Monthly Archives: May 2015

Helpful Tips for Screenwriters

A Writer's Discrepant Memoirs and Other Tales


I’m trying to get caught up on the dozens of emails I’ve been putting off and came upon the following useful advice.

In an effort to stay positive and prepare for the hopeful result from one of the contests I’ve entered,  I’m taking the timely articles as a sign.  🙂  Both articles come from the helpful site (and book) Good in a Room by Stephanie Palmer.

The first is an article about questions you should be prepared to answer if you find yourself in a meeting, referred to as your Answerbank.  Just like an interview, you need to be prepared in order to continue forward.  Knowing what types of questions to be prepared for is extremely helpful for us newbies.

The second article is in regards to pitching.  Perhaps you’re in that room, things are going well, and they ask the question all screenwriters are taught to expect, “What else have…

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How to Write Awesome According to the Best

When making a movie from a book, why do they leave some/most of the book out of the movie?


Answer by Jon Ferreira:

Writing a screenplay or a play from source material like a book or even real life requires a significant amount of editing and cutting material. As opposed to a novel, screenwriters just don’t have the page length to explore characters’ extensive backgrounds, elaborate settings — nor do they have the luxury to include a cast of thousands (or hundreds – or less) all of whom have a penchant for endless verbosity. There just isn’t the time in a two-hour film. Here are some of changes screenwriters make and why:

Books typically have way too many characters since the novel is typically trying to capture the reality of life. Real life has 7 billion people on the planet, and the average person meets 12-50,000 people in the course of their life. Although you really only need 3 characters to write a traditional story most fiction…

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The State of Storytelling & the 3 Essential Truths Screenwriters Should Know

omen faces

To all screenwriters, take a good look at the chart below for a blast of clarity. To sum up the stats: a writer in Hollywood has better odds of starting in an NBA line-up than getting your project onto any screen (large or small) in today’s market.

 As we all know, the seven major studios finance and/or produce about 26 films a year on an average budget  of $200 million per film. They average an amazing 90 percent return on investment. So, franchises do make  sense, especially if you have stockholders. Movies, in this price range, are literally printing money. Even with  the bad press from a box-office dud, it’s still a safe risk even when considering John Carter or Lone Ranger.

To no one’s surprise this past weekend, Disney’s Avengers: Age of Ultron triumphed worldwide with $191  million in the U.S. — the second highest opening ever in…

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The only guide to writing a logline you’ll ever need – part II


This is the second in three posts on how to write a logline.

In the first post, we looked at what a logline is and, more importantly, what it is not.

We learned that a logline is a basic selling tool for your screenplay or novel. It is  a one or two sentence pitch that aims to tell the reader about your story in a succinct manner in order to save the reader TIME.

We also talked about the difference between a logline and a tagline, a teaser, and a movie cross.

Now comes the meaty part. This where we break down what goes into a good logline.

The NUMBER ONE MISTAKE writers make when pitching their story is that they do not invest time in their marketing materials. Incredible as it seems, they spend months or even years honing their script, then hammer out a logline in minutes and wonder…

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‘White Girl Problems’ At Lionsgate Hires Nicholl Fellowship Winning Writers


141113A_0004-p_FotorEXCLUSIVE: Writers Alisha Brophy and Scott Miles, who won this year’s Nicholl’s Fellowship for their screenplay United States of Fuckin’ Awesome, just signed on to adapt Lionsgate’s White Girl Problems. The book, written by “Babe Walker” — who is actually the creation of brothers Tanner and David Oliver Cohen and their friend Lara Schoenhals — was bought by Lionsgate in 2013 for Pitch Perfect producers Elizabeth Banks and Max Handelman through their Brownstone Productions banner.

Published by Hyperion in 2012, the book is a pseudo-memoir about a young woman with a huge social media following who melts down one afternoon after spending about a quarter of a million dollars in Barney’s and ends up in shopping rehab, where she decides to write about her life — of excess and meaningless problems. Brophy and Miles will do a Page 1 rewrite, scripting their own version of the bestselling yarn.

The writing…

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Notes To Screenwriters!

average joe productions

Here’s the full length interview with the authors of the amazing new book: Notes to Screenwriters. I highly recommend reading this book cover to cover whether you’re brand new to screenwriting or you’ve been working at it for a while (eight years for me), this book will inspire you and enlighten you. I love paper copies of books like this one but because I wanted to start reading it asap I ordered the Kindle version. Either way, you’re going to love it.


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