Script Writing

[dustinzgirl]

So I've been taking a few online workshops (OK well a lot of them) and I'm finding out that there is absolutely nothing you pay for that you can't find for free on the Internet.

So, I thought we would all discuss scrip writing, because I'm getting into that, and because well, I said so!

Has anyone here tried to write a script or have plans for writing a script? Anyone using script software (I don't word templates work fine, lol).

Has anyone sent a script to an agent (I haven't, but I might be getting close)?

Has anyone entered a script into a contest? (I haven't, and probably not going to.)

Dialogue is my hardest part, because I write better than I talk, so when I write it my characters all sound uppity and too smart for their character. What problems have you had in writing dialogue?

 

[HoopyFrood]

I'm writing a script at the moment; it's the big, final, scary dissertation thing for my university degree. Could've done an essay dissertation but I think that would've killed me off, and this is something I enjoy a lot more -- well, until the blocks start hitting and I want to throw my laptop at the wall and all that angsty stuff.

I'm using the Celtx program, which I'd marry if it were legal; it's amazing, it formats the script for you, has a tab that shows the script as it'll appear when printed, another tab where you can have index cards with notes for each scene, a master catagloue where you can write all the background details of your characters...Plus other media options such as theatre scripts and image boards.

The thing I'm finding most difficult at the moment is the sparseness of scripts; I'm used to writing short stories and novels where words roll all over the place and metaphors and similies and all other devices get themselves involved. Writing the bare bones of action feels a little weird at the moment, but I'm sure I'll get used to. Luckily I have a dude who specialises in scripts and film as my dissertation supervisor; he may be a bit creative and distracted for much of the time, but he knows what he's doing and will be helpful (shes hopes...)

 

[Interference]

I've written a few film scripts, TV and, most successfully, radio. Each format is different, of course, so I use my own templates.

Dialogue is tricky. Making it sound natural often depends on how well you've defined your characters at the outset. Rule of thumb I've tried to carry forward since college is if you put a line into the mouth of a different character would it sound odd? (The answer is supposed to be "yes".)

I try to steer clear of catch-phrases, but used with discretion they are an obvious shorthand way of helping to define a character. It's especially valid in radio, where the word is all the audience has to go on, and in short stories, as well, of course.

More to say, but a bit distracted just now. Hope some of this helps. I'll come back with more useful hints and tips as soon as I've thought of 'em

 

[Reyben]

I've been experimenting with all sorts of stuff, lately, including script format. I noticed quite a few places online where scripts are written just to be read, and I wondered if I could write such, so I tried. Mixed results ensued. I found regular scripting to be difficult and unwieldy, not quite to my taste. However, something weird happened and I ended up creating a short series of hybrid Script/proses. No sure why. They're (AHEM COUGH PLUG PLUG) on the internet somewhere, actually. They can be found at:

www.knightfall.350.com

If anybody wants to look [AHEM COUGH END PLUG]. They're more an example of how not to write a script than anything else, I suspect, which is one reason I've been shy of promoting them- but they do more or less encapsulate my view on the subject. Which is to say, scripts are damn hard to do and yet also somehow fun.

N.B

I'm using the Celtx program, which I'd marry if it were legal;

I can hook you up. I've got a license. Meet me in the alley out back after work.

 

[Boneman]

Hey Dustinzgirl.

I wrote Film and TV scripts for about 10 years, and actually had 2 scripts optioned though nothing came to be made. I still do write and enter them in competitions and submit them to agents, although I am concentrating currently on my novel.

I use Final Draft. I know you'd have to pay good money for a copy, but to me its worth its weight in gold. There are probably copies going on ebay somewhere, but it simplifies everything, allowing you to be creative. It presents your scripts in industry-ready standard, and even allows you to work online with producers/writers/directors. But let's not get ahead of ourselves.......

Using Writer's and Artist's yearbook (USA Equivalent is Herman's guide I guess) I identified agents, and film companies and exactly the same as for my book, I sent query letters, and waited for rejections. Guess what? I got them! But as with all things I also got asked occasionally for the first 30 pages of the script, with synopsis, and then got some better rejections, Even got asked for the whole script and then full feedback rejections came my way.

Funnily enough, one of my options came through InkTip, and all I can say is I got a few hundred pounds, some great work and advice from a small independent film company that led to further introductions (there's nothing better than saying "I have a script optioned by a film company" to make other film companies sit up and take notice!). The option has run out, but I still have contact with them, and there's a faint possibility they might come back to me one day and say: "We wanna make your film, and we got the money".

So, approaching Film companies..... just like big publishers there's loads that will not under any circumstances accept unsolicited scripts, they burn them without opening them, for fear of being sued later. Look up 'Coming to America' and how many people were involved in that litigation and you begin to understand why..... but guess what? An enquiry letter costs nothing more than the postage, and has led to great things for some writers.

And believe you me, there are producers/directors/agents who are looking for the next big thing, and you will be contacted by all kinds as soon as you put work online, but do beware, and read all the blogs and writer's forums you can find under screenwriting.

There's one thing you're going to need and that's a great logline for your script. Logline? It's one sentence that describes what happens, but is a hook to make the intended recipient call for more. There are some great examples on InkTip and other sites, and often it's the only thing an agent/film company will read. If they like it, they'll read on further in your letter, maybe the one paragraph synopsis you've included. If they like that, they'll call for pages or the whole script. Start working on loglines now...... Here's one of mine, for the script that I went furthest with:

Annabelle desperately wants to bring Rob and Maria together, but it's very hard when you're three and a half inches tall with wings, and nobody believes in you.

I entered it in a screenwriters competition and got optioned by an independent film producer, worked with him for 4 years, and learnt loads..... There's a plethora of screenwriting competitions out there, most good and some bad, a bit like vanity publishing, but there are thousands of blogs and advice from other screenwriters that help. If you want to get noticed, enter it into contests, especially those that include feedback as part of the entry fee. There are some contests that are designed to get 10,000 wannabe hopefuls to pay $10 to enter, with a prize fund totalling $25,000, and it don't take a genius to work out who's the sucker.

Oh yeah, it's worth registering your script, so you don't get ripped off by some lowlife producer. Writer's Guild of America do a great service, and it's online if you want. There's conflicting advice about the necessity of this, but I feel 'better safe than sorry' fits the bill admirably. The thing with InkTip, is that you may be contacted by producers looking for great scripts so they can approach film companies, who will drop you as soon as they've had a few rejections, and you may be contacted by final year film students looking to make a project, and not able to pay you and you might go with them , just to add to your cv. But to my mind script registration will protect you from subsequent rip-offs that could happen. Supposing your final-year student did make it, and rewrote a great short film that you'd written in the first place, how would you feel? It, IMHO, is a more cut-throat industry than novel-writing. But you can navigate the rapids pretty well if you use common-sense and the advice of those who've been there before you.....​

Good luck!

ps: dialogue problems? Simple...write it, then get you and your husband to read it aloud, playing all the parts...it's amazing how easy it is to spot your own flaws doing this. And often a really good laugh as well.....​

 

[mygoditsraining]

Not nearly as helpful as Boneman's post, but it's possibly worth a mention.

The BBC have a Writer's Room page which includes some templates for Word and several example scripts for tv and radio that you can have a gander at for reference purposes.

Link.

 

[dustinzgirl]

Thank you everyone that was a lot of really good information.

This guy has some good info Ask a Hollywood Pitch Man

But a lot of self plugging.

I like this blog a lot, TONS of info A Television & Novel Writing Resource Site. | Danomatic.Com