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Why does it have to met with silence? The responses of the person speaking on the phone will basically portray the story...
So every single movie or TV show you've watched you actually hear the other person on other end of the phone???? Stupid screenwriting books and their one-sided phone conversations.
It's ok... I'll add in the other voice which in turn will take from the short.
I'm just an Electrician what do I know
No, but the difference is we can't see the person's reactions listening to the other person speaking, so there will be dead air while the speaker listens before the story moves forward.
And that can be really effective if done right. It can be tense and suspenseful. So yeah, go for it.
Regarding Mark's (IrishEyes) intention of a one sided phone conversation... All one must do to realize it can work is listen to some of Bob Newhart's stand up comedy from the 60s. The guy literally defined the one-sided phone conversation gag, and to hilarious effect. IMO. And all without visuals.
Regarding Mark's (IrishEyes) intention of a one sided phone conversation... All one must do to realize it can work is listen to some of Bob Newhart's stand up comedy from the 60s. The guy literally defined the one-sided phone conversation gag, and to hilarious effect. IMO. And all without visuals.
Actually Newhart got his big start when his comedy album hit no 1 in the early sixties. So you were listening to his one-sided phone calls. So I can see how it would work.
In other news, I actually wrote something and submitted. A shocker, I know, and if you are brave enough to read it, I have some therapists I can recommend.
Some of my scripts:
Bounty (TV Pilot) -- Top 1% of discoverable screenplays on Coverfly I'll Be Seeing You (short) - OWC winner The Gambler (short) - OWC winner Skip (short) - filmed Country Road 12 (short) - filmed The Family Man (short) - filmed The Journeyers (feature) - optioned
This is the first time since 2019 that I think I've been really psyched for a challenge. I also haven't written much since 2019 so I do feel pretty rusty and know my script will be hammered, but I'm actually enjoying the process, the writing, and the discussion boards.
Has anyone, in their interpretation of the requirements, got any hard no's. So something you'd really mark a script down for and potentially DQ a script for?
Like I said in a different post, I think leniency is key with these scripts as this is the most challenging challenge in a long time IMO, but in saying that, the further you move away from the actual requirements the easier it is to write a more rounded story, that's the 'challenge' part of it, right?
So what would be too far outside of that... if anything?
For me the challenging part was producing a plot solely out of conversations with the occasional background noise. I'm guessing others had that challenge as well. But it was good to stretch the writing muscles and I'm going to cut people a lot of slack in the reviews, even moreso because of how short the scripts are. Would love to see a bunch of one pagers.
Some of my scripts:
Bounty (TV Pilot) -- Top 1% of discoverable screenplays on Coverfly I'll Be Seeing You (short) - OWC winner The Gambler (short) - OWC winner Skip (short) - filmed Country Road 12 (short) - filmed The Family Man (short) - filmed The Journeyers (feature) - optioned
Has anyone, in their interpretation of the requirements, got any hard no's. So something you'd really mark a script down for and potentially DQ a script for?
Like I said in a different post, I think leniency is key with these scripts as this is the most challenging challenge in a long time IMO, but in saying that, the further you move away from the actual requirements the easier it is to write a more rounded story, that's the 'challenge' part of it, right?
So what would be too far outside of that... if anything?
Purely for discussion...
I'll bite.
If any of the plot or character development is achieved by means of visual storytelling, I'll mark it down a point or so, depending on how egregious it is. I won't necessarily DQ a script outright for such a thing, unless of course there's clearly no real effort to follow the guidelines of the challenge.
For me the challenging part was producing a plot solely out of conversations with the occasional background noise. I'm guessing others had that challenge as well.
For me, the most challenging part was convincing myself that people wouldn't be offended by my story.
If any of the plot or character development is achieved by means of visual storytelling, I'll mark it down a point or so, depending on how egregious it is. I won't necessarily DQ a script outright for such a thing, unless of course there's clearly no real effort to follow the guidelines of the challenge.
Is that fair, or do you think that's too harsh?
No, I think this fits with the requirements. I think if you're telling your story outside of that electronic communication method and background sounds you are probably not hitting the mark.
It's a hell of a lot easier to tell a story visually, as I think a lot of us are finding.
So I'll be more likely to mark people highly if they've stayed within those requirement.
I also highly doubt there would be an all out DQ unless, as you said, they clearly haven't tried in any way to play in the boundaries given.
The reason I asked the question is that I often find that once the scripts go up, people start drawing lines in the sand about what they think is appropriate, based on their interpretation. I thought by getting it out now, some of that could be avoided.
I'm curious how many, if any, are writing a radio or stage play format versus screenwriting format. I guess we'd be outing ourselves if we say though, so game day reveal?
For me the challenging part was producing a plot solely out of conversations with the occasional background noise. I'm guessing others had that challenge as well. But it was good to stretch the writing muscles and I'm going to cut people a lot of slack in the reviews, even moreso because of how short the scripts are. Would love to see a bunch of one pagers.
Agreed, this was tough.
I generally find that people use the upper page limit more often than the lower, I'd be very surprised if there are any one-pagers at all.
I'm curious how many, if any, are writing a radio or stage play format versus screenwriting format. I guess we'd be outing ourselves if we say though, so game day reveal?
I thought about this as well. I worried that people are on a screenwriting site for screenplays written in screenplay format might take issue. So while it may be the 'better' way to write this kind of story, I was concerned that if it wasn't a really amazing script that the unusual format may be a distraction to people more familiar with screenplays... if that makes sense.