CRASHING into the Chasee’s Car.
INT. CHASEE’S CAR – SAME TIME
Ahhhh!!!!
OPTION 2 (condensed sluglines)
INSIDE CHASER’S CAR
I’m gonna get you!
ON THE HIGHWAY
The Chaser’s Car accelerates, CRASHING into the Chasee’s Car.
You get the idea. Skip the bulky sluglines, just use capitalized headings.
These are the only two ways I’ve been able to find. Both seem distracting and choppy. Could you ever write it like it’s all one scene:
EXT. HIGHWAY – DAY
Chaser’s big rig barrels down highway in hot pursuit of Chasee’s Beetle. (CUT TO to interior angles of characters where appropriate)
I’m gonna get you!!
Chaser accelerates, CRASHING into the Chasee’s Car.
Ahhhh!!!!
Both cars EXPLODE into a pillar of flame.
That seems more concise and easier to read. But would it be considered bad form?
August 27th, 2008 at 9:06 pm
Hey John… I’ve been wondering if there are any ways to extend your page amount in a screenplay. Yet, I’m not looking to extend it to where it looks extended or feels extended. Does that make even a remote bit of sense?
Thanks.
August 28th, 2008 at 11:47 pm
Hey John,
I’m a student at USC in Screenwriting and shortly we begin work on our first full length feature. I’ve been bouncing ideas off of friends and family to see which I should go with and I finally decided which to go for (a romantic comedy, if it matters). Unfortunately, in the process of asking friends what they thought about my ideas, one person in the business told me that “an idea very similar to that was pitched around for several years.” Apparently, drafts were written but it never got anywhere. No good script came out of the concept for somewhere close to eight years now.
This all leads to my string of questions: Should I pursue writing a spec script that has apparently already floated around Hollywood as is? Would it even have a chance to sell in the future? Also, I’m looking at this from the standpoint of a student looking to get into the business in the next couple of years, so writing this script hurt my chances in any way – or more importantly, would it help me any more or less so than pursuing a different idea?
Thanks!
-Max, Los Angeles
August 31st, 2008 at 10:58 pm
Hi John,
A query about Justafiable Homicide or explaining why a kid kills
I’ve written a screenplay where it calls for a 15 year old kid in his aircraft to be able to shoot the badguys down in their aircraft.
I justify it by the love interest screaming “This isn’t a game, they’re going to kill us” and he has to fight back, resulting in the bad guys being shot down.
Now the closest example I’ve come to something similar is in “The Incredibles” where the kids are told by their mother that these people (the badguys with machine guns and flying discs) will try to hurt them and they basically have to stand up for themselves, the speedy kid causes the badguys to crash into a cliff, but it can be seen that they die in an explosion due to their lack of flying ability rather than the kid killing the bad guy, so the kid remains pure.
The mother and father Incredibles directly cause the fiery deaths of the badguys through use of their powers, to smash flying discs together resulting in the deadly explosions, or knocking out of a badguy who falls into the ocean and fails to surface.
Basically I’m asking in the name of the diegetic effect, how to make it believable that a 15 year old kills bad guys without the full psychological fallout of taking human life. We root for the hero to take out the bad guy and his cronies, and it’s ok if they’re an adult or even on the cusp of adulthood like 17 year old plus to take life in a desperate situation, but if it’s a kid the old ‘knocked out’ bad guy seems to be the norm. (Wham, zam, biff, kapow, holy smokes batman the entire cast is knocked out, who’s going to pay for the extras to lie there!)
In this case I can’t do that as there would be a lot of ‘just knocked out’ badguys lying around or floating for the authorities to clean up later, it would look ridiculous.
It’s a kids film, where, like in the lone ranger, we cheer when the bad guys get shot while he tries to rescue his girl, but should we cheer if it’s a kid doing the shooting, while under threat of death of himself and his love interest? Justifiable Homicide and ethics in a kids film, oh dear…
I look forward to your response if any,
Cheers
Simon Van Der Spoel Australia
September 1st, 2008 at 11:38 am
I’m writing a script in which my main character blocks out a painful memory but uncovers this memory during an emotional experience. Then, in a flashback, we see what actually happened. However, for a good portion of the movie, this lapse in memory on the character’s behalf leads the audience to believe that the main character is carrying the child of one man, while in reality it is another’s. When she does remember what she blocked out, it is extremely confusing for the viewer, because it is hard to fit the flashback into a timeframe. How could I express all of this in a less confusing manner?
Thanks,
Miranda, New York
September 1st, 2008 at 9:20 pm
Dear John,
I just saw The NInes – LOVED it. I will look into your other work as well.
I doubt you watch Anime – but if you ever get to it – you should watch Ergo Proxy. It’s fantastic; and incredibly similar to your movie :)
September 8th, 2008 at 12:51 pm
So, I was reading this article over at http://www.kwanzoo.com/social-trivia/interview-screenwriter-phyllis-heltay.shtml and I was wondering if her recommendations really match up. I mean, is it good advice or not?
September 9th, 2008 at 10:11 am
This is Andre from Los Angeles. My question:
I call it the “no answer” answer. You send your script to a manager/agent (who requests it), you wait 6 to 8 weeks, then email or call for a follow-up. And you hear nothing. Not even a “no”. Should I take it that a “no answer” is a “no”? If so, why do people in this business do that? They want us to be professional, but they hardly act like it in kind.
Thanks.
September 23rd, 2008 at 4:19 pm
hi just watched your film nines it was very good im just thinking do you have knowledge of numerology because the number nine is worked out from your birthdate which ive looked into because of the things happend in my life. im a nine it does have striking refrences to your film with the nine being the nine incarnations of the egyptian all powerfull nun . I was born 1.2.1968 same year as 2001 space odyssy same number of the std ip addy and year of the people power world wide revolutions its taken 40 years to figure out what my life was all about your film Has replaced a couple of blanks
thx :)
September 27th, 2008 at 9:24 am
Hi John,
I’m a huge fan of your work and was wondering if you have any advice or horror stories you can share with us regarding the dreaded “Hollywood Reader”. For someone that spends endless hours working for low-to-no pay, they seem to exhibit an almost “Godlike” power over wannabe writers.
Respectfully
Tim
September 30th, 2008 at 8:20 am
Dear John,
Your post on emotion in film raised a topic I’ve found myself discussing with actors, writers, and producers quite a bit over the last few weeks. Obviously, the answer is different from person to person and from production to production…
What you consider the director’s job to be? Do you find it varies depending on the project, or do you have a fixed idea of how production should work? How is that screenwriter/director/actor relationship defined?
As a budding writer/director myself, as well as someone who hails from the stage, I bet your perspective on the subject would be a mighty enriching read!
As a brief aside, thank you for the weekly dose of wisdom and wit! About half the folks I know in film read your blog, and whenever it comes up in conversation there’s always a shared moment of gratitude for your voice and your service. Word to you, John August!
In kahoots, Tennyson E. Stead
October 3rd, 2008 at 9:36 am
Hello John, I have one main question I have not seen asked on this site (I did search it on the top right-hand corner). I have ideas for television shows, comedy and drama, and I have all the characters down, story progression, everything in tact. How do I take these ideas and make a proper Bible? Do you have any pointers in making a good Television Bible?
Thank you.
October 7th, 2008 at 1:56 pm
Mr. August,
I’m wondering how you feel about silence in screenplays? Imagine the first ten-or-so minutes of “There Will Be Blood”, the character is still present and we are learning much about him, he just doesn’t speak. Imagine that silence going on for twenty pages. Curious about your thoughts.
Thank you for your time and your Insight. It makes a difference.
October 7th, 2008 at 2:43 pm
Hi John,
Thanks for posting the “No On Prop. 8″ logo on your blog. The support is appreciated. Unfortunately, today’s local hair-raising KPIX 5 poll sees Prop. 8 winning among California voters 47% to opponents’ 42% especially among young people. The results have been confirmed by the No On 8 campaign.
So if you have friends who have been on the fence about volunteering time or giving money to defeat this odious measure, now is the time to step up.
October 8th, 2008 at 10:07 pm
G’day, John. I’m an Australian screenwriter with a contact that now has me pitching for assignments from a smaller U.S. production company. I believe I’m not covered by any local guild in this scenario. Can a Non U.S. writer, working outside the U.S., ask for the same (or equivalent) entitlements as a WGA writer? Are their any pitfalls (other than geography) that I should be aware off?
Cheers
Dean from Downunder
October 10th, 2008 at 1:18 pm
Hi John -
I’m confused about the ALL CAP rule when writing action in screenplays. I have read to never use all caps when describing action — “They” say it’s a dead giveaway that you’re a novice screenwriter. Only use ALL CAPS in action the first time you introduce a character.
I have many different scripts from a variety of writers (Judd Apatow, Michael France, Shane Black), and I regularly see — in all these scripts — capitalizing a word here and there, if it’s something they want emphasized in the action.
So what’s the rule?
October 19th, 2008 at 8:33 am
Hi John, I saw a trailer for “The Nines” sometime this past January or February. At the time, I thought everyone “knew” of “the nines”…and wasn’t too surprised to see a movie being produced while I was just learning about “them”. Months later, when the “full effect” was subsiding to a terrible fear that “the nines” had been nothing more than a delusion of supernatural proportion…I was unable to locate the movie, as well as fearing that “my delusion” had been ordinary…or childish… A couple of weeks ago (10/10/2008), I stumbled upon the DVD in an odd location, at a retail outlet…and purchased it… That night, I found the same (*) experience…where every conclusion/delusion portrayed…I concluded/deluded…as well…(except the Koala’s, and Monkey’s)… I have wondered, since, “what” of “the effect” remains with the writer.
October 29th, 2008 at 9:14 am
Hi John, I’m curious how film “properties” get paid out. Does James Cameron get paid for the Sarah Connor Chronicles? Thanks.
October 29th, 2008 at 9:15 am
Hi John, I’m curious how film “properties” get paid out. Does James Cameron get paid for the Sarah Connor Chronicles? Thanks.
November 13th, 2008 at 1:17 am
John,
Hello,
That was a great pleasure to talk with you in Marseilles.
Here our website where you will be able to learn more about our company :
http://www.actionsynthese.com/galerie.php
You will found some previews from John BOORMAN’s Wizard of Oz.
If you have any projects, we will be happy to talk with you in a near future,
See you soon,
Hervé BERCANE
November 18th, 2008 at 1:29 pm
Hi John, I am wondering how to get my music considered for your projects. I recently completed my military service and recorded my debut EP of adult contemporary/rock songs. It came out great and I would love to be able to pitch my songs to someone like you.
Thanks Corey
November 18th, 2008 at 9:22 pm
Hi John,
I’ve been working in the film business, but have not yet been paid to write anything. I have the next two months off, and I was wondering what your advice would be to an aspiring writer. How would you best use the time to pursue feature writing? Outline new features? Write a full first draft? Write two first drafts? Brainstorm?
I’ve written two feature-length scripts, two TV pilots and a bunch of shorts, so I’m not completely new, but I still need practice.
Thanks,
Bob Toronto, Canada
November 19th, 2008 at 12:12 pm
Hello, I want to use a montage to show my character visiting 5 different people quickly. Can I use quick dialog during the montage? Do you think this would work or do you have a better suggestion? Thank you for your time.
November 22nd, 2008 at 6:16 am
Hi John,
I am an American, from Boulder, living in Paris. I would like to know if you think it is possible to have an American screenwriting career while living abroad. I write in English, it’s my native language, but for various personal reasons, have ended up in France. Are there examples of successful screenwriters who lived as far away from LA as France?
November 27th, 2008 at 3:45 pm
Dear Mr. August,
I wrote to you sometime ago thinking you were someone I grew up with in Gahanna, Ohio. Jeff was out of the closet after high school and I was not ready to deal with the ramifications of his decision. < Back story >
I found jeff recently on facebook and all is well. Thank you for your understanding regarding this newly resolved issue. I hope to be soliciting your advice on the screen craft soon :).
Thanks for giving back so much,
J. Speck
November 30th, 2008 at 1:35 pm
Hey, John. Question for you: Now that you’re a big, successful screenwriter, do you still have time to write screenplays on spec? Or do you find that most of the time, you’re writing on assignment, bringing someone else’s vision to life?
Thanks for the site. It’s been an invaluable resource for me. :-)
Jeffrey in Los Angeles
December 1st, 2008 at 10:55 pm
Hi John
My question is pretty much the same as No.742 from Ethan in Paris, except I am not an American. Is it possible to have a screenwriting career in America without living there?
And thanks for the site. It’s the most helpful resource out there.
December 3rd, 2008 at 1:35 pm
John,
Some of us over at Wordplay were discussing the gigantoid ‘written by‘ credit on the MILK trailer.
http://www.apple.com/trailers/focus_features/milk/large.html
I’m assuming that the screenwriter credit on the trailer was Gus Van Sant’s doing, but before a thousand screenwriters get all warm and fuzzy over Gus maybe we should check that it’s not just the doing of a rogue editor.
It occurred to me that you know those guys. Can you ask your producer friends at Jinks/Cohen who it is that is so danged proud of their writer?
Chuck Fitzpatrick
December 5th, 2008 at 8:57 am
Hi John,
I hope you’re doing well. Please interpret this sentence as 10 pages about how much I appreciate what you do here, how much I love reading your responses, and how much I love your movies. Thanks. Moving on…
I’m finishing up a spec that’s a multi-plot. Many of the plots initially involve five or six people before their respective storylines whittle down to a primary character. Nevertheless, everyone in each of these groups, so I feel, deserves a name and a character description. Consequently, there are 27 character descriptions in the first 18 pages, which I think might be a bit overwhelming to the average reader.
In this situation, is it appropriate to give an index of character descriptions, identical to those in the screenplay, at the end of the script in order to help a forgetful reader quickly reference who each of these people are?
Thanks for any thoughts.
Danny Las Vegas
December 13th, 2008 at 4:16 pm
Hi John,
I’ve been meaning to ask this for quite some time, but now is the only time I’ve had free in a while. So, without further ado, the question:
What was it like working with McG, a first-time feature film director taking on a massive film? And did you find him particularly easy to work with?
December 18th, 2008 at 12:41 pm
Hi, I feel awkward for asking this question or come off in a inappropriate way in this forum, but can anyone assist/recommend me in the right direction for legit agents that I can submit scripts to-query format preferably/any information and references that you can provide. thanks so much
December 26th, 2008 at 2:29 pm
Hi John,
I just saw “The Curious Case of Benjamin Button”, and though I loved the story as a whole, the ending was very disturbing to all present. I, for one, wept like an ugly orphan, a red headed one at that!
I don’t want to spoil it for anyone, but an alternate ending I came up with would have had them simply fix the clock at the crucial moment in Benjamin’s life and reverse his aging.
Best wishes
January 6th, 2009 at 6:42 pm
Hey John,
I’m trying to figure out how to write scene descriptions for movie set in a non-American country, with locations that are very cinematic, but not commonly known in the US. Any personal guidelines on how much information to you give the reader when introducing these non-American locations? Obviously, there won’t be a detailed description on the local supermarket. But how much information do you convey for a scene in font of the Eiffel Tower (assuming that the Eiffel Tower wasn’t widely known in the US)?
Looking a few reference scripts like Lost In Translation or The Bourne Supremacy, the writers treat all foreign locations very matter-of-factly. No detailed descriptions, no attempts at trying to conjure exotic images in the reader’s head. But these screenplays weren’t written on spec. The directors knew the setting well and didn’t have to be sold on the cinematic possibilities of the locations.
So, how much is necessary, and what is too much? I’m thinking that these location descriptions fall into the same category as character introductions – be concise but evocative. The big difference being that none of these locations are going to be cast. They look the way they look, they add a layer of atmosphere on top of the story, and I want the potential director to feel this atmosphere as he reads the script.
Matt in Sonoma, CA
January 8th, 2009 at 12:20 am
Hey John, Long time, first time…
This current discussion of post-modernism brought forth a question that has long been rattling around the back of my mind. How does the concept of the Auteur fit into a world of references and adaptations? I’ve been told many a time that “the bird always sings the same song”. Many of my film theory classes are predicated entirely on the concept that directors and writers basically produce the same product over and over, refining it to what is hopefully the best possible version of their “song”.
Do you think that the current climate of for-hire writing wherein a screenwriter such as yourself primarily produces work based upon previous material effects this concept?
Thanks in advance, Hunter D.
January 14th, 2009 at 4:18 pm
Hi John,
I saw the pilot for the Remnants and thought it looked great. I noticed there was quite a large “focus group” who seemed to think it was worth making. Considering you haven’t found funding, I thought I would throw an idea your way–a fundraising approach I’ve considered for my own next project. You might actually offer “early adopters” a profit sharing opportunity. You could pretty cheaply incorporate a limited liability company and then sell shares potential viewers. You can fairly easily keep a controlling amount of shares for yourself. The shareholders, or patrons, as it were, would obviously get first rights to own and view any material produced. Being invested in the project, some of them might be able to provide you with valuable information and feedback. It’s limited liability, but the shareholders are signing on with the knowledge that the project could go bust and they would be out their $50 or whatever amount, but they also might recoup their investment and a little more. I think mostly people would do it for the sense of excitement and privilege one gets from being involved in something they think highly of or enjoy. Consider that 500 people investing $50 is $25,000. I know that’s no real film budget but it might be enough to allow you to build more steam and momentum. You might even give some thought to tiered share plans–different returns for different investments.
Anyway, just my .02 on the matter, with the hopes that some creative plan might allow you to persue this neat idea for a show you have.
Russell W in Louisville, KY
January 17th, 2009 at 9:50 am
As a person who enjoys the work that all the writers do and believes in fair compensation, is there any way to help put more money in the writer’s hands. Obviously, buy DVD x or y. I guess what I mean is – if I just let different hulu shows run all day in the back ground at work would the writers get more money?
Thanks, Ryan in Chicago
January 17th, 2009 at 9:58 am
Hello. I’m using Final Draft and every time I open my document, it’s two pages longer than when I closed it. This happens every time. I keep trimming pages, but then my page count bounces back up up when I reopen my script. I e-mailed Final Draft, but haven’t heard back yet and was wondering if any readers may have experienced this problem. Thanks for any advice.
January 17th, 2009 at 2:08 pm
Hi John -
Thank you so much for this fantastic site!
So, I’m a playwright who has had an idea that takes place in outer space — a little too ambitious for the stage, so I’m turning it into either a screenplay or miniseries or something. Anyway, my question is about CGI design, specifically how much description I should be giving about what we see when it comes to the space ships and other larger pieces of futuristic technology. I don’t have much of a background in science fiction, so I’d be happy to leave the bulk of those types of visuals up to the designer, but I think I should probably include something a little more specific than “Huge Hulking Space Station”. On the other end of the spectrum, I’d rather get deeper into the story than delve into every nut, bolt and piece of metal that went into building the thing. Could you possibly give me an indication as to where industry standard would suggest I draw the line? Or just where you would draw the line?
Thanks very much, I really appreciate it!
Best, Jenny from NYC
January 19th, 2009 at 7:26 pm
Hi John;
I have noticed in reading, some scripts use Fade In/Fade Out within the script itself, while others only to begin and end.
Is there a benefit to having that in/out transition within a script rather than just having it begin and end the story? What is the difference between a ‘fade in/fade out’ within a script vs. a ‘dissolve to’?
Thank you!
Corky Thousand Oaks, CA
January 26th, 2009 at 7:46 pm
Hey John,
Can you please post the budget for The Remnants in the vault? It would be great to see the line-by-line breakdown of all costs.
Thanks, keep up the great movies, and the great site!
Bob
January 28th, 2009 at 6:09 am
thanks for the great work.to some of us who are aspiring to become screen writers you are keeping our dreams true.you saved my money when you did elaborate on movieinamonth website thanxs john