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SimplyScripts Screenwriting Discussion Board    Screenwriting Discussion    Screenwriting Class  ›  Five Types of Highly Unsuccessful Screenwriters Moderators: George Willson
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Electric Dreamer
Posted: July 17th, 2012, 10:06am Report to Moderator
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I came across this article due to some random name dropping on another thread...

In speaking and working with around 500 unrepresented writers in the past year, I've noticed some easy to spot patterns regarding unsuccessful work habits.

Everyone has their own style and approach to how they take on the job of screenwriting, but if you notice your own behaviors reflected below, I suggest taking a deep breath and asking "is it possible this characteristic has impeded my success in the past?" If so, resolve to switch up your modus operandi for the next few months and see if that helps generate stronger material.

Keep in mind, my advice here is directed towards writers who lack literary representation and are hoping to "break in" to the business. If you can effectively juggle five projects at once and are repped at a huge agency, get back to work!

THE JUGGLER

The Juggler is always working on fifteen specs, pitches, and rewrites at once. He's got a ton of creative energy that is drained or diluted by spreading themselves too thin. He's often proud of his ability to work on several things at once, not recognizing that at the end of the day, none of the fifteen projects are worthy of hitting the spec market.

Often, The Juggler has been confused by reading about professional writers who seem to be working on several projects at once. He doesn't know that a professional might be juggling several projects over the course of a year, not during the same day, week, or even month. If you're a pro who turned in the latest draft for an actor or director who's working, it could take months for them to read it and turn over their notes for the next draft. This downtime can then be used to write an entire new spec.

THE SPEED DEMON

Speed Demon can write ten scripts in a year. They sit down at the computer and generate pages and pages of output. They are inspired by Stephen King or Aaron Sorkin, who can sit down and write a script in the amount of time it would take most of us to assemble an entertainment center. The Speed Demon loves notes, because they can deliver a new and improved rewrite in two days!

The Speed Demon's problems are multiple. Their scripts read as if they were vomited on to the page. They're rough to read and rarely contain valuable ideas, strong dialogue or clever screenwriting, simply because there's only so many worthy brainstorms one can come up with in a single day. Screenwriting isn't about finishing something fast, it's about bringing exciting ideas to the table.

There is value in spending some time (like more than one month) on a spec, since creative ideas flow most easily during the actual writing process when the brain is firing on all cylinders. The Speed Demon robs themselves of this fertile imagination time, resulting in multiple scripts lacking any value at all.

THE REWRITE KING & QUEEN

The Rewrite Queen wants to get her script right. That means she'll write it, spend a year "perfecting" it through multiple rewrites, get reaction from friends and family, incorporating their notes, then continually getting feedback from any source they can, which once again, will be channeled into a rewrite.

The process never ends. The Rewrite King or Queen sees their idea or spec as having value because the idea excites them. They believe any script can sell if it is "fixed". These royals are confused by what a rewrite actually means inside of the development world. In the Rewrite Queen's head, a "rewrite" can account for changing 3-5% of the script, polishing dialogue, changing a scene around here and there. They are their own development executive, trying to determine what must be changed in order to bring the script into "sellable" shape.

Years may pass, but the Rewrite Queen is still trying to "get it right" whatever it takes. Often, she'll speak as her determination is a badge of honor. It's not.

She doesn't know that in the development world, a working writer will deliver a spec, get feedback from an agent or manager, rewrite once and send it to market. If it sells, the writer may continue a series of rewrites, but they are no longer responsible for coming up with new ideas--instead, they execute the notes (aka ideas) of execs, producers, maybe an actor or director, and an army of assistants and story editors. The rewrite consists of drastically revamping characters, subplots, demolishing and reworking massive portions of the script, and trying to come out the other end with an improved draft.

So while the Rewrite Queen is plugging away at draft number twenty six, working Hollywood writers have amassed a library of material.

THE PUSHER

Years ago, The Pusher attained recognition for a screenplay they wrote. It might have been a free option, flirting with representation, or even attaining a big agent to send a spec out, only to have it not sell. The taste of potential success has not sent The Pusher back to the drawing board, confident in their talent. Instead, it has engendered confidence in THAT SCRIPT. There is a distinction.

The Pusher thinks if they can get enough new people to read the script, they will once again taste that success and move the project forward. Sometimes even represented writers continue to push their agents to send out their unsold scripts. This becomes annoying for the agent, who never thought it would sell in the first place but sent it out to make sure they could represent the next spec, as the Pusher may be genuinely talented and a great client.

Here's what the Pusher doesn't know: If the material is good enough, an agent will continue to send it out on their own. If the agent doesn't think they can earn money by selling it, why would they send it out again? Also, The Pusher is often confused as to the level of success that they tasted. They don't know that "free option" came from a producer who had no idea what they were doing or what a readable script read like.

In my consulting, I was hired to read three scripts for a client who worked as a surgeon. I'd also spent over an hour speaking to him beforehand and knew this was a brilliant guy who had a great grasp of cinema. When the three scripts arrived, I was surprised to find that he was lacking any fundamental understanding of screenwriting, story, or character development.

Of the three scripts, one ranked among the worst screenplay attempts I'd ever been hired to look at. It was so unreadable, I suggested we skip that one and focus on the other two to discuss areas of improvement. Here's the funny thing--THAT was the script that had been optioned by some no-name producer! Being a genuinely smart guy, the client learned during our talk and came back a month later with a script that was better than the vast majority of unrepped material I've seen. The success of a free option from a bullshit producer kept his talent locked up for years.

Contest wins are the most dangerous drug for Pushers, who can't take the hint the material may not stack up in the real world (even the winners rarely do, and if you don't believe me, read some "finalists" from ANY contest on Earth). They continue to "market" their spec and enter more contests to taste that validation one more time.

THE EGO

The Ego has the hardest time with advancing as a screenwriter because he thinks his script is great. He responds to every note with a long explanation of WHY he wrote something in a particular way. Instead of listening intently, The Ego digs in and prepares for battle. Very few of these writers make it to the point of representation--they are unable to meet constructive criticism with new, fresh ideas. The result is that they scare off any professionals who may be able to help them.

The Ego's biggest problem is not realizing that if their screenplay actually worked, the notes disputed would have never been offered or mentioned in the first place. The Ego is also the most likely type of writer to complain about the state of Hollywood movies or how unfair the process of breaking into the system is. They don't like to consider the fact their script doesn't cut it.

Sad truth--Often the Ego has massive raw talent and superb intelligence. Their biggest weakness is that they know it and use their smarts to defend the existing script at all costs instead of coming up with crafty ways to fix it.

THE EXCEPTION - THE SUCCESS

The most successful screenwriters are great listeners and great adapters. They treat development meetings like brainstorming sessions, recognizing that "notes" are not an assault on their screenplay, but intended to help make it better. The Success also knows that while they may violently disagree with a specific change, often there is something that falls short in the script that needs to be addressed. So they cook on that and figure out a smarter way to fix the problem than what was offered in the notes--after all, the Success may be paid ten to twenty times as much for this one job as the executive overseeing the project makes all year!

The Success makes meetings fun. He or she takes copious notes, willing to accept any great ideas that bring additional value to the script. After working a long time in the business, the Success is cool with tearing their scripts apart and starting over, as they recognize their job and sole purpose is to make other people happy--first their agent, then executives who purchase the script, later, the actors who must be excited enough to sign on, and finally the audience.


Which one do you think applies to you?


Here is a link to the author's service...
http://www.hireahollywoodexec.com/

Regards,
E.D.


LATEST NEWS

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is producing a short based on my new feature!

A list of my scripts can be found here.
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Mr. Blonde
Posted: July 17th, 2012, 11:24am Report to Moderator
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Am I entirely fucked if I fit into two or three of these...?


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Pale Yellow
Posted: July 17th, 2012, 6:56pm Report to Moderator
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I am entirely fucked too! I am afraid I fit into the speed demon category! *sigh* I just need a bottle of xanax or valium nightly perhaps!!!
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Baltis.
Posted: July 17th, 2012, 7:09pm Report to Moderator
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I've been all of the above in my 12+ years... No big deal.  It happens.  I think the EGO  stage was the hardest to break though.  I think in these last 3 years I can say with confidence I'm passed it.  A few consultants helped me see the error of my way on my dime...
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Mr. Blonde
Posted: July 17th, 2012, 7:17pm Report to Moderator
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The Juggler & Rewrite King. Bad combo...


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RJ
Posted: July 17th, 2012, 7:34pm Report to Moderator
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Rewrite Queen for sure. If I could move past that then I'd be straight on to The Success, but for now - am stuck with all of my ideas, rewriting and rewriting - must stop!!
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Grandma Bear
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I'm the Speed Demon. Never really done more than a proper rewrite once of any script. I know I need to get better at that, but on the other hand, people seem to prefer the earliest drafts. The more I mess with them, the worse they get.  


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Pale Yellow
Posted: July 17th, 2012, 9:15pm Report to Moderator
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I despise rewrites. I need to learn but I feel the same way as you Pia...it seems like the more you mess with it, the worse it gets sometimes. *sigh*
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rc1107
Posted: July 17th, 2012, 10:40pm Report to Moderator
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I'm the juggler.

I do only work on one feature at a time, (eventhough I have three in my head right now, I only give one computer-time)  But I also have numerous prose short stories or in-depth synopsis I'm writing at the same time, plus not to mention turning those prose short stories into short scripts.

In my defense, though, I usually do spend a full week, or at least a couple of days, on only one of those at a time.

(By the way, what's the plural of synopsis?  Is it synopsises, or is it synopsi?)

Instead of googling the answer, I should go back to writing my story, shouldn't I?


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Mr.Ripley
Posted: July 17th, 2012, 11:36pm Report to Moderator
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Juggler.

But I'm managing to learn how to finish one feature, rewrite it, and then move on to the other feature. It's slow and steady that wins the race.

Gabe


Just Murdered by Sean Elwood (Zombie Sean) and Gabriel Moronta (Mr. Ripley) - (Dark Comedy, Horror) All is fair in love and war. A hopeless romantic gay man resorts to bloodshed to win the coveted position of Bridesmaid. 99 pages.
https://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?b-comedy/m-1624410571/
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CoopBazinga
Posted: July 18th, 2012, 3:07am Report to Moderator
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Definitely juggler.

I really need to clamp down on this habit. I wouldn't mind trying to be a speed demon though, I'm a bit "Driving Miss Daisy" at the moment.
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stevie
Posted: July 18th, 2012, 5:38am Report to Moderator
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I'm actually NONE of those!!  Lol

Is there another category, Brett?  

I must be well and truly fucked then!!??



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Electric Dreamer
Posted: July 18th, 2012, 9:36am Report to Moderator
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Quoted from Pale Yellow
I am entirely fucked too! I am afraid I fit into the speed demon category! *sigh* I just need a bottle of xanax or valium nightly perhaps!!!


Better writing through prescription medication!

I've had some personal experience with this category...
I meant the speed writing. Not the drugs... That's another story.

*ahem*

My first original feature I wrote in a month.
The second was three weeks.
And I prematurely posted that one with some very mixed results.
The latest took four months and it's getting positive momentum.

Perhaps the point is... you have to learn to slow down.
Start out fast first few scripts. Hammer down format and basic structure.
Then learn to step back and really examine new ways to improve.

Once you know you can finish a feature...
Then figure out the best way to cook the story and the script.
This last script was an assignment, so that's what prompted me to change up.
I didn't want to turn in a script that wasn't the best I could make it.
So, I shook up my routine and re-structured how I make pages.

Taking that time also helped me loosen up my voice on the page.
It's a tug of war between routine and keeping it fresh for me.

Hope there's something in this ramble that approaches helpful!

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Electric Dreamer
Posted: July 18th, 2012, 9:45am Report to Moderator
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Quoted from Mr. Blonde
The Juggler & Rewrite King. Bad combo...


So, are you saying you're juggling a dozen rewrites annually?

Hmm, a lack of focused energy coupled with endless revisions.
Perhaps training yourself to spot "diminishing returns" could help?

It's something I've done battle with.
I tend to over pursue precision to ridiculous lengths at time.
"I know I can get it two pages shorter if I streamline everything..."
That kinda stuff used to consume me to a fault.
It's good to have simple goals, but is that the best use of my time?
I could be writing a new treatment... or enjoying a poolside escort service.

There's a certain inadequate comfort that causes me to "hide in revisions".
Perhaps you can learn to recognize when you're doing that and stop yourself.

Regards,
E.D.



LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Electric Dreamer
Posted: July 18th, 2012, 9:58am Report to Moderator
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Quoted from Grandma Bear
I'm the Speed Demon. Never really done more than a proper rewrite once of any script. I know I need to get better at that, but on the other hand, people seem to prefer the earliest drafts. The more I mess with them, the worse they get.  


Yeah, but if you're satisfied with the material, is that grounds to be upset?
People dig it, pay for it, get a rewrite and put it to market...
Or in your case to film!

In your own words, your feature material is, largely genre based.
There's an expectation in those kind of scripts for filmmakers.
You deliver and spin it in a way that freshens up the trope.
That's a good thing!

If you want to get into piles of rewrites... create a personal story.
Work on a script "just for you" on the side.
You can tinker with rewrites and fiddle with your process that way.
I think you'll find you're up for the challenge!

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Electric Dreamer
Posted: July 18th, 2012, 10:02am Report to Moderator
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Quoted from Mr.Ripley
Juggler.

But I'm managing to learn how to finish one feature, rewrite it, and then move on to the other feature. It's slow and steady that wins the race.

Gabe


That's the spirit!
Jugglers learning the value of completion!
Once it's completed, it can be evaluated and evolve.
It's not just a ball you're throwing around.

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Eoin
Posted: July 18th, 2012, 10:04am Report to Moderator
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Yeah . . . rewrites, helpful to a point, but the core 'story' is the most important thing to focus on, there may be lots of ways to execute certain scenes, handle reveals, change character arcs, conflict etc, but if the story jumps off the page with a killer concept, worry about the rewrites when the producer etc hands you detailed notes and after you have cashed that cheque(check).
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Electric Dreamer
Posted: July 18th, 2012, 10:09am Report to Moderator
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Quoted from stevie
I'm actually NONE of those!!  Lol

Is there another category, Brett?  

I must be well and truly fucked then!!??


Well, not if you're writing just for yourself or loved ones.
I don't get the impression you have anything to prove with your scripts.
Seems to me the excitement of creation drives you.
It's the act itself that provides the nourishment you're after.

So, I wouldn't say you're screwed...
I'd say your value system is different than most writers.

Or, I'm completely off and you're a hopeless git.

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Mr.Ripley
Posted: July 18th, 2012, 10:12am Report to Moderator
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I say we're all fucked in the head. We're just looking for someone to pay for our fucked up in the head stories.

On a tangent here, it's good to see you around Brett. It's been a while. Hope everything's going good.


Just Murdered by Sean Elwood (Zombie Sean) and Gabriel Moronta (Mr. Ripley) - (Dark Comedy, Horror) All is fair in love and war. A hopeless romantic gay man resorts to bloodshed to win the coveted position of Bridesmaid. 99 pages.
https://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?b-comedy/m-1624410571/
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Mr. Blonde
Posted: July 18th, 2012, 10:15am Report to Moderator
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Quoted from Electric Dreamer
So, are you saying you're juggling a dozen rewrites annually?

Hmm, a lack of focused energy coupled with endless revisions.
Perhaps training yourself to spot "diminishing returns" could help?

Perhaps you can learn to recognize when you're doing that and stop yourself.


No. I re-write as I go along. I'd be absolutely fine with doing a dozen re-writes in a year as it took about a month to re-write "Christmas Story".

Let's put it this way. When I was at my worst, I had over fifty projects I would be working on in the span of a week. I've gotten that number down to about 10 per week. But when I re-write, I never actually make any progress but there is a small benefit. If I actually finish something, I don't have to re-write it nearly as much as I would normally have to.

I guess writing would be a lot easier for me if I had some sort of imagination. I try writing interesting characters but I can't imagine the details that make them interesting so they end up plain. I try to imagine heist movies and things of that nature but I know the plans are ridiculous and would never work. It's even worse when I'm working on my comic book where the more ridiculous your characters are, the better it'll work out. That's actually, probably, my biggest problem.


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nawazm11
Posted: July 18th, 2012, 10:27am Report to Moderator
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I'm definitely the speed demon.

For the feature I'm working on, it took longer to write the in depth outline than it did to finish the script.
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Sandra Elstree.
Posted: July 18th, 2012, 1:14pm Report to Moderator
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Thanks so much for the post, E.D.

In truth, I'm none of the above which is truly very enlightening for me on many levels.

I see the Speed Demon category, but I would have to say I'm the opposite of that because I like to spend time on "things". Yes, things and people. This gets me into trouble because really, I'd much rather be present oriented that future oriented and attaining the skill to hammer out neatly defined scripts is well and good, but I also need to feel as a reader and a writer some kind of indefinable substance that makes the script into a living thing. That's what I'm after in The Read and The Write and I guess inside myself I don't care how long it takes to find and feel it and experience it on all levels.

The constant re-dos of what's been done (even though I don't watch a lot of movies) bothers me and bores me. It's not what I'm after and I'd be a liar if I said it was.

I am after the sharing of experiences, learning from the process of reading what I consider top notch work that has what I would call the "unknown variable" within it-- that which makes it real on some level... but doing that takes time. It's not a "rush out be a great writer" mentality. I think it has to be a "take time and be a great observer" frame of mind. ...and then just do.

I think in the end, everyone who writes is a successful writer if they write for the right reason. That reason is going to be a bit different for everyone.  

Sandra



A known mistake is better than an unknown truth.
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alffy
Posted: July 18th, 2012, 2:10pm Report to Moderator
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I'm defo a Juggler, which is weird cos if I threw three things up in the air, I'd miss 'em all on the way down.

I suddenly get this great idea and write it down, then add things to it, then start it, then 'Bang' another great idea and I begin again! lol.  Slowly my imagination will dwindle and I'll go back to one idea and work on it until...

Things aren't helped my mind numbly slow writing.  I spend an hour writing a couple of pages and then realise I should be somewhere else, like work!  If I ever got the golden ticket of being asked to write a script for someone, I'd be f##cked big style.


Check out my scripts...if you want to, no pressure.

You can find my scripts here
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Dreamscale
Posted: July 18th, 2012, 6:42pm Report to Moderator
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Well, I may not agree with all this malarkey, but I guess you can tell which 2 I am, based on my last post on the boards (not this one).  

Hint - I am not the Speed Demon.

Hint 2 - I am not the Successful Writer.
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stevie
Posted: July 18th, 2012, 7:08pm Report to Moderator
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Quoted from Electric Dreamer


Well, not if you're writing just for yourself or loved ones.
I don't get the impression you have anything to prove with your scripts.
Seems to me the excitement of creation drives you.
It's the act itself that provides the nourishment you're after.

So, I wouldn't say you're screwed...
I'd say your value system is different than most writers.

Or, I'm completely off and you're a hopeless git.

Regards,
E.D.


Brett, you may have nailed me there. I love just getting an idea for a story and creating something from an empty page. I see script writing as just an outlet for all the things ticking over in my head.

Cheers to you all!!




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Electric Dreamer
Posted: July 19th, 2012, 9:30am Report to Moderator
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Quoted from Eoin
Yeah . . . rewrites, helpful to a point, but the core 'story' is the most important thing to focus on, there may be lots of ways to execute certain scenes, handle reveals, change character arcs, conflict etc, but if the story jumps off the page with a killer concept, worry about the rewrites when the producer etc hands you detailed notes and after you have cashed that cheque(check).


I wish it were that simple for me.
What I'm finding here in town is quite the opposite...

Since the studios cut development overhead, it's all on the creators of content.
Indie producers hook up with writers/scripts and do all that themselves.
I'm rewriting two features for producers here in town.
They won't risk their reputation on a script unless it's killer.
So, there are plenty of rewrites for me before a paycheck...
But we have an agreement in place to benefit us both if we can move forward.

Just another gate you have to get through.

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Electric Dreamer
Posted: July 19th, 2012, 9:43am Report to Moderator
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Quoted from Mr.Ripley

On a tangent here, it's good to see you around Brett. It's been a while. Hope everything's going good.


Hey Gabe!

Tangent acknowledged.
Oh, I've been doing plenty of reading for SS vets...
Just not on scripts that are posted to the site.

As to me, I'm staying busy with assignments...
Two feature rewrites with verbal intent from producers. One indie. The other studio.
Lie Detector is sold and in pre-production for the short.
I'm in talks with both prod co. that bought it to develop a feature based on it.
And there's a fourth project based on a true story I want to write.
I have a rights option contract out to the non-profit that person started.
Flew to meet his daughter, we became fast friends.
So, she'll shepherd the contract through her dad's foundation, etc.

I'll get back to reading some new SS features.
Seems there was a big lull post 7WC, but it's turning around now.

Take care and keep at it!

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Electric Dreamer
Posted: July 19th, 2012, 9:51am Report to Moderator
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Quoted from Mr. Blonde

I guess writing would be a lot easier for me if I had some sort of imagination. I try writing interesting characters but I can't imagine the details that make them interesting so they end up plain. I try to imagine heist movies and things of that nature but I know the plans are ridiculous and would never work. It's even worse when I'm working on my comic book where the more ridiculous your characters are, the better it'll work out. That's actually, probably, my biggest problem.


I've read yours stuff, I think you have plenty of imagination.
For me, when it comes to characters, it's all about the "right fit"
I struggle with that too, so I've got a regimen to help with that...

If I have an idea for a concept that really excites me, I ask myself...
"What is the best type of character to maximize this idea?"
"What qualities can I give them that will intensify conflict?"
And the biggie...
"What do they want out of life?"

I find starting there helps me out tons!

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Electric Dreamer
Posted: July 19th, 2012, 10:01am Report to Moderator
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Quoted from Sandra Elstree.

Thanks so much for the post, E.D.

In truth, I'm none of the above which is truly very enlightening for me on many levels.

I see the Speed Demon category, but I would have to say I'm the opposite of that because I like to spend time on "things". Yes, things and people. This gets me into trouble because really, I'd much rather be present oriented that future oriented and attaining the skill to hammer out neatly defined scripts is well and good, but I also need to feel as a reader and a writer some kind of indefinable substance that makes the script into a living thing. That's what I'm after in The Read and The Write and I guess inside myself I don't care how long it takes to find and feel it and experience it on all levels.


Hey Sandra!

Good to hear from you.
Seems you're one of those that writes for themselves and is satisfied.
Great attitude to have, certainly less worry inducing I'd imagine.

I agree on the taking your time part.
My latest feature took 2 months to prep. 4 months to write. 2 months of rewrites.
But it seems to be paying off, based on the early word from industry readers.

It maybe just popcorn entertainment.
But I did my best and took my time to make it gourmet popcorn!

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Earl
Posted: July 19th, 2012, 4:57pm Report to Moderator
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What about the procrastinator?
Usually they become a speed demon later on when they do have to deal with a dead line, yet I know alot of people that have potential but they just keep pushing it off till later and its not one of those things that they become clouded with other things to do and push it off its just that they have nothing to do and go like oh tomorrow I'll work on it and when tomorrow comes they tomorrow it again and then it just turns into a game of tomorrow's.

And personally I do not think a speed demon is a bad thing I have seen people work at mad rates and put out good work.
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irish eyes
Posted: July 19th, 2012, 8:54pm Report to Moderator
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Started off the "ego" then learned to become the exception... I like other people's ideas especially if they're better than my own...
I've just started writing my pilot for Loserville  and using my original pilot as the 2nd episode, because I was willing to listen.  

Mark


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Colkurtz8
Posted: July 20th, 2012, 11:05am Report to Moderator
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Why doesn't "The Lazy Procrastinator" category get a mention?

I just can't relate to these circus performers, rewrite monarchies and dope dealers!


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Electric Dreamer
Posted: July 21st, 2012, 12:47pm Report to Moderator
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Quoted from Colkurtz8
Why doesn't "The Lazy Procrastinator" category get a mention?

I just can't relate to these circus performers, rewrite monarchies and dope dealers!


I guess the procrastinator isn't on the list cuz they don't finish screenplays.
All the listed problems were post first draft related to me.

Can't be an unsuccessful screenwriter even without finishing a script.

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Busy Little Bee
Posted: July 21st, 2012, 3:37pm Report to Moderator
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I guess I would fall into the Rewrite King and Juggler, but really I'm working on becoming someone who can spot a professional script whether or not that means it'll be successful is audience decision, but I would consider myself Student downside to that is possible being the student too long, upside longevity.

BLB



Commodus: But the Emperor Claudius knew that they were up to something. He knew they were busy little bees. And one night he sat down with one of them and he looked at her and he said, "Tell me what you have been doing, busy little bee..."
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Electric Dreamer
Posted: July 21st, 2012, 7:13pm Report to Moderator
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Quoted from Busy Little Bee
I guess I would fall into the Rewrite King and Juggler, but really I'm working on becoming someone who can spot a professional script whether or not that means it'll be successful is audience decision, but I would consider myself Student downside to that is possible being the student too long, upside longevity.

BLB



Hey BLB,

Thanks for contributing, I have a question...
Why do you want to be proficient at spotting a pro script?
Are you looking to break into the Development part of the industry?
It's one of those few areas where there's no official training or diploma for it.

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Gage
Posted: July 23rd, 2012, 8:13pm Report to Moderator
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Ah, my Speed Demonicity.

It will be the death of me.


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danbotha
Posted: July 24th, 2012, 12:34am Report to Moderator
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Definitely the juggler. I love writing too much. Simply working on one idea just isn't enough, otherwise I get bored out of my mind! I figured it's better to have three completed scripts rather than one crappy script that I lost interest in half-way through writing...


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Electric Dreamer
Posted: July 24th, 2012, 9:38am Report to Moderator
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Quoted from danbotha
Definitely the juggler. I love writing too much. Simply working on one idea just isn't enough, otherwise I get bored out of my mind! I figured it's better to have three completed scripts rather than one crappy script that I lost interest in half-way through writing...


I'm in agreement with you here...
I always have a few projects "in play" in my brainpan.
However, I think the article is referring to more like a dozen plus things.
To where the author is so mentally spread out, progress is nigh impossible.

And as for myself...
I try to minimize my shortcomings simply by the company I keep.
By doing everything I can to work with folks higher up the chain than me...

But it's more about challenging myself to raise my skills than career advancement.
Learning from those folks and applying those lessons is the ticket for me.
If I can perform at their level, the career stuff will mostly take care of itself.

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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ChazzChristopher
Posted: July 24th, 2012, 11:10am Report to Moderator
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Great article, E.D.

I probably fall most squarely into #2.  I usually write the first draft in 5-7 days.  But, to be fair (to myself : ) I do spend 2-4 weeks outlining a project before I sit down to write.  I usually have a 10-18 page outline with every scene SLUG'd and every scene's conflict mapped out.

but then I fall into the Juggler, because I usually work on the outline as I'm rewriting whatever script I just finished.

Shit.  I'm screwed.  : )

Chazz
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marriot
Posted: August 16th, 2012, 7:55am Report to Moderator
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man, even before I read this there's a sneaking suspicion that I'll tick AT LEAST 3 of those boxes.

edit: yep.

"The Speed Demon's problems are multiple. Their scripts read as if they were vomited on to the page. They're rough to read and rarely contain valuable ideas, strong dialogue or clever screenwriting, simply because there's only so many worthy brainstorms one can come up with in a single day. Screenwriting isn't about finishing something fast, it's about bringing exciting ideas to the table." lol

"In the Rewrite Queen's head, a "rewrite" can account for changing 3-5% of the script, polishing dialogue, changing a scene around here and there. They are their own development executive, trying to determine what must be changed in order to bring the script into "sellable" shape." lol

"The Ego has the hardest time with advancing as a screenwriter because he thinks his script is great. He responds to every note with a long explanation of WHY he wrote something in a particular way. Instead of listening intently, The Ego digs in and prepares for battle. Very few of these writers make it to the point of representation--they are unable to meet constructive criticism with new, fresh ideas" NOT****ingLOL

plus as a bonus tick - I'll take the "The Lazy Procrastinator" category as well.

godAMMIt.

but... there are development executives? rly? how do i apply?



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pmailhot
Posted: August 16th, 2012, 8:46am Report to Moderator
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Hm. Seems I'm a Rewrite King and a Pusher. Kinda funny when someone points this out to you. I feel like I just came out of therapy.
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Electric Dreamer
Posted: August 16th, 2012, 9:58am Report to Moderator
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Quoted from pmailhot
Hm. Seems I'm a Rewrite King and a Pusher. Kinda funny when someone points this out to you. I feel like I just came out of therapy.


Well, now that you're out of therapy...
Go write another spec!

I'm pretty sure you got more than that one story in you, pal!

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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Electric Dreamer
Posted: August 16th, 2012, 10:02am Report to Moderator
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Quoted from marriot


but... there are development executives? rly? how do i apply?



Hehe, most start out as readers/interns. My understanding is...
If they don't quit, can lick boot and have half a brain, they move up.

Ironically, Development Executive isn't something you can go to school for! LOL
It's just one of those niche jobs that's mission criticial in this town.
Once you demonstrate value to an industry insider, they want to keep you around.

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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marriot
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Darn. I guess i have a maybe one and a half, if you substitute 'making tea' for 'licking boot'. One for not quitting and the half for the tea-making, because it'd only be british tea. Y'know. Like it's meant to be.

Are there any british writers/producers you know of who could do with someone who can make a proper cuppa? If so, PM me!


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Electric Dreamer
Posted: August 16th, 2012, 1:51pm Report to Moderator
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Quoted from marriot
Darn. I guess i have a maybe one and a half, if you substitute 'making tea' for 'licking boot'. One for not quitting and the half for the tea-making, because it'd only be british tea. Y'know. Like it's meant to be.

Are there any british writers/producers you know of who could do with someone who can make a proper cuppa? If so, PM me!


Actually, things are different in the UK.
I hear tell from int'l colleagues that the agency system is much simpler there.
You can actually talk to the talent before you have all the money ready. LOL

Regards,
E.D.


LATEST NEWS

CineVita Films
is producing a short based on my new feature!

A list of my scripts can be found here.
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