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There were 32 entries in the challenge. They are all posted.
The Starving Sea by Dr. David Reed - Short, Horror - Three on a boat. And a voracious predator. - pdf, format
The Riding Hoods' Creed by Lycan Thrope - Short, Horror - A troubled young girl, desperate for attention, enters a biker bar and gets a night full of horror. - pdf, format
S.H.E. Frankenstein by Mary Godwin - Short, Horror - When a woman enlists in a medical trial, she finds herself a disposable test subject. - pdf, format
Frankie by Captain Walton - Short, Horror - A woman goes to extreme lengths to save the man she loves. - pdf, format
Ill Conceived by Haley Rylms - Short, Horror - A renowned geneticist devises a plan to reunite her family following a tragic accident. - pdf, format
The Phantom's Song by The Other Gaston Leroux - Short, Horror - The goal of all true Art is perfection, but what price would you pay to achieve it? - pdf, format
Duty of Care by Margaret Saville - Short, Horror - Grief can make monsters of us all. - pdf, format
Not Born A Monster by Your Shadow - Short, Horror - A wealthy man seeks an unusual cure for his affliction. - pdf, format
Pond Life by Harry Essex - Short, Horror - Rumours of a strange creature entice two young friends to explore the distant woodlands and the pond deep within. - pdf, format
The Strange Case by Balfour Stevenson - Short, Horror - A psychiatrist haunted by childhood memories, finds himself restrained in his own office and forced to watch the live streaming of a brutal rape. - pdf, format
New Order by Brian Stonker - Short, Horror - Ian is being followed. He only wanted to eat breakfast and finish his book. At first it seems harmless. But it ain't gonna stay that way. - pdf, format
Home Security by Boris Karloff - Short, Horror - After shooting the home owner during a burglary, two thieves must decide whether or not to finish the job. - pdf, format
ScaryBirthday by Bela Lugosi - Short, Horror - Sam invites Hank to the theater for his birthday, but one should never underestimate a flu. - pdf, format
Parts Are Such Sweet Sorrow by Elsa Lanchester - Short, Horror - A bad marriage can turn you one into a monster. - pdf, format
Puta Grasa by Gaston Leroux - Short, Horror - With the help of a mysterious stranger, an unattractive, homosexual strip joint janitor overcomes stiff employment odds and prejudices regarding his right to dance at the club. 9 pages - pdf, format
Ken by Matt Tell - Short, Horror - An obsessive medical student conducts an experiment that will win her ex-boyfriend back even after death. - pdf, format
A Gathering Of Legends by Lucy Westenra - Short, Horror - Three Internet buddies finally meet in person, only to confront an ancient evil. - pdf, format
The Devil Made Me Do It by Greg Magellan - Short, Horror - After a heated argument with his girlfriend, Bobby is greeted by the Devil, who makes him a disturbing offer. - pdf, format
A Darker Being by Nathan Hill - Short, Horror - His daughter is visiting for the weekend but when she starts to act strangely, Parker Rogers becomes terrified. Especially when she disappears in the night. - pdf, format
Checkpoint Charlie by Henry Clerval - Short, Horror - A Las Vegas TSA agent is strip-searched. - pdf, format
Replacement Parts Too Small by A Horror Story Writer - Short, Horror - Three friends acting on a dare run into Frankenstein monster looking for replacement parts. - pdf, format
Phobophobia by Leroy Jenkins - Short, Horror - After the Star actor of a major studio horror film remake mysteriously and tragically dies on set, an evil spirit begins summoning the most terrifying monsters from movies past to prey on home viewers' greatest childhood fears. - pdf, format
A Mummy's Search by Helen Grosvenor - Short, Horror - After being awakened in the midst of a massacre, a mummy must search for his dearly beloved to save the world from complete and utter chaos. - pdf, format
Brain by Elizabeth Lavenza - Short, Horror - In a remote British sanatorium that hides questionable pioneering in brain research, a Middle Eastern immigrant renders enforced assistance to the head physician and his son. - pdf, format
Monster Spray by Ernest William - Short, Horror - A little girl wants to know the secrets of a spray her mother uses to keep monsters away. - pdf, format
Creature from the Blue Lagoon by Grogal - Short, Horror - Two horny teens find their deserted island paradise interrupted by an amphibious humanoid creature who’s a sex machine to all the chicks… Can ya dig it? - pdf, format
She Must Bleed by Anon. X. SimplyScripter - Short, Horror - Thirteen-year-old Emily is running from something. With the help from her Uncle Jack, she'll run as far as she can. It's not far enough. She will, she must bleed. - pdf, format
Junior's Farm by Roto Tiller - Short, Horror - Something's been killing off Junior's chickens...and it ain't Infectious Bronchitis. - pdf, format
Not my fault you're spending time reading posts instead of scripts!
I wanted to get through them before my opinion got contaminated by others.
The standard of writing improves every time. People can say what they want about Jeff...but I reckon he's played a part in raising the technical standard!
So. I was dumb to state my name on the script! Didn't read the rules there, my bad but I've read the scripts which caught my eye and I've not really seen any which have intrigued me but hey, it's all in good fun!
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
Some great writing on show here, especially considering most of these are vomit drafts.
A lot didn’t meet the criteria, in my opinion of course and I was surprised how many went the Frankenstein route.
So for me, there’s about three maybe four which are well written, meet the criteria and have a stonking good, well-rounded story with believable characters but I honestly had a blast reading them all.
-Mark
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
Taken more time and given it some more thought. Looking at the Universal Monsters catalogue there's Van Helsing, which no-one touched. The Invisible Man. And a brilliant sounding one called the Ape Woman.
Looking again at the criteria, I wonder if anyone fully got to grips with 'modern twist'. A Frankenstein story with someone stitched back together using social media posts, for instance. A world in which people use the light from their phones and tablets to ward off vampires ('there's an app for 'that'). An Invisible Man-type story where people have to fight for retweets and Facebook likes to stop themselves fading away. Mummies as plastic surgery addicts gone wrong. Just some ideas off the top of my head, perhaps not the best concepts, but what we mostly seem to have - and I firmly include myself in that category - is classic monsters in modern settings, rather than with a 'modern twist'.
Still, lots of good entries! Many skilled writers at work here nowadays, which is nice to see.
I know what I would do differently - other than have more time - and that's not do a last read whilst pissed!!
I added a load of things that thrown folk and affected the read. One phrase in particular was annoying me the day after I submitted it and lo and behold it gets mentioned. That's a OWC for you...don't expect polished scripts.
I would also be intrigued to hear ricks comments on which are really low budget and open to normal amateur writers. We often forget the issues of multiple locations, moving cars, extra signs and props etc
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
You can pay a top SFX company to make you a werewolf..or you can get some stuff from the local fancy dress shop. It depends on what you really want to show.
Any kind of realistic gore is going to cost.
Depends on if you are paying SAG/Equity/ National minimum wage/BECTU rates etc. For instance...the one set in the lap dancing club, or the one with the full theatre...that's a lot of people that by law you're supposed to pay.
That being said, generally speaking:
Definitely achievable low budget:
The Kids The Phantom's Song New Order Ken The Devil Made Me Do It A Darker Being A Gathering Of Legends (i think..I didn't read it all) Duty of Care Parts Are Such Sweet Sorrow She Must Bleed Partners
Probably achievable, at least with minor alterations:
Puta Grasa Pond Life Not Born A Monster The Strange Case
Possibly achievable..depends on how much you're willing to spend on Production Design etc
Frankie Home Security Ill Conceived (Production design and good effects needed for child) Scary Birthday (some high line acrobatics and a full theatre) Junior's Farm (full werewolf make-up and some gore) Replacement Parts Too Small (some pretty hard fx at end)
Would require a sizeable budget to do properly (imo):
The Starving Sea (sea, VFX on blob, lots of SFX) The Riding Hoods' Creed (big cast, bikes, lots of werewolves, vfx) S.H.E. Frankenstein (Production design, fx and car going off cliff) Diary of a Shock Therapist (Production design, VFX) Monster Spray (Mansion, Mad scientists laboratory, trucks etc) Checkpoint Charlie (airport...almost impossible to get permission, even for studio flicks) Phobophobia (have to licence Chucky etc) A Mummy's Search Brain (Mansion and heavy on Production design) Creature from the Blue Lagoon (desert island etc)
It also depends on what the producer and even the rest of the cast have to hand. In this day and age, people will actually pay to be extras. At least in the fact that they won't take paying and can even offer resources like locations just so that they're definitely in the film.
The nightclub we shot Janet in we got for £40 for the day (the wages for one member of bar staff)... none of the extras were paid. There are always people about that fancy themselves in a film and if you know a guy who runs a pub, there's an almost definite free location. Offices are cheap to rent.
What really puts the costs up here, imo, is outdoor filming. Especially near water and things like that, the council expect you to have all sorts of safety measures. Apparently, if an actor falls into the water, just standing near the edge yelling encouragement isn't enough. Oh, no.. you must have a boat complete with highly trained scuba divers.
The way I understood it (and I realise it is all open to interpretation) is you were allowed one good make-up effect. Primarily this would be for the classic monster, if you showed the classic monster as it is, e.g. the Wolfman. However if you didn’t show it, or found a way to modernise it so it didn’t need make-up, then you’d have one good make-up effect spare to use for gore, like a rotting corpse or something.
I chose the latter with mine and used the one good effect for a gore effect on the ‘victim’.
Apart from the FX factor for low budget I appreciate unless you have actually produced a short film, it’s not obvious to work out. Actors can be deferred so that’s not usually a blocker for an Indie film. But things like locations (number of and type), vehicles, filming in moving vehicles, even something simple like a gunshot (which can require the police to be on set and/or a safety officer and they all need paying) can all cost a fortune in rental costs, permits, insurance, and other fees. Even basic elements like rain or shooting at night can break the bank.
If you were shooting elsewhere this is probably a lot cheaper and there’s always ways around, cashing in favours, using a friend’s house etc. So it it is all relative but if you have laboratories, high-tech medical equipment, a castle or mansion, an intense battle in a theatre and include a host of maggot infested corpses on display, whichever way you look at it your budget is going to go sky high.
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
But things like locations (number of and type), vehicles, filming in moving vehicles, even something simple like a gunshot (which can require the police to be on set and/or a safety officer and they all need paying) can all cost a fortune in rental costs, permits, insurance, and other fees. Even basic elements like rain or shooting at night can break the bank.
I don't think anyone uses real gunshots. They are all added in post. Even I managed to add that to my pumpkin film. No safety officers needed even though the guns were real.
Too many safety regulations in my country forces indie filmmakers to do it guerilla style.
Yeah gunshots are usually added in post here too, along with muzzle flashes. We've got access to guns (decommissioned and fake, I should point out) and you need a special license to carry them around. So long as you're not waving them about outside, nobody needs to know.
Another location we have easy access to are gyms. They have boxing rings and there's even a cage. Not to mention lots of fighting types that would love to be involved in a martial arts movie. I should really write one, come to think of it. Could make it for next door to nothing.
With the budget stuff, I guess a lot rests on what Rick called 'doing it properly'. Cheap can be made to look expensive, of course - but cheap can also look cheap!
There's a cash cost...what you can get things for...then there's what people call the Real budget...which is what you'd have to pay if you were making the film "legally".
If you ever sell a film to a major, you are responsible for every penny. Even if you've only spent £10...if the major wants it, you have to legally pay the going rate . You have to sign contract after contract that you've paid everyone Union rates etc.
With shorts that's not such an issue, obviously.
Personally, I would be extremely wary of taking a film crew on an ocean without lifeboats, healthy and safety ops, massive insurance etc. it's people's lives at stake.
In a pro environment it would probably be shot in a studio pool.
Personally, I would be extremely wary of taking a film crew on an ocean without lifeboats, healthy and safety ops, massive insurance etc. it's people's lives at stake.
In a pro environment it would probably be shot in a studio pool.
I don't mean to argue with you, Rick, but if I was shooting The Starving Sea, I wouldn't go out to the middle of the ocean. I would film it so that the camera is always facing out into the ocean. No one would ever know we were only 30 meters off shore, No one's life would be at risk.
With the state of the sea in the UK, drowning is not the only thing we need to worry about. Poisoning is also up there.
Plus with the namby-pamby way of things these days, if someone gets a papercut they want to sue.
We didn't bother with any insurance or anything like that, but the actors and crew were all cool, they knew what they were getting into. Most people are fine. They just want to be involved.
As far as insurance goes, I had crew, cast, equipment and a national monument fort insured for 48hrs for $325. That's not too bad. I would never do anything uninsured.
As far as the shadows go, I wouldn't worry too much about that. A boat is never stationary in the water, so the shadows would be moving around anyway.
With the state of the sea in the UK, drowning is not the only thing we need to worry about. Poisoning is also up there.
Plus with the namby-pamby way of things these days, if someone gets a papercut they want to sue.
We didn't bother with any insurance or anything like that, but the actors and crew were all cool, they knew what they were getting into. Most people are fine. They just want to be involved.
Wouldn't worry about poisoning, you'd die of pneumonia first.
I'd be careful doing too much without some sort of insurance. Even if a light falls down it can cause serious damage to someone, and if you're not insured...it'll all be on you.
As far as insurance goes, I had crew, cast, equipment and a national monument fort insured for 48hrs for $325. That's not too bad. I would never do anything uninsured.
As far as the shadows go, I wouldn't worry too much about that. A boat is never stationary in the water, so the shadows would be moving around anyway.
Dustin, poisoning??????? What????
Anything's possible, but with some stories you are compromising more than with others.
The ideal low budget script is one that can be made without compromise, imo.
This is why something like Blair Witch is a good low budget film (I don't actually like it, but that's not the point). If you made that film with millions it wouldn't be more effective. The low budget style is perfect for the story.
Anything's possible, but with some stories you are compromising more than with others.
The ideal low budget script is one that can be made without compromise, imo.
This. I've read a few scripts in this challenge that yes, you could probably physically shoot for a small amount. But they wouldn't really be 'as written'.
I agree that most of the scripts are well written but quite a few have a fairly average story. Some have rushed or unfulfilled endings. It's only my opinion but the sheer openendedness (is that a word lol) of theme leads to that. The classic monsters have no real goals except killing people I guess.
Harking back to past Halloween challenges, the 2010 always remains the best in my time here. Squeezing a wheelchair, an abandoned house, one female char all set on Halloween eve made for some truly great scripts.
Anyway just my view is all. Maybe the next challenge could be a pure comedy theme. That would rock.
I've lost track of which ones I've read in this one, so PM me if want a read. Cheers
This was just fun. Three of my better written shorts all came out of an OWC. I guess the restrictions, time limit, page limit has something to do with it.
This was just fun. Three of my better written shorts all came out of an OWC. I guess the restrictions, time limit, page limit has something to do with it.
So, we can all surmise yours has done well. Good on you.
This. I've read a few scripts in this challenge that yes, you could probably physically shoot for a small amount. But they wouldn't really be 'as written'.
It’s rare that a spec script is ever filmed as written. These are blueprints that will go through quite profound changes if optioned and produced. They give you an idea of what you had in mind but if you’ve written the script correctly, if something is deemed unfilmable it should be easy to change without affecting the core story.
I agree with Dustin that it all depends what the filmmaker has to his her disposal. Take the Starving Sea for example. I live in Florida, so it's not very hard to find a boat to use. Plenty of people have them and they are easy to rent. The ocean is free to use. Most editors know how to do some simpler FX. Really good ones will be able to do some amazing things with After Effect for example. Things that would've been extremely expensive ten years ago. Only three speaking parts. I think the hardest part with that one would be to find a very pretty teenage girl willing to be buck naked the whole time and tied up. That, you might actually have to pay for. The Riding Hood's Creed wouldn't have to be that expensive either. Only one bike is shown. Only four speaking parts. The other people are easy to get. They'd do it for free for some food and beverages. Like Dustin said, just to be able to be in a film. The bar would be easy to find too. I don't see why the make-up would be that expensive. Either real or FX. To me, getting the cages would be the biggest expense since I imagine you would have to build those. Outdoors at night requires serious lighting, but again, if you have a good cinematographer on your team, he might have access to that. So, it all kind of depends what you have available. My 2 cents.
If you live next to a sea and have access to a boat for free/cheap and hire only local actors/crew then yes, such a script is an option for you. I would say you'd need a really good FX guy to create a believable blob attacking and devouring the people though.
However, for independent film makers who don’t, that would be too expensive to even consider with travel costs alone. Hence if a script is generally considered low-budget or not.
Similarly If you are near some woods with a railway bridge, have a guy with a motorbike and know someone who will let you film in a bar on the cheap, plus you also know a cinematographer who will light up night time shoots for food and a few beers, plus an FX guy that can do the slow mo silver bullets for a few bucks (not counting the Werewolf transform as that’s the ‘one good make-up effect so it is allowed), know someone who can rustle up some cages, know a stunt guy who owes you a favour to do the jump off the bridge or hire a green screen studio cheaply to somehow stimulate it; then yeah the Red Riding Hoods script is really low budget. If not, it is an expensive script!
You can try and go some things guerrilla style but if things go wrong you are in trouble. If you use SAG actors then there’s rules to abide by. Don’t even get me started on actor’s agents!
So yes, everything is relative but if you write something expensive in your script which is integral to the story, to me it’s no longer low-budget in general.
I’m currently in pre-production and I’ve already had to change scenes from a railway bridge to a rooftop and from a hospital to a bedroom because they were too expensive to get legally. Now we are trying to rent an empty office for one day and the cheapest we’ve been quoted is $500, which is $300 more than our budget allows for this, so we are looking to hire a print shop but if that falls through, I’ll have to change another location.
There’s changes all the time. The thing is these locations and other changes don’t (currently!) change the core of the story, as I wrote the script as low budget as I could and put in elements that could be swapped or dropped if they became unfilmable. So far that is. Now that I’ve said that the Director will no doubt ask me to change some key element and I’ll be screwed lol. Well, it would be my own fault for sounding like I know it all ha-ha!
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Low-budget will mean different things to different people.
In some ways, it is the vaguest directive of the challenge criteria.
For a OWC -- when judging entries -- I am far more concerned with story mechanics than imposing my own definition of "low-budget" on an author other than myself. I don't think I've mentioned it even once.
It’s rare that a spec script is ever filmed as written. These are blueprints that will go through quite profound changes if optioned and produced. They give you an idea of what you had in mind but if you’ve written the script correctly, if something is deemed unfilmable it should be easy to change without affecting the core story.
Oh, I know. With the one spec short script I had made - many years ago now, before a silly self-imposed hiatus I'm trying to come back from - the filmmakers in Australia made wholesale changes to the script, including a completely new ending. They let me see the rewrite, but weren't open to any feedback from me and went ahead and shot it.
Didn't lose much sleep over it, though - they did a good job, I wasn't going to make it myself, and it played at a few festivals. Best not to get too precious over it, there's always more where that came from!
Low-budget will mean different things to different people.
In some ways, it is the vaguest directive of the challenge criteria.
For a OWC -- when judging entries -- I am far more concerned with story mechanics than imposing my own definition of "low-budget" on an author other than myself. I don't think I've mentioned it even once.
Do you not think that kind of defeats the purpose of these OWC’s? This website helps writers hone all their screenplay skills, not just their storytelling ability. The OWC should encourage a writer to create a script within certain confines, the same type of confines they will encounter in competitions or if hired to write a screenplay. Writing low-budget is tough but it forces you to really utilise every trick up your sleeve to pull it off. It also increases the chances of someone optioning the script. Does it help the author learn if judges ignore some criteria of the challenge?
I’m not saying don’t give feedback if you like the story, but if you feel it’s not low budget, surely that should be a consideration in the scoring. After all, it would be in real life writing circumstances.
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
I'm with Bert in the budget department. I haven't really been thinking much about budget. I'm more concerned on story mechanics, readability and story. You always get a bunch that fall short for one reason or another, so when you find one that stands out it usually gets high marks from me, even if budget-wise it may be a bit tasking.
Low-budget will mean different things to different people.
In some ways, it is the vaguest directive of the challenge criteria.
For a OWC -- when judging entries -- I am far more concerned with story mechanics than imposing my own definition of "low-budget" on an author other than myself. I don't think I've mentioned it even once.
I disagree.
I think its actually pretty specific and makes a huge difference to the challenge.
It's a LOT harder to come up with novel ideas that are genuinely low budget, than just any idea where there are no limitations at all.
A films objective budget is what it would cost if you had to pay for each and every item and crew member at a standard Union/professional rate. If in the real world you can do it cheaper, that's great...but that's the way it should be measured.
I think its actually pretty specific and makes a huge difference to the challenge.
It's a LOT harder to come up with novel ideas that are genuinely low budget, than just any idea where there are no limitations at all.
I do sort of agree - I made a conscious choice to make my script cheap to shoot (I think). Doesn't explain why people haven't on the whole warmed to it, but it's all part of the challenge, right?
Do you not think that kind of defeats the purpose of these OWC’s? This website helps writers hone all their screenplay skills, not just their storytelling ability. The OWC should encourage a writer to create a script within certain confines, the same type of confines they will encounter in competitions or if hired to write a screenplay. Writing low-budget is tough but it forces you to really utilise every trick up your sleeve to pull it off. It also increases the chances of someone optioning the script. Does it help the author learn if judges ignore some criteria of the challenge?
I’m not saying don’t give feedback if you like the story, but if you feel it’s not low budget, surely that should be a consideration in the scoring. After all, it would be in real life writing circumstances.
Totally agree.
The whole point is that it's a CHALLENGE...a challenge to write to the limitations set by a supposed, real-life Producer.
I'm more bothered that the story works as, let's face it, most if not all of these scripts won't actually get produced. So it's academic.
Nevertheless. low budget means limit the locations, go easy on sets and vehicles and props and costumes and don't have any vast armies or battles or huge impossible scenes. Think Mike Leigh and Ken Loach. Think cheap.
Most films boil down to two people talking. Give them something good to say and make sure it's not in Monaco.
Bert is right. Low budget is not the same for everyone. It also didn't say no-budget. To me, a low budget would be anywhere from $0-5000. To another filmmaker, anything over $1000 might be too much. It's all relative.
As far as the Starving Sea and the werewolf script goes, both would be low budget IMO. The blob doesn't have to be the blob from the classic monster movies. That was important to this OWC, but not for a filmmaker. It just has to be a monster type thing from the sea. In King's The Raft it's kind of like an oil slick. That was scary too. So, it doesn't have to be THE blob. In the werewolves script, it has a high railroad bridge. Is the railroad bridge necessary? No. It would look cool, but it's not integral to the story. Lonnie could just as well be shot in a field right in front of a shallow grave. It's all relative.
PS: We could all write a talking head script that takes place in someone's house. That's low budget!!
not saying anybody's wrong but a lot of stuff and keywords said belong too much into the no-budget category, for my taste.
It is right some scripts slipped into the medium budget with partly having high 4 figures to even 10 grand.
To me, if you can't rent a simple location, have to calculate so tightly with any precondition; you're at the very bottom of low budget if not below; which is no problem by the way.
There are ways around budgets so it isn't much of a consideration for me while judging. Locations and even entire situations can be changed to match what one can get hold of. I suppose I'm more attracted to writing talent and how well the story is delivered. A good writer can make a mediocre story read great. That's what does it for me. If it's a slog to get through, then I have little patience for it.
NOT ONLY to defend my own take haha. No, I took something with some money in the game, really didn't think a lot about it or calculated, and people disliking it therefore, is all right.
I completely stepped away from shorts at simplyscripts. I don't post any of them anymore. Only read a few in the last months. Perhaps some parts like budget has a lot to do with it. There's no passion for it from my sight... THE OWC IS GREAT OF COURSE!
so I shouldn't talk about budget this and that and let experts discuss who actually shoot films
I dunno, if low budget isn't a serious consideration for these challenges, why have it in the criteria at all? If it's story people want, let the author's imagination sally forth and call forth the dogs of war! I certainly would appreciate a OWC where I didn't hold back.
I suppose I feel a bit resentful when I see scripts that have made the effort to stick within the stipulations and those that don't, yet each being treated the same by some reviewers. But that's my problem and for me to work out.
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The key here is that no set amount was given to what "low budget" is...so...Bert and Pia are definitely correct. Dustin is as well, in terms of his saying many things that may not be low budget, could be obtained or dealt with depending on what you have or can get.
In my judging, I have not once said a single word about any script's budget, because low budget does not mean no budget.
Hell, IMO, low budget could be well above $10,000.
This is one reason why I detest low budget anything. It limits the writer's creativity. It limits the quality. And, it stifles the imagination.
That's what I mean by budgets not being a consideration for me. Unless they're obviously blown out of the water... but there is a lot that can be done once you actually start finding out what can be done.
$500 for one day in an office is ridiculous... but it depends on what is in that office. Fully functioning computers, desks, etc... then why not... but even then, you should be able to negotiate a fair price. Some people are naturally good at getting things.
I think low budget should be a natural consideration anyway with shorts. It's mostly students and beginner filmmakers that make them. I write with what I can get hold of in mind. Hold of for free. So usually my locations are typically boring, but easy to get hold of and either cheap or free. I avoid outdoor locations as much as possible... aside from establishing shots with no dialogue. I avoid stunts, special effects and heavy make-up... unless stipulated.
The only people hurt by writing not to a low budget are the writers themselves.
I suppose I feel a bit resentful when I see scripts that have made the effort to stick within the stipulations and those that don't, yet each being treated the same by some reviewers. But that's my problem and for me to work out.
Since I'm not going to win the coveted SS thong, I will admit that mine went over the page limit. Not because I ignored it, but for years, the page limit was 12. I honestly didn't realize it was 10 until that last day, and late in the day too. There are many ways I could've shrunk that script to fit it in 10, but I had carefully written the script to end each page where it did and such and by starting to condense action paragraphs and ignore shot by shot breaks, I would IMO have ruined the flow of the read. I think I followed the rest of the challenge.
There were some scripts that were the right length, but didn't really have a classic movie monster in it. There were others that were high in budget. Some that weren't even horror at all, but a fun read. So, we all do our best and sometimes what we think fits, doesn't in someone else's eyes.
The key here is that no set amount was given to what "low budget" is...so...Bert and Pia are definitely correct. Dustin is as well, in terms of his saying many things that may not be low budget, could be obtained or dealt with depending on what you have or can get.
In my judging, I have not once said a single word about any script's budget, because low budget does not mean no budget.
Hell, IMO, low budget could be well above $10,000.
This is one reason why I detest low budget anything. It limits the writer's creativity. It limits the quality. And, it stifles the imagination.
Or encourages you to use it and not rely on spectacle.
That last line proves why it's such an important stipulation...it's harder to create something sticking to low budget. It LIMITS you to certain things.
It's unfair if some writers are limited, by sticking to the rules, and others aren't.
You've said it yourself.
So if the stipulation is not going to be used to evaluate...let's remove it altogether in the future and have a more even playing field.
The only reason I am even jumping into this debate is because I am getting "dinged" for not writing a "low-budget" piece when -- by MY standards -- I most certainly did.
Minimal characters at one, single location, with nothing destroyed in the process. Honestly, what more do you require?
I guess I was just saying that some folks are being a little too strict with that "low-budget" label.
Just because YOU happen to think "low budget" means two guys talking in an empty livingroom, it hardly seems fair to hold everyone to that standard. That's an extreme example, of course, but I use it to make my point here.
Two cents: 1) The definition of low budget is vague. A quick Google search shows "low budget" as US$700K for a feature length movie, so ten minutes is around $100K? Vague. 2) The challenge's constraints put is into a tiny box: a time-worn, burnt-to-a-crisp genre of "classic horror" is asking for a surfeit of Frankensteins, which is what we got.
The good news: this was my first challenge and a learned a ton from the comments. In the end, isn't that the function of a OWC on a no-fee scripting Website? We voluntarily choose to chunk our Halloween pumpkins, and instead of orange innards, our egos splatter.
Whatever the nits of rule, whatever the constraints, the thirty-two of us who spilled our pumpkin guts all over the battlefield deserve medals. Bravo to my fellow screenwriters. You showed up.
I don't think it's unfair, Rick. If a writer wishes to price themselves out of production then who does that hurt in the long run?
I didn't write this story to win a mug or a thong. I mainly wrote it for fun, but I also hope that one day it may be produced. This whole thing is just an excuse to write something different, something I wouldn't ordinarily have thought of if Don didn't come up with some stipulations.
Mine is super low budget, by the way. I'm not arguing the case because I broke the rule. I just find budget a bit of a grey area. Expensive to one person is cheap to another.
I even read the ones that went over page count and the ones that neglected to use a classic monster. I also read the comedies.
I was a little harsh to the last two I read this morning, I think, but over all, I've tried to be kind. Unfortunately that has led to some scripts getting higher marks than other scripts that are probably better. Sorry about that. Don't take anything I've said to heart, I'm just one guy with an oft ignorant opinion.
BECTU rules stipulate the minimum a cinematographer can be paid is £1700 per day.
A professional crew will shoot around 18-20 shots per day and a ten page script will take between 3-4 days to shoot.
So...if you're accounting the budget from a legal perspective...just hiring a cinematographer would be between $7818.63 and $10425.56 for those three to four days in the UK.
That's before you've even got a camera!
A Red Scarlet is £780 per day. That's without lenses. A set of Red Primes is around £300 per day.
That's $4783.49 for the camera and $1839.12 for the lenses.
You're up to $16K and haven't even got a location, lights, actors, props or anything else yet.
That is essentially why the "middle-class" of filmmaking has died. There's either no budget stuff (getting everything you can for free) or studio stuff. It costs a fortune.
Nothing particularly to do with the thread, just saying.
I don't think it's unfair, Rick. If a writer wishes to price themselves out of production then who does that hurt in the long run?
I didn't write this story to win a mug or a thong. I mainly wrote it for fun, but I also hope that one day it may be produced. This whole thing is just an excuse to write something different, something I wouldn't ordinarily have thought of if Don didn't come up with some stipulations.
Mine is super low budget, by the way. I'm not arguing the case because I broke the rule. I just find budget a bit of a grey area. Expensive to one person is cheap to another.
I even read the ones that went over page count and the ones that neglected to use a classic monster. I also read the comedies.
I was a little harsh to the last two I read this morning, I think, but over all, I've tried to be kind. Unfortunately that has led to some scripts getting higher marks than other scripts that are probably better. Sorry about that. Don't take anything I've said to heart, I'm just one guy with an oft ignorant opinion.
Fair enough. And like Pia says...we'll all just argue over the other stipulations anyway!
It just upsets my sense of fair play when the genre is low budget extreme body horror and everyone votes for an expensive romantic comedy.
Or encourages you to use it and not rely on spectacle.
That last line proves why it's such an important stipulation...it's harder to create something sticking to low budget. It LIMITS you to certain things.
It's unfair if some writers are limited, by sticking to the rules, and others aren't.
You've said it yourself.
So if the stipulation is not going to be used to evaluate...let's remove it altogether in the future and have a more even playing field.
Yes, but IMO, spectacle is what makes great films. It's the visuals that set film apart from everything else.
It may be unfair, but that's only because certain writers limited themselves by going "extreme" low budget, while others realized low budget is impossible to put an actual price tag on.
For instance, Matt Damon could shoot a no to low budget film just using what he already owns, and himself as an actor.
I'm all for removing budgetary from all OWC's, and in fact, the one I ran, I'm pretty sure I said go as big as you want to.
I like the budget restraints and personally I feel it focus' the writer more on story.
Yes, we can debate what they mean, but sometimes it's pretty obvious if it doesn't comply. My first OWC was with Falling Angels - in that I had a war raging - d day - and an church blown up. No chance of being filmed.
movie Poet used to have a lot of these by default. Eg had to be set around a table, or filmed in one shot, had to filmed in a car etc
This lead to many being filmed. I have four from MP under production, which probably means one at tops gets filmed, but they wouldn't be going ahead if not tight on costs, locations, actors, effects. One of my best, IMO is two men around a table and an imaginary ghost. It lead me to come up with a lot of back story, conflict and subtle twists.
Every OWC the criteria get pushed and on average we go with it.
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
I'm all for removing budgetary from all OWC's, and in fact, the one I ran, I'm pretty sure I said go as big as you want to.
Would probably result in fewer scripts being picked up from OWCs by budding filmmakers though, wouldn't it? By and large the people looking here for scripts to option/film are students and people still honing/learning their craft (or that used to be the case, anyway).
Comes back to a more fundamental question I guess: why do you (plural) write shorts?
a) to practice skills and develop craft, before graduating to features b) out of an artistic love of the form c) you just love writing, and they're quicker than features d) in the hope they'll be shot by someone else, either for personal satisfaction or to advance your career as a writer (credits, getting on IMDB, festival plays, awards) e) to shoot yourself, either to practice skills as a filmmaker or/and for the reasons listed above
I think shorts are always the most popular category on SS, reads-wise, presumably as they're less of a time commitment (totally fair enough, we're all busy!), so maybe there's another reason:
f) most likely to get reads and feedback on SS
If a, b, c or f, then obviously you don't have to worry about budget. If d or e... I'd genuinely be interested to hear what people think!
I think there can be honest disagreement on what represents a blown budget. A lot of people said Home Security blew the budget because it has a mansion and a mechanical bookcase covering a secret chamber. But if you really like the story and wanted to do it, it’s not hard to turn “a mansion” into just the nicest house you can find. Instead of a mechanical bookshelf lowering into the floor, just have an actual bookshelf placed in front of a door and have the characters say, “Hey look, there’s a door behind this shelf” and push it out of the way. So while some might mark it down for blowing the budget, I think it’s only two easy tweaks away from being among the cheapest I’ve read.
In my mind, all of these end up being due at least one rewrite, and I’ll always prefer an actual story whose rewrite needs to focus on making it cheaper versus a cheap script whose rewrite needs to focus on giving it an actual story. If you’re a filmmaker and you have a script you really like, you’ll be thinking, “How can I make this filmable? What can I change to achieve this?” But if you’re reading a script and all you see is easy to access locations and budget pinching, you’ll think, “What do I need this script for? I’d do just as well to start from scratch.”
I like the low budget stipulation. I think it helps keep things closer to low budget than they otherwise would be. But even an opening shot of invading spaceships entering Earth’s atmosphere can be changed to a radio reporter talking about that same event. And if you like the rest of the story, the script hasn't blown the budget because the only thing it costs is an hour of your time to rewrite the scene.
To shoot myself, or to find an idea that I might develop into a feature later.
I've been thinking of writing some I've written as short stories as I feel I have to gravitate towards features at this stage of my career. I actually thought about mentioning that on here...perhaps we should convert some of our shorts into stories and do an anthology. Sell it an Amazon.
In some ways, a lot in fact, I prefer short films to features. I prefer short stories to novels as well, generally. The best writers can fit so much into a short time, whereas there's almost always long periods of boredom in feature films.
Unfortunately there is no market for shorts. Especially now the DVD market has died. Pity.
I've been thinking of writing some I've written as short stories as I feel I have to gravitate towards features at this stage of my career. I actually thought about mentioning that on here...perhaps we should convert some of our shorts into stories and do an anthology. Sell it an Amazon.
Not a bad idea at all. This blog at Scriptshadow makes an argument for that approach for features, too - http://scriptshadow.net/guest-article-cant-sell-your-screenplay-why-not-turn-it-into-a-novel/. Thinking is if people only really want to buy adaptations of pre-existing IP, self-publish and generate the audience in prose format, thereby proving the concept, before adapting it back.
All this talk about the OWC scripts, budgets, production....
Now I'm thinking I want to film The Starving Sea!!
One thing I liked about it is that it takes place on the ocean. I love the ocean! Much more interesting visually! That's what I said about the fort too though, but since this takes place during the day, there shouldn't be any lighting issues at least. Not sure what to do with the blob though, but I think that can be worked out. Now I just need to track down the writer and then call up my buddy Dena to see if she wants to step onboard with me, so to speak.
Let's see, I know a guy with a boat that I think can be sweet talked into letting us use it....hmmmm
I've said the same for a while about features. Good idea...especially for the Epic ones.
Look at The Martian - serialised on the author's own website before being self-published on Amazon for 99c in 2011, where it sold 35,000 copies in three months, then a trade fiction publisher acquires publication rights for $100,000. Same month, Twentieth Century Fox options the film rights. By May 2014, the novel has debuted in the Top 20 in the hardback fiction charts and Ridley Scott has signed on to direct the film.
If you have what you're convinced is an amazing concept but the script just isn't generating any interest, then surely it's worth considering adapting it into something you can actually release for the general public to read, either yourself or collaborating with a fiction writer? If it's any good, it'll boost your chances of selling the screenplay in the long run.
All this talk about the OWC scripts, budgets, production....
Now I'm thinking I want to film The Starving Sea!!
One thing I liked about it is that it takes place on the ocean. I love the ocean! Much more interesting visually! That's what I said about the fort too though, but since this takes place during the day, there shouldn't be any lighting issues at least. Not sure what to do with the blob though, but I think that can be worked out. Now I just need to track down the writer and then call up my buddy Dena to see if she wants to step onboard with me, so to speak.
Let's see, I know a guy with a boat that I think can be sweet talked into letting us use it....hmmmm
There will be a lot of lighting issues as your key light...the sun...will be in constantly different positions as regards the positioning of the boat.
But good luck. It's certainly not a project I would tackle!
There will be a lot of lighting issues as your key light...the sun...will be in constantly different positions as regards the positioning of the boat.
But good luck. It's certainly not a project I would tackle!
Well, like I said earlier, boats are not stationary, even when anchored, so I personally don't see that as a real issue. We would have to take it in consideration though when doing our shot list, so an early morning sun is not at the beginning of the film then the midday sun in and then back to morning sun and then again back to midday.
And yes, I have been called a complete nut before. By family even. Risk taker too, but I'm a positive person, so I always think things will turnout good. We shall see.
When time is short and you know your script is less than it can be I always worry about entering it. But it motivates me to write, read and review which is good.
The reviews on mine have reflected what it is and the condition it was entered. I think it is worth a good polish after this, and that's not a bad outcome
Few more to read
I haven't always reviewed for a number of reasons including my occasional wifi link
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
Yes, but IMO, spectacle is what makes great films. It's the visuals that set film apart from everything else. It may be unfair, but that's only because certain writers limited themselves by going "extreme" low budget, while others realized low budget is impossible to put an actual price tag on. For instance, Matt Damon could shoot a no to low budget film just using what he already owns, and himself as an actor. I'm all for removing budgetary from all OWC's, and in fact, the one I ran, I'm pretty sure I said go as big as you want to.
In my view, spectacle only makes great films if it’s built on the foundation of a great story. If the story is not there, if the script doesn’t work, no amount of spectacle will fix it. Take John Carpenter of Mars, Jupiter Ascending and more recently, The Last Witch Hunter. Visually spectacular movies but utterly shit stories and unbelievable/dull characters. That’s one of the great things about trying to write a low budget script, it forces you to focus on story and characters. If someone comes along with some extra cash and wants to add the spectacle, great. You can always add spectacle to enhance something but you need something good to build upon.
Would probably result in fewer scripts being picked up from OWCs by budding filmmakers though, wouldn't it? By and large the people looking here for scripts to option/film are students and people still honing/learning their craft (or that used to be the case, anyway). Comes back to a more fundamental question I guess: why do you (plural) write shorts? a) to practice skills and develop craft, before graduating to features b) out of an artistic love of the form c) you just love writing, and they're quicker than features d) in the hope they'll be shot by someone else, either for personal satisfaction or to advance your career as a writer (credits, getting on IMDB, festival plays, awards) e) to shoot yourself, either to practice skills as a filmmaker or/and for the reasons listed above I think shorts are always the most popular category on SS, reads-wise, presumably as they're less of a time commitment (totally fair enough, we're all busy!), so maybe there's another reason: f) most likely to get reads and feedback on SS If a, b, c or f, then obviously you don't have to worry about budget. If d or e... I'd genuinely be interested to hear what people think!
All of the above. I’m serious! Writing is my hobby, my passion; I love it! But I haven’t earned a penny from it so far. My day job pays the bills, keeps my family and home going and allows me to produce the odd movie now and again. If I could work full time writing/producing I would but it ain’t an option at the moment, so I’m building a portfolio of work in the hopes that one day it may be. I don’t have much time and I don’t have an endless bank account so low budget shorts are my best option.
I also think low budget has the best chance of getting optioned so SOME of my scripts are deliberately written to be low.
I’m learning so the feedback from fellow writers is invaluable and you are more likely to get feedback on shorts.
I’ve wrote one feature so far and it was so much harder than shorts so I’ve gone back to try and hone my craft before taking the feature plunge again.
For me: For fun. To shoot myself, or to find an idea that I might develop into a feature later. I've been thinking of writing some I've written as short stories as I feel I have to gravitate towards features at this stage of my career. I actually thought about mentioning that on here...perhaps we should convert some of our shorts into stories and do an anthology. Sell it an Amazon. In some ways, a lot in fact, I prefer short films to features. I prefer short stories to novels as well, generally. The best writers can fit so much into a short time, whereas there's almost always long periods of boredom in feature films. Unfortunately there is no market for shorts. Especially now the DVD market has died. Pity.
I’ve returned to the prose side of thing recently as self-publishing is so easy these days. I’m writing shorts stories and a novel, gonna try to get them published ‘properly’ but if not, self-publishing is a viable option. I know several people who have done it and done very well for themselves. Still gonna do screenplays as well, but prose is definitely a lot more viable than short scripts these days.
There is a market for shorts but it’s hard to get into and the money is peanuts. Shorts are more for festivals and building portfolios.
This has been a very interesting debate and I’ve enjoyed everyone’s views. If anyone is interested (and seen my short No More Tomorrows) that cost me $3000 to make. The original ending was much more of a spectacle as it was a big roadside shootout. The Director told me it would be too expensive so I completely changed it to a low budget version and was pleasantly surprised how it turned out. I thought it was much better. Surprisingly the Simply Scripts guys who read the original draft, none of them like the shootout anyway.
The next film, Surrender, is budgeted for $4k because there’s more locations and FX than NMT. When writing I was thinking ‘low-budget’ in mind so the locations are normal, generic ones I thought we could get for free or low rent, the FX were ones I thought could be achievable.
Dustin (or anyone!) if you can find us an office in New York which has at least one photocopier and a printer for less than $500 a day let me know! We only need half a day actually, but no-one will rent for less than a full day’s rate at the moment, even after we’ve offered them free advertising in the film.
It is relative. I once shot a day on a Submarine for $140 because we blagged the tour guy we were film students and he let us on for the cost of admission. We shot all day and just had to stop when tourists came though, it was so surreal. However if I saw a script which opened with a submarine it would scream expensive to me and if I was looking for a low budget script I’d stop reading right there.
To me a low budget script is a few actors, few generic locations, few FX & stunts plus a bit of visual flair and the odd artistic touch to help it stand out, as well as show the script's production potential. Learning how to write well within such confines is a key skill, unless you are lucky enough to be landed a big budget deal. This to me is why a challenge to write within set confines is a great idea but it’s learning potential is only fully realised if those confines are seen to be at least attempted and a factor in the reviewing process.
A good story should shine through without the need for smoke and mirrors. But that’s just based on my own experiences and opinion.
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
New York is a little out of my area, mate... if you were here in Birmingham I could probably find one for gratis. At least, that would be my initial aim. I have access to a community centre, and there are old council buildings full of office furniture all over the city, I know because I helped out one day moving a load of it. Took my back three days to recover. Anyway, a phone call to the council would get something cheap, they're usually willing to help out.
There are also office spaces to rent from as little as £5 per day... but the council is the best option as they have huge empty buildings just sitting there. The new Lenny Henry film was filmed in one, they doubled the building as the production offices and an actual school in the film.
Universities... get them involved, then you have access to everything from make-up to high tech equipment and studio space. You have to work a little harder when it comes to saving money.
Can't really speak for the US though. It's probably completely different over there.
Somebody Steps-back-soon & Mr. Taking AShower-Before
The more OWC scripts I read, the more people avoid my own script; my personal posts seem to come across too direct, perhaps too honest toward the work, I don't know - and my own entry is too obvious with regards to the stated posts there already.
On another note, I guess those having the most reads miraculously are entries by members who share a lot personal social contact with each other. I don't have a proof nor do I like to watch out for one, I only guess so.
Some of my worst entries like The gay time travel Coming out Tavern Or Genetic Engineering got pretty reasonable crucified here and I've taken it.
This time I have at least an undeniable solid entry, with ESL themed in the comments right away- so things are pretty clear that it is mine, since I haven't seen ESL themed posts like that in the 20plus entries I read already.
So, it seems, it's preferred to ignore my stuff and stay away this time. Hell, usually I get a pretty frequent bashing on my stuff upfront; so what a coincidence - damn.
As a libertarian who obviously doesn't care to state an individual opinion even if completely controversial (Phantom script) and singular, I believe without the presence of independent participants like me, coming from another corner, the challenge would work different between only the remaining ones who know each other perfectly.
Sorry, that in my way being friends, colleagues, or whatever relationship, isn't necessarily bound to act in the private section frequently. I choose to share differently and give full reads without ever expecting something back; or I do conversation about screenwriting. I'm easily sharing quite private stuff in process of that exchange; but I not often choose to get private for sharing privacy alone.
And in addition, of course the moderation didn't see the over top stuff of a comment on my script some months ago; because it was clear the script comes from another corner as they know, and so it gave a fine laugh to everyone. As well as they don't delete double posts in my threads. Can't hear, can't see...
I'm stupid, for being a writer alone and probably some other things too, I know that, but some people probably think I'm not intelligent enough to feel what's going on around me. How naive of them, almost as if they want me to know, but have no balls to speak upfront.
Tiny details can form a very clear picture.
I encourage the readers of this post who have a doubt that everything written above is unreasonably invented of me, so to say a dark conspiracy I developed, or a big ensible misunderstanding,
and of course some will state that asap and defend their kingdom, their behavior, probably feel personally attacked,
but THOSE who do not think it's unreasonable, and perhaps sometimes feel like me here,
protect your independency from that behavior toward you. You deserve better. Start to realize both of that.
Now some may put those points into relativity, a double post isn't that of a big problem, this and that, "I think you see this all too sensitive", (as said, this stuff comes around and around and around my door)
Please pick sentences out of the written context or provoke me to start a discussion. The point is, that it changes nothing if one doesn't realizes that
EVERYTIME IF USERS OR MODERATION EVEN SLIGHTLY ACT DIFFERENT TOWARD INPUT WHICH ISN'T COMING FROM THE MOST FAMILIAR SOURCE AROUND, THE CONSEQUENCES ALWAYS WILL HIT THE OTHER GROUP OF PEOPLE,THAT THEY BUILD THAT WAY.
One of these others will be it.
It's the right of subjectivity, yes it is, I understand that,
it still hits the same group over and over. That's just rational thinking.
So moderation, there's one script that lies there for days now with a double post, right at the end of the thread, so to say absolutely invisible double post, and I know you haven't seen it; so could you please delete this post, but wait, no,
delete the damn thread too!
Here another hint – you find my script on page 2
@ Ah, by the way, I'm not a short film writer. I do long plays, and if one thinks the judge of a writer whose not used to such deep confrontation is even slightly, nearly as formed, concerning ANY task in screenwriting... then play on and deny rationality.
I hope the moderation takes notice of my critique and at least considers and rethinks a bit than judging this post superficially. Sorry, for the sarcasm toward you, I can understand if this gets to personal. I waited and waited, one time I speak clear.
My intention isn't to hurt somebody's feeling.
Just go on with the challenge without me.
(I probably post on feedback but if you don't want me to, then send me a message).
I just have no reason for being a part in a parlor game. It has reached the point that I eventually understood the rules.
Post probably will be deleted when done some work I have to do
New York is a little out of my area, mate... if you were here in Birmingham I could probably find one for gratis. At least, that would be my initial aim. I have access to a community centre, and there are old council buildings full of office furniture all over the city, I know because I helped out one day moving a load of it. Took my back three days to recover. Anyway, a phone call to the council would get something cheap, they're usually willing to help out.
There are also office spaces to rent from as little as £5 per day... but the council is the best option as they have huge empty buildings just sitting there. The new Lenny Henry film was filmed in one, they doubled the building as the production offices and an actual school in the film.
Universities... get them involved, then you have access to everything from make-up to high tech equipment and studio space. You have to work a little harder when it comes to saving money.
Can't really speak for the US though. It's probably completely different over there.
Guys, calm down. It's not like this is a contest or anything where you can win prizes. No need to bite each other.
I'm pretty sure just about everybody knows which of the scripts is mine as well and I don't care. I've written my script in about three hours on the first day of the contest, submitted it, and never touched it again. I just saw the OWC post and thought it would be fun to participate in one.
I'm sorry I didn't manage to read all scripts (and probably won't). Read about twenty so far and only commented those where my opinion was about in line with the others' and where I felt I had something to add to what has been said already.
In general, I only try to comment on scripts here on SS which I don't totally dislike. I just prefer giving encouraging notes instead of ripping something to pieces. Always keep in mind it's human beings with the same hopes and dreams as yourself you are talking to. Just my two cent.
And in addition, of course the moderation didn't see the over top stuff of a comment on my script some months ago; because it was clear the script comes from another corner as they know, and so it gave a fine laugh to everyone. As well as they don't delete double posts in my threads. Can't hear, can't see...
I have no idea what you're talking about, other than to point out that if you think we actually have the TIME to orchestrate some dark, vast conspiracy, you clearly underestimate the demands of real life.
It's just a hobby, dude. We don't get paid for this. We don't see everything. And I haven't the slightest inkling of a clue which script might be yours.
If you see a troubling post, REPORT it. Be a little more proactive. You can do that, you know.
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
New York is a little out of my area, mate... if you were here in Birmingham I could probably find one for gratis. At least, that would be my initial aim. I have access to a community centre, and there are old council buildings full of office furniture all over the city, I know because I helped out one day moving a load of it. Took my back three days to recover. Anyway, a phone call to the council would get something cheap, they're usually willing to help out.
There are also office spaces to rent from as little as £5 per day... but the council is the best option as they have huge empty buildings just sitting there. The new Lenny Henry film was filmed in one, they doubled the building as the production offices and an actual school in the film.
Universities... get them involved, then you have access to everything from make-up to high tech equipment and studio space. You have to work a little harder when it comes to saving money.
Can't really speak for the US though. It's probably completely different over there.
Good to know, thanks for the advice. I'm based in the UK but surprisingly have had very little luck getting anything produced here, yet far more interest from thousands of miles away!
PrussianMosby - Try not to take it so hard mate. I’m doing surprisingly well for comments in this OWC, in all the others I’ve had my fair share of merciless slaughter and it feels terrible, so I understand. But in the end it’s just a few random stranger’s opinions and nothing personal.
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
I don't have any idea who wrote what aside from two. One writer used their own name on their file, which has since been rectified, and Prussian gave it away in that lengthy whine he subjected us to.
Aside from that, I'm a lone writer who chooses to be alone. Now excuse me while I hang myself.
Nor do I expect or want approval and posted with knowing about an echo.
You can blame me for the words I say - I'm completely responsible for them.
@Thorsten and Reef
if my script gets ripped, it deserves. If I see false motives behind a comment, which can happen too, I swallow that, always.
@Bert, I contacted a moderator about a problem once- was ignored. I wasn't even mad because of that fact, didn't care. And there are other things, not about me in particular, where I see some users is given a wider frame as other ones. Then at some point it's enough of "I don't care" from my side.
@Jeff No problem, I just hope I didn't disappoint you and made some good moves since yet. When it gets a bit uncomfortable with my presence, me right or wrong, or both, unfortunately people seem to think I lost my humor at this moment. Nah, that cruising ball has a lot of harder hits in petto.
Dustin, I didn't want to get you out of your mood, just go on as before that earthquake happens, whiny, whiny pffft
I have no idea what when on here about Prussian's post.
I know which one bert wrote now. I figured it out on my own. He didn't tell me. No buddying up to get good reviews. I know which one Dena wrote, and I think that's it. For the rest of them, I have no clue.
I haven't seen any double posting. I also know you have not contacted me about any issues, so I'm a little lost here as to what on Earth you're talking about.
He's talking about certain writers communicating with each other in regards to the scripts they wrote. Therefore garnering good reviews and possibly even votes.
Of course it happens. But i can assure all that I would never do that. I was contacted once through email where the person implied they would give me a friendly review. I refused to tell them which script was mine. I don't play like that... but, I'd be a fool to believe it wasn't happening elsewhere.
Not that I care. I write for two things, the love of it, and to get produced. None of the writers here want to produce my shit.
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
I doubt that it's a conspiracy of the like Prussian imagines, just two or three friends here and there, most likely... and, most likely, never affecting the final outcome.
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
What's the point writing favourable reviews for your mates?
I mean the prize is a mug not an option on your scripts or a trip to Hollywood (nice though the mugs are!).
I found this one a little more challenging than last time, probably reflected in my comments... but that's good, it what I enter for!
It also prompted another script which I'll post once the submission page comes back on line, I prefer it to my eventual OWC script but it didn't fit the criteria fully.
I really enjoyed this and could write even more. In fact, I may just write my own modernised version of each classic monster. Very inspiring challenge.
Yeah, have to admit after reading some of the scripts on here, I have a few ideas for something else to write. Reading always sparks ideas within me. Another reason these challenges are flippin great.
@Pia and Bert it wasn't one of you who I called to fix a problem once, and perhaps I should have told you about the double post, although I thought you both have also entries in. As said I wrote to Don to delete my entry since it should be an anonymous challenge and I opened up. My post wasn't meant to be fair. It was what I felt and to build a position to go on for me since I recognized some things I disike will come to me over and over if I won't.
Whoever thinks my goal is to win votes here don't understand my post,
Those who think it's about that my script script being ripped here (which it is not), you don't understand my point
That's not what I wanted to say. Has nothing to do with it.
Alex, I had a quick look at yours last night after you outed yourself inadvertently and you were garnering some nice reviews. Overall, all positive.
In my experience of the OWC it often takes people a while to getting around and reviewing them all (like me, I've been a bit flat out with work this week). Yes, it's sometimes frustrating when a story becomes popular and other readers jump on and some entries rise to the top, and you see your own drop to the bottom of the pile but it usually balances out in the end.
Shame you didn't leave yours up imh, only a few people would have noted which one it was. I still would have given you an honest non prejudiced review.
As an aside, like Bill, I'm completely oblivious to any kind of member fixing - 'please vote for me'. If I'm that desperate for a mug I'll just ask Don what he wants for one, and I'll happily pay for it. Just kidding about that last thing, they're not for sale.
I've throughly enjoyed this experience. My first OWC and first experience with simplyscripts in general. I love the attention to detail that this discussion board exudes, in the scripts, in the comments, in the reviews, and in the replies.
I will say that I found out about simplyscripts and OWC last week and had a day to write mine. I won't out myself just yet but I am getting some decent feedback (i.e. stuff I know I need to work on) which will help in the long run.
I'm working my way through and have read some great stuff so far. It's making my fall season memorable. I even have written a new script this week within my own parameters. I actually think it helps for creativity. If we all had endless resources we would make Heaven's Gate, which I just watched for the first time today - the long version. Not has bad a rap as it got, but definitely takes a while to get going - great cinematography and atmosphere. I like the way definitely rolls off the keyboard. Keyboard. key board. bored...
Think I've read 14 so far. Enjoyed many of them. Fairly certain I know who wrote 2 of them, though I didn't going in, that's based on what I know of their personal styles - and don't massively care, actually.
Unlikely I'm going to have read all of them by the time it comes to vote, so not sure I'll try to pick a winner. Seems a bit unfair on the ones I haven't read yet, I'll try to get round to as many as I can and will definitely return the reads on my own.
I’ve read them all, and left a review on about 28-ish. The remaining I’d just be repeating what others have said. That doesn’t mean the (script) isn’t good enough for consideration, I just don’t want to fill up your thread with unnecessary banter.
If I missed yours and you’d like me to review it, no worries, send me a note… unless you didn’t comment on other scripts.
I’ve read them all, and left a review on about 28-ish. The remaining I’d just be repeating what others have said. That doesn’t mean the (script) isn’t good enough for consideration, I just don’t want to fill up your thread with unnecessary banter.
IMO, there's no such thing as "filling up a thread with unnecessary banter", as it helps when writers hear things repeated, whether good or bad.
If you read the script, post some sort of feedback. Foolish not to, IMO.
Ten left now, but according to the existing reviews, I doubt any of them will kick my favourite script off the throne How do I vote? Do I send an e-mail anywhere?
Ten left now, but according to the existing reviews, I doubt any of them will kick my favourite script off the throne How do I vote? Do I send an e-mail anywhere?
If you've submitted a script in this OWC, Don will send you an email with instructions on how to vote.
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
Ten left now, but according to the existing reviews, I doubt any of them will kick my favourite script off the throne How do I vote? Do I send an e-mail anywhere?
Currently A Gathering of Legends has the second highest number of comments, which is a real shame when so many have obviously made much more of an effort.
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
My script seem to have gone over fairly well, but got really bad grades because I went over the max page count. Unintentional on my part. It sucks to get the same grade as script that were not even complete script or made any sense at all, but that's the OWC. You get kicked in the "balls" a lot.
I'm pretty sure I know which one is yours, and obviously it's well-written and has loads going for it - but Pia, how could you?! A newbie I'd understand, but you've entered enough to know to fully read the specifications...
Apologies for my slow response to emails. Sometimes it takes me a few days to respond.
I've sent out the Writer's Choice email to ask participates to tell me which of the scripts they read they enjoyed the most. What will be chosen isn't a 'winning' script. It is just a script that the majority of the participants enjoyed. I've asked they be submitted by the 6th. At that time I'll reveal the names.
There were 31 entries, not 32.
Anonymity is not required nor the lack thereof a reason for disqualification. There really isn't a 'qualification' since it isn't a contest. It is a challenge. The challenge is to write a script in a week and hopefully have the seeds of something that is produce-able.
If you truly enjoyed your script above all the others then that would be your writers' choice selection.
There are going to be a few instances of folks who are long time contributors to the site who have submitted a script but been unable to read and review them within the time period. They've asked that their work be removed. I've left the works up because I know that eventually, within the next few months those folks will read and review.
A good handful of recommendations from me. Some strong contenders this time around.
Some are so good, I hope I "lose" to them.
2 are unread, by authors who have broken anonymity. While it is apparently "allowed" to reveal yourself as author, we are similarly allowed not to read them.
Currently A Gathering of Legends has the second highest number of comments, which is a real shame when so many have obviously made much more of an effort.
Bro, if you took the time to check there's about 8 other scripts with more 'comments' than AGOL.
And I consider giving up 3 hours of sleep time in the day - that's normally when I rest up for work that night - to finish writing this script as an effort. Comedy requires effort.
It ticked off every one of the challenge requirements - more so than a few others - and did have a story. Ok, once I got the inspiration to use Dracula in this way, it became a perfect vehicle to have the Bunnyman ending so the Bunnyman Trilogy could be closed ( well, maybe....lol).
Sorry if I wasted anyone's time with this. Obviously didn't waste Don's as he accepted it, cheers mate. Maybe the next challenge could have a pure comedy genre and we can see the effort required then.
I have no prob with people hating my work and not reading it. But never diss my effort. Ever The I picked 4 of these scripts as a Recommend.. Anyone who's work I didn't comment on feel free to PM me and I will read and review, cheers
Bro, if you took the time to check there's about 8 other scripts with more 'comments' than AGOL.
And I consider giving up 3 hours of sleep time in the day - that's normally when I rest up for work that night - to finish writing this script as an effort. Comedy requires effort.
It ticked off every one of the challenge requirements - more so than a few others - and did have a story. Ok, once I got the inspiration to use Dracula in this way, it became a perfect vehicle to have the Bunnyman ending so the Bunnyman Trilogy could be closed ( well, maybe....lol).
Sorry if I wasted anyone's time with this. Obviously didn't waste Don's as he accepted it, cheers mate. Maybe the next challenge could have a pure comedy genre and we can see the effort required then.
I have no prob with people hating my work and not reading it. But never diss my effort. Ever The I picked 4 of these scripts as a Recommend.. Anyone who's work I didn't comment on feel free to PM me and I will read and review, cheers
Mate, you have to appreciate that your audience, using the characters you did, would be pretty limited. Especially the way you did it. Jeff for example, if you made the character a characiture, take all of his traits and escalate them to farcical levels, that would be funny. I don't even know Ryan, so not sure how that could work...
I'm all for comedy, but you have to make me laugh. This one didn't do it for me. Not for a lot of other people. Probably the same people that found in one of the other comedies funny. You can't blame it on anything else aside from your dramatic choices.
Yeah I only did it as a horror/comedy Dustin as the original premise was too open and didn't inspire me.
I'm surprised though that as a Brit your sense of humour seems a bit muted which I've noticed on other comedy scripts? The English have given the world the greatest comedy of all time - Monty Python, The Two Ronnies, Balckadder, Fawlty Towers to name a few.
Our American friends do sometimes struggle with the English comedy. But as an Aussie we have a great grasp of all the comedies, although for some reasons I can never fathom why 'Friends' became so huge as I don't find it funny. But I love US shows like Drew Carey and King Of Queens. Most are crap though.
Aussie comedy can be cringeworthy at times. There were 2 shows in the 80's/ early 90's that were great: The D Generation and Fast Foward. Eric Bana kicked off his career in the latter.
Anyway it's all subjective but I get baffled when people sometimes don't get the humour in what is very funny work lol.
Yeah I only did it as a horror/comedy Dustin as the original premise was too open and didn't inspire me.
I'm surprised though that as a Brit your sense of humour seems a bit muted which I've noticed on other comedy scripts? The English have given the world the greatest comedy of all time - Monty Python, The Two Ronnies, Balckadder, Fawlty Towers to name a few.
Our American friends do sometimes struggle with the English comedy. But as an Aussie we have a great grasp of all the comedies, although for some reasons I can never fathom why 'Friends' became so huge as I don't find it funny. But I love US shows like Drew Carey and King Of Queens. Most are crap though.
Aussie comedy can be cringeworthy at times. There were 2 shows in the 80's/ early 90's that were great: The D Generation and Fast Foward. Eric Bana kicked off his career in the latter.
Anyway it's all subjective but I get baffled when people sometimes don't get the humour in what is very funny work lol.
Comedy is a wide field and if you want to write comedy which 90% of the normal audience find funny, you really have to write something stupid enough for the average viewer to laugh at. Some boobs in it and you've got a hit. That's why I think most of the comedy shows on air are really dumbed down for the mainstream and I can't laugh about such nonsense. That's also why I wouldn't ever want to write a comedy script.
Monty Python rules though
The funniest movies I've ever seen are two european films with Jean Reno, not sure if they were ever published in the U.S., but there was a 3rd part which was made for the U.S. market which was basically a dumbed down remake of part 1.
Part 1: "Les Visiteurs" / "Die Besucher" (The visitors)
Part 2: "Les Visiteurs 2" / "Die Zeitritter" (Time knights)
My Swedish senses like British humor better than American too. There are some comedies I have laughed really hard while watching though. I remember when I saw Planes, Trains and Automobiles in the theater with my family, I almost fell out of my seat and into the isle because I was laughing so hard. I can't write comedy though. In fact, I've been told to not even try it again.
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
Bro, if you took the time to check there's about 8 other scripts with more 'comments' than AGOL.
And I consider giving up 3 hours of sleep time in the day - that's normally when I rest up for work that night - to finish writing this script as an effort. Comedy requires effort.
It ticked off every one of the challenge requirements - more so than a few others - and did have a story. Ok, once I got the inspiration to use Dracula in this way, it became a perfect vehicle to have the Bunnyman ending so the Bunnyman Trilogy could be closed ( well, maybe....lol).
Sorry if I wasted anyone's time with this. Obviously didn't waste Don's as he accepted it, cheers mate. Maybe the next challenge could have a pure comedy genre and we can see the effort required then.
I have no prob with people hating my work and not reading it. But never diss my effort. Ever The I picked 4 of these scripts as a Recommend.. Anyone who's work I didn't comment on feel free to PM me and I will read and review, cheers
Sorry, I didn't mean to diss your effort and I apologise for any upset caused. I do have a sense of humour and love Monty Python, Not The Nine O'Clock News, The Young Ones, Fast Show, Little Britain and everything in-between.
When I'm reading through lots of scripts on limited time and trying to review them, I sometimes get annoyed at pissers (or ones that seem like them anyway) but I should just ignore them and not react.
It would be nice to have a comedy OWC then everyone can release their humour.
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
All good Mark! Like I said, got no prob with perps refusing to read mine or anyone's stuff ( same as what I do with ones that are over the page limit). Just no way in the wide will I accept any criticism for a perceived lack of effort. If I don't deem a script of mine good enough or not funny then it stays off the boards lol.
Just voted. 3 Recs and a few considers, I can't remember now. I know my scoring system needs better development. I kinda just pull a number from my head atm and it isn't working too well. It depends on my mood at the time. A 6 one day could be a 7 the next... and even vice-versa once the story has properly settled in my mind. So the scoring system I used hasn't played much of a part.
My 3 recs (just in case the writers want to know now) and in alphabetical order:
Puta Grasa The Creature from the Blue Lagoon The Phantom's Song
The sea blob one I dropped to a consider in the end... but I'm shocked to see two comedies in the running. You've got to be good to do comedy well, so well done on that.
A few other considers that I can't remember... oh, The Red Riding Hood thing, that was one. The one that opened with the guy getting into a taxi, that got a consider too.
If there was such a thing as a whiner award then I think that they should go to, DJS and Stevie. Both outed themselves early thereby encouraging sympathy from the more sympathetic members.
Edit: How could I forget about Prussian-gate. Maybe it's because I just wanted to. If ever there was a gold whiner award, he'd get it for that performance. B-b-but I wrote a story that actually made sense... what more do you want from me!? blub, blub, blub. Classic stuff.
The Phantom's Song is among my recommends as well and imo the best script in this OWC. My other recommend hasn't been named yet, so I'll keep it a secret
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
I recommended these: Puta Grasa Creature from the Blue Lagoon The Phantom’s Song The Strange Case Strange Case was definitely my favorite with Puta Grasa right behind.
some don't care about this game, but its a bit of fun
Bert and Pia - easy enough, well after Pia admitted hers
Wild guesses
Rick - duty of care Ryan - Creature from the blue lagoon i had chalked Puta grasa to Jeff, but don't think he entered Dena - first off ill guess two entries - Diary of a shock therapist - only cos the title font is cool
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
Not including the ones I know for a fact, my guesses include:
Monster Spray: Khamanna Shock Therapist: Ren Phantom's Song: Dustin (delivering his best work yet IMO) Replacement Parts: Dena, maybe? Shot in the dark there. Blue Lagoon: I don't think Shelton would enter without reading, but that's my guess. If it is somebody else, take that as a compliment.
I wish I'd written Phantom's Song... although I'd have gone the more visual, and therefore more gory, route if the idea had occurred to me. I've actually got Scar Tissue Films as writing that.
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
I'm going to go out on a limb here and guess Rick for The Phantom's song. Clues: He said it was the only one he would consider shooting himself, but I also think I remember him saying somewhere that his girlfriend is Croatian!
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
As for Dustin, all I know is what I always know about his - it was one of the poorer written entries, totally forgettable, completely unbelievable, LOL dialogue, and one I sure as Hell didn't bother finishing.
To everyone else, good job, and some damn good efforts!!
As for Dustin, all I know is what I always know about his - it was one of the poorer written entries, totally forgettable, completely unbelievable, LOL dialogue, and one I sure as Hell didn't bother finishing.
Jeffrey, your opinion, nor that of all the rest of the haters, does not matter to me. So long as I know I'm great, that is all that counts.
Then it was you. I just got my people mixed up. Then I pin TPS on you.
Nope definitely not TPS for me, and I don't know anything about Rick's Croatian girlfriend. I just said that in an effort to make it sound creepy. Like how could you know if he didn't tell you type of thing... but it obviously didn't work.
I'm not sure why, but I think "The Phantom's song" was written by a woman. Initially I thought it was Pia's script because of the similar setup to 'Two Psychos' - with a strong woman in power over a weak man. But Pia revealed she wrote one of the scripts which went past the page limit. So maybe this is khamanna?
Jeffrey, your opinion, nor that of all the rest of the haters, does not matter to me. So long as I know I'm great, that is all that counts.
I'm glad you have that self confidence. I really am. Now, I just wish you could swallow a pill that would bring you back into some kind of reality.
In all honesty, I am looking very forward to which one you wrote. I just hope, for your sake, it's better than the one you wrote with the shark...that thing was comedy gold...except, it was intended on being a comedy.
I'm glad you have that self confidence. I really am. Now, I just wish you could swallow a pill that would bring you back into some kind of reality.
In all honesty, I am looking very forward to which one you wrote. I just hope, for your sake, it's better than the one you wrote with the shark...that thing was comedy gold...except, it was intended on being a comedy.
At least I have an entry. As usual you bottled it. You haven't got the time to write one but have plenty of time to go around belittling the attempts of most of those that did enter.
A lame excuse... when we all know the real reason you didn't enter is because you write like a demented 14-year-old virgin.
Yes, at least you do, and I give you credit for that.
Quoted from DustinBowcot
As usual you bottled it. You haven't got the time to write one but have plenty of time to go around belittling the attempts of most of those that did enter.
Not "as usual", as I usually do enter.
Not trying to belittle anyone, just trying to help.
Quoted from DustinBowcot
A lame excuse... when we all know the real reason you didn't enter is because you write like a demented 14-year-old virgin.
I don't think I need an excuse.
Ah yes...to be a 14 year old virgin again...what I wouldn't give for that.
So far from that...but to feel it again for the first time? Damn.
I'm sure you remember the first time, right? Hopefully, at least, as it's extremely unlikely any female has gone near your ugly mug in many, many years.
'Love is in the air ... Everywhere I look around' *sing*
I wish it could be, as I do love most of the SS crew. Dusty just wants to be his usual mean spirited, ugly self. He's obviously striking out to make himself feel better about himself, and if it is helping him, I'm cool with that.
Just as an outsider on this one. How come at this stage certain scripts only have 15 reviews and the others have 31?... I'm aware there's usually banter on a few scripts, but 2 weeks into this is kind of ridiculous.
Instead of starting the challenge with the most overly used term in the OWC 'No pissers' mostly because peeps don't know what one is and so they use it as a lazy review for comedies, it should start with " If you enter you should review"
Just as an outsider on this one. How come at this stage certain scripts only have 15 reviews and the others have 31?... I'm aware there's usually banter on a few scripts, but 2 weeks into this is kind of ridiculous. ... ... If you enter you should review" Just my 10 cents
Here's what Don always posts when he announces the challenge:
Quoted from Don
Participants are strongly encouraged to read and comment/review on the scripts submitted. If you are not a member of the discussion board, please contact me.
It's the old 'you can lead a horse to water' thing. Just the way it goes.
And, Scripts which attract great or favourable reviews always attract more attention. Logical really.
As always, it looks like the majority of those who entered a script, did shit in terms of reading and reviewing, which is both sad and unforgivable. Even those who read 15 or so, or whatever, that doesn't cut it, peeps.
You enter, you read and you review.
I honestly wish Don would simply ban those peeps who don't partake from entering the next time. It's a total slap in the face to those who entered and really tried.
I did not enter, but I read and reviewed over 25 scripts...whether or not I read more than a page, doesn't matter, because I gave each script I opened up the same opportunity. I wish more peeps would incorporate the same and that way, each script would have alot more feedback, whether it be positive or negative.
Jeff, I really do not agree with you that opening a script and reading a page or part of a page is 'reading a script' so you didn't come near to actually reviewing twenty-five scripts. Pia even commented on one that she wished you'd stuck with it cause you missed out on a good one.
We could all write a review based on one page, it wouldn't take half as long or require anywhere near the effort of getting through most of the scripts and reading them fully - so I think your self-righteous attitude is a bit misguided and sanctimonious to boot.
I think there's more Pro's than Con's re: the amount of reads the average script gets.
If you look at the stats, there's currently 3263 members listed for this site. The amount of writer's who actually come around for an OWC is about 30 or so... that's only 1% of board members. Now, that might seem like a low number when taken out of context, but more than appreciated when a person is encouraged to read and comment on as many scripts as possible.
If only 50% of those who entered read and commented on a script I submitted, then I'm lucid with appreciation! ... one happy camper to be exact. Can you imagine if even 5% of members showed for an OWC? Most would be lucky if they got 1 read, let alone any comments... and that goes double for myself.
These OWC's are an invaluable experience to gain writing skills. This is a real world classroom that blows away any screen writing book I've ever read. I've learned to decipher which comments are useful by repetition (from other writers), and shrug off the ones that aren't... I believe most have learned to do the same.
There aren't 3k members that frequent here. From the regs that do visit, I think 30 entries is pretty solid. I also think that if 2/3rds of that actually do a lot of reviewing, then that is pretty good too.
Most people are good people. If you do them a favour, they want to pay you back in some way. They feel obligated. I'm sure that in the majority of the cases of those that don't participate in the reading, that they have very good reasons for not doing so.
Jeffrey's reviews are mostly about making himself feel better. He'll use throwaway comments like 'awkward phrasing' but offer no examples of it, nor any advice on how to do it better. The reason for that is, if he tried, it would be visible to all just how poor of a writer he really is. He really has a cheek complaining about lack of reads from other writers when his own reads are all but useless... damaging in fact, in some cases.
These OWC's are an invaluable experience to gain writing skills. This is a real world classroom that blows away any screen writing book I've ever read. I've learned to decipher which comments are useful by repetition (from other writers), and shrug off the ones that aren't... I believe most have learned to do the same.
I agree. My entry hasn't got as many reads as some but it has enough. They are quality reads with quality feedback which has allowed me to figure out what works in this draft and what doesn't. I've agreed with some comments and disagreed with others. I now have a very clear idea of what to aim for in the next draft.
That is priceless! I'm so grateful I discovered SS and take part in the OWC. It's fantastic.
For more of my scripts, stories, produced movies and the ocassional blog, check out my new website. CLICK
If you take part in an OWC with the struggle of finding a concept, knocking out a script in a short period of time, having it busted part whilst reading and reviewing others, and see how the community decides on its favourites, then you can only improve and grow as a writer.
They can be hard, demoralising if it doesn't go well, but what an experience.
Thanks Don
PS we mentioned it last time, so it doesn't need endless repeating, but there is a donation button on the front page of the simply scripts web site. Can you imagine it if this disappeared one day?
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
I agree with Mark and Reef, SS is an invaluable resource and service, why I'm more than happy to help out with STS where I can (have two interviews lined up) and am more than happy to share the screenwriting leads I find.
I've also made a commitment to donate whenever I option/sell something and recently did just that (again) after Graft got optioned by a producer in Australia... I don't want to see SS go same way as Moviepoet!
Jeff, I really do not agree with you that opening a script and reading a page or part of a page is 'reading a script' so you didn't come near to actually reviewing twenty-five scripts. Pia even commented on one that she wished you'd stuck with it cause you missed out on a good one.
We could all write a review based on one page, it wouldn't take half as long or require anywhere near the effort of getting through most of the scripts and reading them fully - so I think your self-righteous attitude is a bit misguided and sanctimonious to boot.
Libby (and anyone else who feels the same), if this is truly how you feel, than that's your prerogative.
If you feel like I purposely bale out early on scripts to get through them faster, you are 100% incorrect. If the script is well written, well conceived, and interesting/engaging, I'm all in. If it's not, I'm not going to waste my time, and that's just the way it is.
As I always say, I would be very surprised if my comments are not helpful to each and every writer, as they are usually things that few if any see or realize.
Call me an ass, call me a douche, but hear what I say and take it to heart.
Jeffrey's reviews are mostly about making himself feel better. He'll use throwaway comments like 'awkward phrasing' but offer no examples of it, nor any advice on how to do it better. The reason for that is, if he tried, it would be visible to all just how poor of a writer he really is. He really has a cheek complaining about lack of reads from other writers when his own reads are all but useless... damaging in fact, in some cases.
Dustin, I feel pretty damn good about myself before reading and/or commenting on scripts.
What's going to be very visible very soon is what kind of writer you are, when the curtain is pulled away, and your script is revealed.
At that time, we can revisit your comments and you can do everything in your power to dispute what I said about your script.
Ya, I guess using that particular (Member) stat to make a statement is a little over the top. I was merely pointing out the potential for chaos regarding people who might enter an OWC.
One stat that’s easily recognizable is “The most users online was 266 on May 27th, 2015, 10:34am.“
If you plug that page into the Wayback Machine, you can get information pointing to a previous (February 2014) as having the most users online at any given time and before that a May OWC… and so on. Indicating the average OWC will bring out quite a few people, just to browse. I’m just stating that if the (OWC) is interesting enough to browse, then there’s somewhat of a potential to have a majority of people submit for the next round, especially if the theme was a flavor of the month media event...
As well, I didn’t mean if a writer doesn’t agree with other writers in a thread, that the information/review is not useful or helpful, quite the opposite. I just meant posts that are not really useful towards the writer in an obvious way.
Just my loonies’ worth, didn’t mean to open a can of worms…
Dustin, I feel pretty damn good about myself before reading and/or commenting on scripts.
What's going to be very visible very soon is what kind of writer you are, when the curtain is pulled away, and your script is revealed.
At that time, we can revisit your comments and you can do everything in your power to dispute what I said about your script.
Should be fun, huh?
Like I've already said to you, Jeffrey. What you think about my script is neither here nor there... but I will gladly take your comments apart when the time comes. You really are a glutton for punishment.
The thing is, it won't be merely my comments on Dustin's script..most likely, everyone hated it.
But, in true Dusty form, I'm sure he'll dispute every single negative comment he receives, just like he always does.
Hell, you can go back to his first days here and you'll see he disputes everything...then...later on, as he slowly learns, he'll say the exact same thing to other writers, and even in that rare occasion,l he'll admit that he didn't realize his numerous flaws earlier, but now, is a true master.
I cannot wait to see which horrendous effort was his...and remember, this was the OWC that he guaranteed a strong showing. Ha!! Cannot wait!!!
The thing is, it won't be merely my comments on Dustin's script..most likely, everyone hated it.
Not everyone. I'm kinda pinning my hopes on the non reader blind votes.
Quoted from Dreamscale
But, in true Dusty form, I'm sure he'll dispute every single negative comment he receives, just like he always does.
Oh no, I won't.
Quoted from Jeffrey
Hell, you can go back to his first days here and you'll see he disputes everything...then...later on, as he slowly learns, he'll say the exact same thing to other writers, and even in that rare occasion,l he'll admit that he didn't realize his numerous flaws earlier, but now, is a true master.
Some awkward phrasing in the above makes it difficult to decipher your point.
Quoted from Jeffrey
I cannot wait to see which horrendous effort was his...and remember, this was the OWC that he guaranteed a strong showing. Ha!! Cannot wait!!!
I did guarantee a strong showing and I tried really, really hard. I'm, frankly, hurt that you're belittling my effort. If I was the type to be suicidal, I'd probably be it right now. And it would be all on you. Imagine how guilty you would feel if I hung myself due to your comments.
To me - it's a writing challenge not a review challenge. i.e., an exercise to improve one's writing chops and a free one at that. The reviews and ratings are just a bonus whether there are 5 or 25.
Not knowing how the points are tallied - the # of reviews might have nothing to do with the final results anyway - for example - it it is the total number of recommends a script gets - yeah - numbers count. If it is the average rating - not so much. But again - does it matter?? You get to write a script and reviews some scripts - good stuff.
To Jeff:
Quoted Text
I did not enter, but I read and reviewed over 25 scripts...whether or not I read more than a page, doesn't matter, because I gave each script I opened up the same opportunity. I wish more peeps would incorporate the same and that way, each script would have alot more feedback, whether it be positive or negative.
First - kudos for reviewing at all particularly since you didn't enter. That's good.
Second - whether or not you read more than one page does matter in terms of labeling something a "review". IMO, you can't rate a script a F anymore than you can rate it an A by reading one or two pages. It is more akin to a non-review because the script made you bail early. It would be more accurate to say you reviewed XX scripts and did not review XX that you opened because early on you found errors or they didn't hold your interest, etc.
I did guarantee a strong showing and I tried really, really hard. I'm, frankly, hurt that you're belittling my effort. If I was the type to be suicidal, I'd probably be it right now. And it would be all on you. Imagine how guilty you would feel if I hung myself due to your comments.
Dustin, I highly doubt you're the least bit hurt by my comments, and if you truly are, I apologize, but let's remember, this back and forth was once again instigated by you.
When you choose to dish it out, get ready to slop it up, cuz it'll be coming right back at ya, bro.
We'll know soon enough and then we can sick the rabid dog, Dusty, on them, but then again, his bark is much worse than his bite, as he seems to be a very scrawny, tiny, harmless old chap.
I don't think Jeff entered. I think he's been busy with a new job and moving. No hat eating necessary, Dustin.
I also had Khamanna down for Monster Spray. I thought Janet wrote Shock Therapist
The shock therapist was my guess because of Janet's recent hospital experience. I know which ones Dena and bert wrote, but have no clue about the others, except for those two who outed themselves early on.
bert and Pia - actually mine is kind of close to Monster Spray. But no, not mine. Mine reads like it's written by a man this time.
Really looking forward to see who wrote what. I've got absolutely no idea. I wonder if The Phantom's Song was written by an unknown writer, since nobody has been confirmed as author so far...
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
You don't actually think the writer of one of the front runners is going to pop up and say: Yes, that's mine! Do you? Not if past OWCs are anything to go by, far more enjoyable to sit back in the wings and enjoy the fuss.
My guess: The author could be any number of people, but, twasn't me. You're all ignoring my masterpiece.
The Elevator Most Belonging To Alice - Semi Final Bluecat, Runner Up Nashville Inner Journey - Page Awards Finalist - Bluecat semi final Grieving Spell - winner - London Film Awards. Third - Honolulu Ultimate Weapon - Fresh Voices - second place IMDb link... http://www.imdb.com/name/nm7062725/?ref_=tt_ov_wr
Mine got bashed this time the worst by Jeff and Dustin! Ugh Great minds think alike I guess haha teasing you guys. Love you guys just weird you both ripped me a new one this time.
I have no idea who wrote Puta Grasa, but it has that air of authenticity that only the top writers manage.
It's either very well researched, or more likely it's written by someone who has spent a lot of time in those sort of circles. Maybe someone who used to work as a rent boy, or something like that.
I know that mine is safely and snuggly in the middle of the pack.
Decent feedback - thanks to all who gave it - and I practised the things I wanted to practice, so that's good. The WAY I wrote it seems to have been a bit divisive, however, with some people digging it and others really saying it was massively overblown. So not quite sure what conclusion to draw from that.
EDIT: My vote went to Puta Grasa, for what's it worth. A handful of considers, too.
My recommends went to both Brain and Phantoms Song. Both had a very dramatic, or human, feel to them. Especially Brain, which was very visual in its tone and setting, but with a glimmer of hope at the end. Phantom was good because of its unwillingness to end on a happy note.
You really should have voted for your own, Dusty. That way, you would have received your first vote ever. Maybe next time, little chap.
I did vote for my own this time around. After listening to what Don said, I decided that he was right. I honestly believe, no matter what anyone else thinks, that my story is worthy of top five and a recommendation, so I gave it a crafty vote.
If anyone wants to know what I wrote, it was, Ken. The true story about the blow up doll.
First time on OWC and have been hanging around the site reading different things. I will say someone (and I won't point any fingers) deleted there comments from under my script. I'm working my way through and I got a little burned out and my reviews were becoming one note. Just letting whoever did know that it was slightly premature as I would have made it to your script eventually.
I am a bit appalled at the direction parts of this thread went, but I'm too lazy to go through and prune out the petty bits. So I'll just lock this and direct folks to where the thread where the writers have been revealed. - Don
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The October '15 One Week Challenge Scripts
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