John August

QandA

Does your own writing make you laugh?

QandA, Writing Process

This may sound like an odd question but…does your own comedy writing make you laugh?  Should it? I’m talking strictly in the rewriting phase, say, five months into a script, should you still laugh consistently as you read through your own work?

–Gary

No, usually my writing doesn’t make me laugh, at least after the initial how-clever-am-I chuckle. Any joke becomes unfunny after you stare at it for too long. The trick is to remember why it was once funny, and protect those aspects.

While rewriting generally sharpens comedy, it’s all too easy to lose subtle jokes in the process.

Using a song in a short without permission

QandA, Rights and Copyright

I wrote and shot a 10 minute short film. In one scene a character is listening and dancing to the song “Car Wash” by Rose Royce. It is important that the song is played in the scene. Will I get in any legal trouble if I use this song in my short without permission? Or would it be alright to just go ahead and use it. I plan to go to festivals with it and sites like ifilm.com and do not plan to make any money off of it.

–Al
Hollywood, CA

Using an unlicensed song is pretty common in short films, most of which never get any real release, and therefore no real legal exposure. Some festivals require that you show legal clearance for all music you use. Some don’t.

If it’s important, you may be able to get a “festival license” for the song. Basically, it’s a cut rate that lets you use the song in your movie, provided it never gets a commercial release. Call the record label and ask to speak to their rights department.

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.