Quoted from Shelton I think he was referring to how some commented on having certain things that I mentioned in their scripts and mentioned removing them for the sole reason of making it more low budget.

Yes, Mike but I don’t think it was ever as cut and dry as DS made it sound. I wasn’t going to remove the explosion simply because you said that. But certainly it causes me to reevaluate the situation.

And I don’t think anyone else was going to start pulling animals and children from their scripts without looking at the whole spectrum of possibilities.

Maybe the problem is that we’re smarter than DS gives us credit for. I don’t make decisions so mindlessly.


Breanne

Bre...I wasn't trying to say anything at all about people's intelligence in here.  BUT, the example I gave about people all of a sudden worrying about having "expensive" things in their scripts, came off as comical to me.

As for the "luck" element...hmmm...luck is a tough word and concept, really.  What is luck?  Is it really what we think it is?  Is someone lucky when they sit down at a slot machine in Vegas and hit $1,000 on a $1.00 token?  Well, sure, I guess they sure think they were lucky.  But the reality is that slot machine was going to pay out that $1,000 win to whoever sat down there at that time.  By deciding to sit at that machine, the winner was indeed lucky, but in no way dos that make him/her a lucky person.

I'm sorry you don't see what I'm trying to say, and think I'm being contradictory, cause I'm sure not trying to be.  Are there ways that we can make our scripts stronger, more saleable, better?  Of course there are.  Does writing a low budget script increase our chances?  Probably, but that's just because more low budget movies get made each year than big budget movies.

I do not believe that selling a script, or breaking into the induistry are simply driven by luck, but "luck" has an awful lot to do with it.  For instance, does luck have anything to do with a certain painting winning an award at a local fair?  You may say, of course not. But what if 1 of the judges that voted for it, was actually a relacement judge that was only there because another judge had a flat tire and couldn't make it.  What if that original judge would have voted for the painting that came in 2nd place?  I'd call that luck.

Why does a certain script win a contest, when another script that it was competing against at a different contest won before?  Is it a better script?  Chances are, no, it's not a better script...it's just what worked the best with that panel of judges on that day.

Being at the right place, at the right time, saying the right things to the right people...these are what makes the difference.  Put your best foot forward, believe in what you've done and who you are, and hope for the opportunity.  When it presents itself, be ready...and start dancing!

Does that make anymore sense?

Quoted from Dreamscale Are there ways that we can make our scripts stronger, more saleable, better?  Of course there are.

This is all this thread is about; looking at ways to do that.

Quoted from Dreamscale I do not believe that selling a script, or breaking into the induistry are simply driven by luck, but "luck" has an awful lot to do with it.

I never said chance had nothing to do with it. I think it does and quite frankly I can’t see how anyone can honestly say it doesn’t. I got beaten up over saying that very thing in the Countdown thread.

Of course chance is a factor. Personally, I agree with you that it’s a big factor. But it’s not the only factor. And the study of those other factors, however small they may be, is the reason for this thread. You seem to me to think it’s a waste of time to study those other factors. I don’t agree. If that’s comical to you, then laugh away. But I don’t know why you’re here if you think we’re wasting our time.


Breanne

Bre, I've obviously offended you or upset you, and if that's indeed the case, I apologize.  Not my intention at all.

And I do agree with you that exploring any and all possible factors that increase ones chance of breaking in, is far from wasted time.

But again, I can't deny that some of the earlier threads came off as very comical, just based on the budget issues/discussion.  I mean, c'mon, there are tons and tons of extremely low budget drek out there that have lots of animals, children, and explosions.  To say...or think that by cutting these aspects out of a script make it more saleable, to me is very foolish.

Now, if you are literally wriitng to meet a low budget, does it make sense to try and steer clear of these sort of things?  Sure it does.  Is it easier to film without animals, children, and explosions?  Sure it is.  But let's not get bogged down on this as a concept for a successful breaking in script, cause it's just not.

All I'm trying toi say is that we each have to "know" what our desired genre is, what our desired budget looks like.  We need to understand that certain genres, have certain gross potentials and parameters.  We need to understand this so we can write a script that has commercial and financial possibilities.

The safest and best bet is always on the little engine that can, not the big one that should.

Quoted from Breanne Mattson ...I often gear toward what I want to write or personally see on the screen. I realize some people take issue with that. They say, “Write what you want.” I agree with that…but only to a degree. For me, the bottom line is that if you want to make a living as a writer, you must write what will sell. So I always look for ways to “have it both ways.” I seek to write something that I can get excited and passionate about but can have a good chance of selling.

You  do both. Write your personal scripts and do some commercial stories. If somebody likes your writing but not a specific script, they will ask "what else do you have?"
Your scripts are your portfolio. Diversify and always have something else ready to show.
The more "quality" scripts you have to offer a reader, the more serious you will be taken.

Quoted from Breanne Mattson I’m tired of messing around. My next script is going to be “pro quality” or whatever you want to call it. I have an idea as I said above and I think I might be able to work it out so that costs can be cut down. I’m seriously going for it.

I think your focus should be on the right premise and not the cost.

Quoted from Breanne Mattson I definitely think luck, or whatever else you prefer to call it, has a role in whether or not a script sells. I think there’s always an element of chance. But I also firmly believe in preparing for opportunities; being ready when or if they arrive. And I believe one can increase one’s odds of selling. That’s what my goal is to do.

Luck is like winning the Lottery. "Creating Luck" is attending the same party as Spielberg or Cruise.
  Take a look at the Black List. Those scripts have been read by people in the Industry. Most of the screenwriters on that list have agents and/or managers (a whole 'nother topic). Those scripts are on the front line, waiting to be picked up.
  The question IMO isn't how Melissa sold her script.  But how can we get Read?  It is a monumental achievement to get read in Hollywood and then recommended.  Making the Black List is an elite accomplishment.  It is like making the Olympic team.  
The Gold Medal is a sell.

So, for the purpose of this thread, reading "...  ____ Your Sister" is examining but a fraction of why it sold.
Look at all of the things that script had going for it -- besides having a great premise and being nicely written. Melissa Stark has both a law degree and an MFA in screenwriting from USC.  She has a BA from Georgetown. She has an agent and a team of managers (although I can't say at what point she got representation).
  She lives in LA. The Contacts this woman has compiled must be mind-boggling.
And she went to SC! Insiders say there is SC and the others.  I had a screenwriting teacher who went to USC.  This guy also won 1st in whatever category at the Austin Film Festival in the mid-'90s.  He said that winning at Austin got him tons of inquiries, for a few months.  The SC degree will work its magic for the rest of his life.
   The bottom line, we can mirror Melissa Stack's script-writing quality, but we can't mirror her life.  In Stack's case, it is probably more about career management than anything else. She's a very good writer, but a brilliant career planner.
  I'm apologize for trumpeting such negativity.  This thread is important for discussion about nuances of a "sold" commercial screenplay.  In the future, maybe we can find a sold script from a writer in Armpit, USA. You know, from Pia's hometown or Mike Shelton's block.  That would be worth major discussion.

Quoted from Abe from LA In the future, maybe we can find a sold script from a writer in Armpit, USA. You know, from Pia's hometown or Mike Shelton's block.  That would be worth major discussion.

I agree. But someone else can host it -- haha.

Abe, you, my friend, are a bright individual.  Obvioulsy not sure who you are, but your comments almost always seem to be right on.  Get me a script of yours...quick!!!  OK, sorry...

Seriously though, you are right on, and you make your points in a way that probably won't piss anyone off.  I agree with you 100%, but seem to come across as trouble for some reason, when I try to make the same points.  I'm just not as eloquent...or something...hmmm...

I obviously think differently than most in here, but when it actually comes down to the nitty gritty, I'm most likley in agreement alot more than you all think.

In terms of this thread, which has really changed from the "Fuck Your Sister" thing, I hope we've all learned something.  And that is that we all have different thoughts and beliefs about "how" to sell a script, but we all share the same enthusiasm, and probably desire...everyone approaches things differently.  Lots of differnt trails and paths that lead to the same endpoint.  We all want to get there, and hearing differing points of view can hopefully...only help.

Sometimes we say the same thing, but speak in a different language.

Just for the record, i think all screenplays should have exploding children and animals!

Hm... while I admit to not having read the script on this one, having read at least the most recent pages about writing whatever kinds of scripts, I can throw out a few things. There are scripts you write to whatever requirements, and then there are scripts you write because you have an awesome idea and you've just got to write it. The latter can be considered a script for you to just write and maybe someone will make it someday.

But the one you write to sell... well, restrictions force you to be creative. They force to come up with solutions to your stroy that you would never consider in your free-flowing "awesome idea" environment where anything goes. If you know you've got five people, a house, and only old school effects, what would you come up with?

What's that? Why would you even consider such a thing? Why would you want something restricted so tightly? Two reasons. First, anyone could make that for practically nothing. Second, you'll grow as a writer forcing yourself think inside a box like that.

As writers, we don't really think about budgets much, and we might even claim to not know anything about how much something costs, but let's be realistic. We know on a basic level that more people cost more money. We also know that more places cost more money. We also know that downtown NYC costs more than highway in the middle of no where. We can surmise very easily that despite the relative silimarities between the shooting styles of Cloverfield and The Blair Witch Project, there was a huge bugdetary difference between the two. Forest versus blowing up a city. Three people versus hundreds.

Also take this into consideration on a site like this. Filmmakers do visit this site. They do poke around looking for something to make. They're all broke. Which flick do you think they'll consider? Your multi-million dollar masterpiece (which could well be the best script this site has ever seen complete with children, exploding animals, and a guest appearance by Kermit the Frog) or the simple one location drama that plays out rather nicely?

If you're only starting out writing, then be free with your ideas and write whatever you want to to get the hang of the craft. If you've been around the block once or twice, there's no reason not to have a few micro-budget flicks in your personal library.

Quoted from George Willson Hm... while I admit to not having read the script on this one, having read at least the most recent pages about writing whatever kinds of scripts, I can throw out a few things. There are scripts you write to whatever requirements, and then there are scripts you write because you have an awesome idea and you've just got to write it. The latter can be considered a script for you to just write and maybe someone will make it someday. But the one you write to sell... well, restrictions force you to be creative. They force to come up with solutions to your stroy that you would never consider in your free-flowing "awesome idea" environment where anything goes. If you know you've got five people, a house, and only old school effects, what would you come up with? What's that? Why would you even consider such a thing? Why would you want something restricted so tightly? Two reasons. First, anyone could make that for practically nothing. Second, you'll grow as a writer forcing yourself think inside a box like that. As writers, we don't really think about budgets much, and we might even claim to not know anything about how much something costs, but let's be realistic. We know on a basic level that more people cost more money. We also know that more places cost more money. We also know that downtown NYC costs more than highway in the middle of no where. We can surmise very easily that despite the relative silimarities between the shooting styles of Cloverfield and The Blair Witch Project, there was a huge bugdetary difference between the two. Forest versus blowing up a city. Three people versus hundreds. Also take this into consideration on a site like this. Filmmakers do visit this site. They do poke around looking for something to make. They're all broke. Which flick do you think they'll consider? Your multi-million dollar masterpiece (which could well be the best script this site has ever seen complete with children, exploding animals, and a guest appearance by Kermit the Frog) or the simple one location drama that plays out rather nicely? If you're only starting out writing, then be free with your ideas and write whatever you want to to get the hang of the craft. If you've been around the block once or twice, there's no reason not to have a few micro-budget flicks in your personal library.

Normally I wouldn't re-post a large post; I'd only take a sample, but this one calls for repeating.

George, your words are intelligent and make perfect sense.

Thank you!

Sandra

Thanks everyone who contributed to the thread. I think this thread is basically done. If there’s anyone else who wants to talk about anything, speak now. Otherwise, Bert, I think you can go ahead and lock it up.

A lot of other things are coming up at the board soon and I don’t see a lot else happening here. Thanks everyone.


Breanne

Quoted from Breanne Mattson Thanks everyone who contributed to the thread. I think this thread is basically done. If there’s anyone else who wants to talk about anything, speak now. Otherwise, Bert, I think you can go ahead and lock it up. A lot of other things are coming up at the board soon and I don’t see a lot else happening here. Thanks everyone. Breanne

Looking forward to the other Script Club, i have suggestions. Let's take a shot on a thriller or drama.

This script club has been great.

Cheers
Nik

P.S: Breanne you did a great job with this thread. My best wishes.

How about a round of shots, a big group bear hug, and a snifter of Grand Marnier?

Sorry I never read this one you guys.  Also sorry if I got this therad off track. I was trying to be good, but ya know...sometimes...it's just hard.

I'll read the next one and stay on track.

Thanks all...

Sorry I have't particpated much in this. I wanted to. PC issues. But I read a lot of pages and Breanne don't take this the wrong way, but you are so confusing to me.


Will Script Club VI be produced or unproduced?


Bee

Quoted from Breanne Mattson Bert, I think you can go ahead and lock it up.

We will give the weekend for wrap-up and any last-minute thoughts.

Quoted from Busy Little Bee Will Script Club VI be produced or unproduced?

Script Club will take a breather during the upcoming One Week Challenge.

But when people feel it is time for another, an unproduced member script will be selected.  I have questioned "management", and they prefer that route.

That is not to diminish the very interesting conversations that IV & V have produced, but when SC-VI happens, a member script will be selected, so give that some thought.