John August

Archives for 2004

Average price for a short story option

QandA, Rights and Copyright

What is the average option price short stories are optioned for? Just to get an estimate of what I should be offering/accepting. Where else can I do research about these confidential matters?

–Tricia Lee
Toronto

There’s no average price. If I were in your place, trying to option a story I didn’t think anyone else was after, I’d offer $1000 for an 18-month option, renewable at least twice for the same fee. Total purchase price should be more than $10,000, less than $50,000.

I’m pulling these numbers out of thin air, by the way, so anyone out there who disagrees is just as likely to be right.

Much more important than the money you offer is how competent you seem. The story writer needs to believe you’re going to get a movie made, and made well. Many literary works have been optioned for $1, strictly on the faith the writer had in the filmaker’s vision.

Short films and writer’s assistants

Film Industry, QandA

I made a near-zero-budget short film to act as a calling card, a comedy entitled [“Mr. Game Show.”](http://www.kevsmovies.com) It’s no “Terry Tate, Office Linebacker,” but I think it’s pretty funny and have gotten some good feedback on it.

One obstacle, however, is that I cannot submit it to film festivals because I don’t own rights to all the footage. So, my question: would you have any suggestions on how to get this so-called calling card “out there”?

Second, everyone’s heard of your writer’s assistants who have gone on to great success. I’ve also heard this is a great career path for television writing. Salary-wise, do these positions pay enough to be someone’s sole means of support? Or are they more like internships which pay little or nothing (aside from experience, opportunity)? In other words, would you also need a day/night job?

–Kevin
Sherman Oaks

One way to get people to see your short film is to get it mentioned on a website. So, well done.

I always applaud people with the zeal to make a short, rather that just fret about how they’re never going to get into the industry. Your short features a nice, straightforward idea, and makes smart use of today’s off-the-shelf editing technology. I hope you get good feedback from it, and hopefully some meetings.

Writer’s assistants don’t make spectacular amounts of money, but it certainly should be enough to keep a roof over your head. Obviously, you want to treat it as a learning experience, but it’s a job, too. If you’re working on a television show, you’d probably be making a fair amount of your money on overtime, because there are inevitably long hours involved. Working for a feature writer, the hours would probably more regular, because we’re so damn lazy.

The not-so-well-dressed screenwriter

Film Industry, QandA

I’m a newbie screenwriter and started to wonder if my appearance will come in to play as I try to pitch and sell my script. I was having a total femme moment and thinking of dying my hair with bold red streaks and then thought, “Would this speak to my creative side or would it convey too much whimsy?”

I know actors have to worry about appearances but do writers have to worry about too bold of hair color or the like…and when it comes to meetings do you dress semi-casual or do you have to suit up?

–Cheryl Laughlin 

In my first Hollywood meetings, I always overdressed. I was uncomfortable, and the executive was uncomfortable. Gradually, I realized that the writer should always be the worst-dressed person in the room.

Not by much, mind you — you don’t want to look homeless or sad. But if the executive is wearing a suit, you want to wear a sweater. If he’s wearing a button-down shirt, you wear a polo. Just going one step more casual puts everyone at ease.

Obviously, women’s clothes are a little harder to gauge, so you’re a bit on your own. I’d say, wear whatever the assistants there wear: professional, but probably not a suit. If you dress like you’re working at a nice store, you probably won’t go wrong.

As far as your hair, do whatever you like. You certainly don’t need conservative hair to make it in the business.

American English and troublesome contractions

QandA, Words on the page

I’ve improved so much just by reading your website and IMDB posts. So a heartfelt thank you, sir.

My question is cultural, when it comes to dialogue. I’m from India — Bollywood. Been here, in Los Angeles, for three years. People who’ve read my scripts (Hollywood scripts) like ’em except the dialogue. After a lot of research, I understand how to write American “lingo”, but….

I have no clue when to use “I’ve” as opposed to “I have,” “You’re” as opposed to “You are.” In recent movie Bad Santa even word “Okay” on subtitle was “‘Kay”.

The usual internet response to this kind of basic question is: “If you don’t know the difference, you shouldn’t write.” Obviously, I disagree. Why? ‘cuz you don’t give up when you’re 23.

I know, most help on this on the internet is towards American writers. But, I was schooled in English, all my life, but a British school. I have better command over the English language than many here, and I hate when they say “We understand, English is your second language,” cuz of my dialogue.

And honest to God, your teachings with upcoming Bollywood writers is Godsend. All my friends there visit your website.

–Raj
Los Angeles

I’m happy to get readers anywhere. According to my web log statistics, India falls at number 16, between the
Philippines and Mexico. So to all my Indian readers, welcome.

I share your frustration with the “if you don’t like it, then leave” attitude of far too many Americans, whose concept of internationality begins and ends at the namesake house of pancakes.

There is a difference between “you’re” and “you are” as used in American English. Unlike spoken French, where consonants sort of attach themselves to the nearest convenient word, an American speaker either says “you are” or “you’re.” It’s not just spoken laziness.

For dialogue purposes, here’s my advice:

1. The contractions we’re talking about are basically pronoun + helper verb (to be, to have, or would). If this contraction precedes another verb, use the contraction. “I’ve told her not to talk with anyone.” “You’ll see what I mean.” “He’d be a fool to listen.” In the context of the scene, the character might speak both words for emphasis or parallel construction: “Believe me, I am regretting it now.” “You would think that, wouldn’t you?”

2. By the same logic, American English leans towards the n’t verb negation. “I didn’t understand at the time.” “You shouldn’t have come.” There may be instance where you want to emphasize the “not,” such as, “You should not mock the Moccasin Man.” And don’t stack up contractions. “You wouldn’t have known” is fine. “You wouldn’t’ve known” is fussy and awful.

3. Only “to be” contracts if there’s not a following verb. So, “I’m sorry.” But not, “I’ve a reservation.”

4. Don’t use ‘cuz. “Because” is a word that’s naturally shrunken down by the reader. The short version feels like a zit.

5. “Gotta,” in the sense of “got to” or “have to,” is pretty common in American dialogue — but don’t use it in normal prose. “You’ve gotta be kidding me” or “I gotta get to the store by five” are both a little idiomatic, but read well.

6. There are probably a few dozen other words that are fine in some circumstances, dreadful in others: gimme, shoulda, kinda, sorta, etc. If in doubt, spell it out.

Hope this helps.