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Screenplay: How Much Money Can You Make Selling One?

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In this edition of screenplay: how much money can you make? — so I can know how much to spend on limited-edition Japanese battle mech action figures; or maybe it’s just me — we’re gonna break down the REAL nuts-and-bolts of getting paid for a screenplay.

But first…

Reminds me of a conversation I had with a girlfriend years ago. I excitedly told her I had just optioned one of my scripts for $5,000, and was dreaming of huge paydays.

She said: “Couple that with what you’re already making and you’ll make what normal people make.”

Ouch. And she was right.

The expected payday is often less impressive — and more onerous — than many screenwriters imagine. Especially when you factor in the HOURS and HOURS of work — don’t forget the wrist fatigue and cost of lattes — that went into creating your masterpiece.

That said, we live in a capitalist society. And it is good to know what one can expect to get paid for their efforts.

So, here are 4 things to keep in mind before putting a down payment on that Maserati — or deciding to replace the transmission in your Mazda.

Screenplay: How Much Money Can You Make? (Like, For Reals?)
1. It’s Less Than You Think (Aim Low)

If you’re anything like me, you pored every single book that promised to show you how to sell a screenplay, and grew up hearing tales of insane spec script sales in the 80s and 90s. When and wouldn’t get out of bed — or fire up their word processor — for less than 3 million dollars.

Those days might as well have been the Mesozoic Era.

Things have changed so much — the industry; budgets; the agency/writer relationship — that there is NO CHANCE you’ll ever make that much with a single script sale.

Never.

Ever.

I mean it.

So, you might as well stop reading this post. You might as well give up your dream of making it as a screenwriter. And choose something more lucrative.

Like being a librarian.

What? Your’e still here?

Okay, well that means you’re deranged and that you actually can’t live without this writing “thing.” In that case, the ONLY way to make huge sums on an initial spec script are:

If you’re a triple threat (writer/producer/director) a la
If there’s a bidding war (with the right, concept this can actually happen)
If your book was a bestseller and wants to do it

Short of those three scenarios it’s very unlikely that will ever happen. Unless, of course, your name is J.J. Abrams. In which case, J.J., call me. I’ve got an idea for a Black Hole reboot I think you might appreciate.

2. “I Don’t Think That Word Means What You Think It Means”

We often think in terms of simple transactional math when it comes to selling a screenplay. But it’s much more complicated than that.

The Option

First off…you can make money without “selling” your screenplay. Thought it’s not quite as common as it used to be.

An option is simply someone giving you some moolah so they can get an exclusive window to go shop your material around. (This will usually be a producer who doesn’t have deep pockets, but has a lot of cell phone minutes and is happy to go around town to try to package your story.)

I’ve done an option three times. And made a nice chunk of change doing so. (I’ve made anywhere from $5,000 to $500 and a Starbucks gift card.) Not life-changing money, of course, but it is money.

Aside from the money though is the urgency that an option can put on a deal. You want urgency. You want people moving to get your property shopped. You do not want inertia. Inertia is not your friend.

The Step Deal

When you see a screenplay deal announced that says: “Kim Kardashian sold her spec screenplay That’s So Khloe for $500,000 against $250,000…

…what this means in practical terms is:

Kim won’t see the full 500K unless the film goes into production
The initial 250K is broken up into installments
Those installments are tied to drafts, rewrites and polishes (Lucky you! The work isn’t done)
Kim get fired anytime during the process (Poor Kim!)

Here’s a breakdown of the step minimum from the WGA (Writers Guild of America):

Here’s a link to the complete WGA minimum step breakdown: https://www.wga.org/uploadedFiles/contracts/min2017.pdf

So, let’s say Kim gets $100,000 for the first draft of That’s So Khloe. And her first draft isn’t quite as stellar as was expected. (Surprising, I know.)

And let’s say the production company wants to hire her sister, Kortney, instead. Well, they can fire Kim at any point and the payments stop there. (I’ve created a KickStarter for Kim, in case you’re feeling generous.)

3. “Greed Is Good”

Okay…so what does this mean? How much money are you putting in your pocket with the sale of a screenplay?

In my very un-scientific opinion, this means:

If you option your script you can make between $0-$500
If you sell a script to a low-budget production, you’ll make low five-figures (5-20K)
If you sell a script to a higher-budget production, you’ll make mid- to high six-figures (20K-70K)

Sounds great, don’t it? I mean most of us could live on a couple of those a year.

Hold on, turbo.

4. “Everybody Gets a Taste”

You didn’t think you were just gonna set up shop here in film industry and not have to pay for a little protection, did ya?

So, before you go off and spend that 100K on a new yacht, remember that certain people are gonna want to take a bite out of your newfound wealth.

They include:

The federal government
Your agent
Your manager (if you have one)
A co-writer (if you have one)

Which means nearly 40-50% of all your profit potential is gobbled up before you buy a single Golden-Age comic. (The horror!)

Sounds depressing, don’t it?

Well, there is one remedy.

5. Always Be Shipping

Seth Godin is a marketing/small biz guru. And he has this great phrase he uses to counter the self-defeating lizard brain that is always cautious to make a mistake and gets in the way of success.

“Always be shipping.”

Always be sending product out. Even if it’s not perfect.

You want to make it the best you can, of course. But you always want to be thinking toward getting material out there. I suggest you always have three scripts you’re working on:

The script you’re polishing
The script you’re writing
The script you’re thinking about

You don’t have to spend 120 hours a week on this. Just carve out time each day to chisel away at these three projects. This will do a couple cool things:

You’ll get less attached to one single project
You’ll have a lot more opportunities to make a sale
You’ll have a lot more opportunities to make an impression (get invited to pitch)

And this dovetails into a question I often get: Do screenwriters have to live in LA? No, absolutely not. But if they are going to move to LA I exhort to always be shipping. Always be having product out. Always be having three things on the radar. It will make you less neurotic, sure, but it will separate you from a crowded field, by showing you are somebody who is productive and gets a lot of material done.

Which can, in turn, help you buy a lot of golden-age comics.

Got a Take on the “Screenplay: How Much Money Can You Make Selling One” Debate?

Do you have an opinion on the “screenplay: how much money can you make with one” question? Have you sold or optioned a script? We’d love to hear in the comments below.

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How to Practice Screenwriting Without…You Know…Writing a Script

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At a seminar recently one attendee asked me if I could recommend how to practice screenwriting…you know…without actually writing a screenplay.

Every Blake Snyder-infused, William Goldman-inspired cell in my eviscerate this screenwriting acolyte and show them the error of their ways.

But then I got to thinking…there are actually a lot of ways to practice screenwriting without writing a script.

I mean, sure, the BEST way to hone your screenwriting craft is to start (and finish) that screenplay of yours.

But if you’re mired in a creative block – or simply want to improve your skills before you type FADE OUT on your first script — here’s how to practice screenwriting with a couple simple exercises that take less than five minutes.

A Stress-Free Way to Learn How to Practice Screenwriting
Exercise #1: Master Your Scene Craft

The scene is the fundamental building block of the screenplay, just as the chapter is the building block of prose writing.

And knowing when to start and finish a scene and convey vital story information — all the while developing interesting, complex characters – is one of the best things you can do for your screenwriting game.

But what do you write a scene about? How to begin screenwriting a scene without….oh, I don’t know….knowing what the frick the scene is gonna be about.

Well…anything you can think of. Here are my faves to get you started:

Random word in the dictionary
A picture on Flickr or Tumblr
A newspaper article
Memory you have (or wish you have)
Anything
Take three random things and put them together (such as location, prop, and an occupation)
Anything you find in those writing prompt books for fiction writers

The trick is to realize it’s not really about finding the perfect scene craft exercise. It don’t exist.

It’s about stretching your scene craft muscle and forcing you to get outside your scribbler comfort zone.

Exercise #2: Master a Single Element of Screenwriting

Don’t feel you have it in you to write an entire scene? Then why not focus on a single area of the screenwriting craft?

If you’ve ever asked yourself, “why is screenwriting so hard,” it’s because it requires so many different, often contradictory skills all at once. (You gotta know be creative, but also be structured, you gotta write for the market, but tap into your singular, individual voice.)

The best way to counteract this screenwriting overwhelm is to just hone in on one part of the craft.

You could sharpen your screenplay description muscle by just heading to unique locations and writing what you see…and imagining what type of conflict there might be
You could boost your dialogue skills by writing an imaginary “Extended scene” from your favorite movie or TV show
You could work on your screenplay format game by formatting something challenging by writing a screenplay flashback or script montage
You could enhance your character development abilities by coming up with interesting back stories for your friends (and enemies)
You could, if you’re feeling super-lazy, come up with quick loglines of stories based on the title from a movie you haven’t seen

All of this is a way to practice screenwriting without causing the writer’s block-fearing hairs on the back of your neck to rise..and yet still make progress on your screenwriting goals.

Exercise #3: Write It Like You See It

Okay, first off, I know there’s no chance you’ll do this exercise. That’s because it takes time. And it’s kinda hard. And nobody does it.

But on the off-chance that you are slightly above-average — which I know you are —then I encourage you to give this exercise a chance.

It’s awesome and can up your screenwriting game quickly.

Here’s how it works:

Grab one of your favorite (or least-favorite) books you’ve read somewhat recently
Pretend like they have hired you to adapt the book into a screenplay (you can even pick a director)
Find a memorable scene and read it over a few times (this is gonna be your audition piece!)
Write the best scene you can

You don’t have to write it verbatim. In fact, please don’t. (Oh, how I wish the creative team behind LOTR didn’t feel beholden to the “sacred” Tolkien text.

You don’t even have to stick with what happens in the book.

But remember the director chose the material for a reason. They like something about it. It’s your job to respect the material but create something interesting and visual out of it.

The first one you do of these will be awful. And maybe even the fifth one.

But keep doing this exercise and you’ll get really good at removing the fluff—and in novels there’s a lot of fluff—and getting down to the essential parts of a scene.

Exercise #4: Guess What’s Next

This is a great exercise because you can play this with other humans that have no interest in upping their screenwriting game.

Here’s how it works:

Put on a movie or TV show you (and whoever is watching) hasn’t seen
As a scene begins, hit “pause” and write some brief guesses of what the next scene will be and where you think the story will go (“The bitter, solitary basketball coach is gonna “meet cute” with the spinster teacher who has a habit of husbands dying on her at the High-school dance”)
Watch the scene and see how good your guesses are
Do this 2-3 times for each movie/Tv show you watch

Couple things I hope you’ll discover in this exercise:

Good stories have events that spin them in new directions
Bad stories rely on cliché story turns you can see coming a million miles away
Sometimes you come up with better story choices than the guys and girls getting paid far too much for their output

A Final Note

None of these exercises are a substitute for cranking through a full-length screenplay. If only to build up the stamina you need for such a project.

But try a few of these out and you’ll get exponentially better at screenwriting, without breaking a Final Draft sweat.

What’s Your Take on How to Practice Screenwriting, Without Screenwriting?

Have you picked up a trick learning how to practice screenwriting, aside from the usual “Write more scripts” mantra? Let us know in the comments below.

The post How to Practice Screenwriting Without…You Know…Writing a Script appeared first on ScriptBully.

5 Things Every Screenwriter Can Learn From the Director of the Star Trek Pilot

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A pilot sets the tone of a television show. And no director was better at setting the tone, and establishing a clear foundation for future episodes, than , the director of The Cage, the pilot episode of Star Trek.

Far from a one-trick pony, Butler has a varied and eclectic resume that includes work on Remington Steele, Columbo, and Gunsmoke, in addition to helming the pilots of Hill Street Blues and Batman. (Yes, the Adam West one.)

Though The Cage was later used in the two-part The Menagerie — and Leonard Nimoy was the only actor to make the transition from pilot cast member to series regular — many of the show’s classic elements, such as the bridge, transporter and Mr. Spock’s personality, were established under Butler’s direction.

We had a chance to catch Robert Butler in conversation with author and podcast host Larry Nemencek (Portal 47) during a panel at the Comic-Con International 2019. While he seems almost bemused by the fanfare that surrounds Star Trek – “I wasn’t interested then. I’m not interested now” – the 91-year-old is proud of the storytelling clarity he brought to the episode and delighted to see elements of his direction on display 55 years later.

Here are 5 things every screenwriter can learn from the quirky, wonderful — and often self-deprecating — mind of Robert Butler:

#1: You Don’t Have to Love the Material to Do the Material Justice

Butler was never a sci-fi fanboy.

He got the job to direct The Cage – not because of his love of starships and lasers – but because he had worked with Gene Roddenberry on The Lieutenant, and the show’s creator wanted him to help get this new production about “Wagon Train in Space” back on track.

But Butler thinks it was his lack of passion for the genre that gave him the fresh perspective needed to unearth a story filled with spaceships, transporters, and aliens with big heads.

“I didn’t want to do it at first. I read the script and I was skeptical. And a little disdainful. A little disdain is great. To fall in love with a script is not as good as having a little disdain. It gives you objectivity. Gene had put in every single Sci-fi trope he could. My job was to find the truth.”

#2-Don’t Worry About Stuff That’s Not the Story

There’s always politics involved in production.

Will we stay within budget?
Will we have enough for quality effects?
Will we get a good time slot?
Will the studio pull the plug because the showrunner ran off with the star’s wife? (Again)

Butler made it clear that during the production of The Cage he was only concerned with one thing: creating a well-told story.

“I’m trying to be straight and clear and effective with the audience as a director. That’s my job. The studio. The time slot. The price of color televisions. What the ship looks like. I don’t care about that stuff. I worry about the audience and the actors. Making the clearest, simplest line between the two. I don’t care about anything else. No creative should.”

#3-Always Go for Objective Over Emotion

Perhaps the contribution Butler is most proud – and the one that endures to this day – is the role he had in helping shape the personality of the impersonal Mr. Spock.

“Leonard paid me a great compliment. He said I told him: ‘Don’t be emotional. Don’t take sides. Be a scientist. Somebody dies? Oh, that’s interesting. Somebody got married. Oh, that’s fascinating.’ You can’t act an emotion. You can’t act ‘happy.’ You can act ‘scientist.’ You can play that. I think we were right on that one.”

#4-Sometimes the Subtler Choice is the Most Interesting

One of the more interesting moments during the panel was Butler expressing mild regret over one creative decision in particular. That was the performance of Majel Barrett who played “Number One.”

“Looking back on it I think I would have had her simplify the performance. She was ready to be the strong woman. Her professionalism was a little strong. It was like ‘You should listen to me because I’m a strong woman. So, I’m going to indicate my strength.” Strength was what the script said, what the scene called for. But what if she just played a woman? That might have been more interesting. Just a woman. People will listen to what I have to say. I deserve the job. The softer, subtler choice, that might have been the better choice.”

#5: Even the Greats Miss

Butler admits that the thing he tried to assert most influence on during production,was the thing he was the most misguided about.

The title.

“I tried to change the title. Star Trek. Seems heavy. I said to Gene: ‘Why not Star Track? You can see the lines, the fields, the geography of a Star Track.’ I tried to convince Gene. Not only did he not agree with me. He didn’t even hear me. Good thing. 55 years later he might have been right.”

 

The post 5 Things Every Screenwriter Can Learn From the Director of the Star Trek Pilot appeared first on ScriptBully.

Are Screenwriting Contests Worth Entering for Newbies?

Are screenwriting contests worth entering for newbies? It’s a question I get quite often. Probably because new(ish) screenwriters don’t (usually) have vast reserves of money — unless their name ends in Reitman — and they’re not sure that $25 here or $75 here in entrance fee will be worth it.

So, let’s dig into this a little bit. (And lay out a plan for why you would — or would not — want to enter screenwriting contests if you’re just getting started as a film scribbler.

Screenwriting Contests and the Newbie Writer

We’ll define newbie as somebody who has written one, maybe two full-length screenplays. But certainly you can write five screenplays and still like you know next to nothing. (But then you watch Transfomers 2, and realize you know so much more than you think you do.)

But I digress…

So, the real question about whether screenplay contests worth considering depends on your intended goal.

IF YOU WANNA GET AN AGENT OR SELL YOUR SCRIPT…

You will (likely) be disappointed. Unless you’re a screenwriter unicorn and blessed, instantly, with talent and you turn in a piece of unparalleled genius to one of the more reputable screenwriting competitions out there.

This is because as Andy Weir, the author of The Martian, mentioned in a writing panel I attended:

“The first novel I wrote was horrible. And I knew it. The second novel I thought was good. And it was horrible. The third novel I wrote was The Martian.”

You have to get past the “I suck” phase, and then beyond the “I’m amazing” phase, until you get to the “I kinda know what I’m doing” phase.

You have to get past the “I suck” phase, and then beyond the “I’m amazing” phase, until you get to the “I kinda know what I’m doing” phase.

And that takes time. (And usually about four or five screenplays to truly learn how to write a script.)

IF YOU WANNA MAKE MONEY…

There are easier ways to make money. Having judged more than a few screenplay competitions, I can tell you most of these are designed to MAKE MONEY…not give it out.

That isn’t to say you can’t win some prize money. Usually, though, you’ll win free schwag from the contest sponsor. (Which may or may not be that great.)

IF YOU WANNA GET (REAL) COVERAGE…

Buy real coverage. I know some contests make great promises about the “feedback” you get. But most of the time your script is being read by a lowly-paid automaton — like I was — or even worse, an unpaid intern. This isn’t always the case, but it’s hard to know, before you send in a check to a screenplay contest.

IF YOU WANNA TRACK YOUR PROGRESS….

Then this is the PERFECT reason to enter a screenplay contest. Not to become massively rich — or get an agent overnight — but see where you are, in relation, to other newbie screenwriters, and keep tabs on your own trajectory.

The first script you enter into contests might not get you anything. Probably.

But pretty soon, with your second script, you become a semi-finalist in some random contest out of Bakersfield. And then suddenly, with your third script, you become a finalist, in multiple contests.

Think of them like short story contests. Winning one doesn’t mean you’ll get a publishing deal with Wiley. But it does mean your one step closer to the writing dream you’ve always had.

Think of them like short story contests. Winning one doesn’t mean you’ll get a publishing deal with Wiley. But it does mean your one step closer to the writing dream you’ve always had.

And that can, sometimes, worth the price of any admission.

What’s Your Screenwriter Take?

Which screenwriting contests have you entered? Let us know in the comments below!

The post Are Screenwriting Contests Worth Entering for Newbies? appeared first on ScriptBully.

5 Best Screenwriting Classes in NYC Worth Taking

As they say, “If you can make it here, you can make it anywhere…with a five-script deal and an office on the studio lot.” And while taking one of the many screenwriting classes in NYC isn’t a guarantee that you’ll jump-start your professional writing career, it is a good way to boost your screenwriting IQ, not to give your industry networking some much-needed octane.

Though general screenwriting tips can be learned (almost) anywhere in the world, there is a cool emphasis for the would-be screenwriter interested in penning scripts that are less focused on big-budget mainstream pictures — there’s plenty of scribblers on the West Coast focused on that — but instead folks interested in the indie-film circuit or 1-hour TV drama route.

Here are 4 screenwriting classes in NYC worth adding to your to-do list:

4 Screenwriting Classes in NYC Worth Looking at

#1: Tisch School of the Arts (NYU)

Don’t have the grades, energy or 100k to enroll in NYU full-time? Why not grab a summer non-credit screenwriting certificate from this prestigious university? (Scorsese went there, for Godsakes!) Though you don’t have much flexibility in the types of classes you’ll take — pretty much need to follow the path they lay out for you — nobody rivals the breadth and real industry experience that Tisch instructors can offer.

Pros: It’s frickin, NYU, dude! One of the best film schools in the USA
Cons: Expensive; Not much flexibility in course path.
More Info: Tisch School of the Arts

#2 – Gotham Writers 

Though primarily known for their fiction — and robust online curriculum — Gotham Writers has an extensive collection of NYC-based screenwriting classes for you to check out.

Broken out by format — TV, feature-film, playwriting — their Scriptwriting department can add some serious juice to your screenwriting game. (Note: Having personally taken more than 5 Gotham Writers classes, I heartily recommend you choose the in-person option, if possible.

Pros: Good material, well-presented; Broken out by format
Cons: In-person instruction more effective; Not cheap
More Info: Gotham Writers

#3 – New York Film Academy

With locations in both New York and Los Angeles, this acclaimed program — Variety named it one of its “stellar film school of 2017” — offers the ambitious screenwriter the chance to learn their craft, in a boot-camp, intensive setting.

Just know that this option ain’t cheap. At all. NYFA charges nearly as much as elite film schools such as UCLA or USC. Or Delaware State. (Just kidding; you know I love ya, Delaware State!)

But for the would-be screenwriter who’s got the funds for an elite film school experience, without the requisite portfolio, then NYFA might be a great choice.

More Info: New York Film Academy
Pros: Broad filmmaking education; Great for those who want to write and direct.
Cons: Muy expensive.

#4 – Jacob Kreuger Studio

With a Writer’s Guild award under his belt, Kreuger brings real-life industry experience, along with an interesting 7-act structure, to the mix. Based primarily around a series of 4-week screenwriting classes, both online and offline, this program offers a slightly more organic approach to screenwriting that tries go beyond the usual formulas.

That said…a quick perusal of the website that supports the program tells you that this is an institution that has honed the art of the upsell. ($150 for a structural breakdown of Trainwrecked is…umm…an interesting option.)

But having had a few friends take the course, I can report that it offers a holistic screenwriting approach that tries to build you a storytelling foundation, not just help you crank out single script.

More Info: Jacob Kreuger Studio
Pros: Organic, non-trad approach to structure; Shorter than most classes
Cons: You’ll be marketed to (which ain’t the end of the world)

If you’re based in the Big Apple, do you really HAVE TO take a NYC screenwriting class?

No. You don’t have to.

But sometimes it takes awhile for knowledge to sink in — years, in fact — and taking one of these screenwriting classes in NYC might be just what you need to reduce your learning curve.

What’s Your Screenwriter Take?

Have you taken any screenwriting classes in NYC? Any you’d recommend…or any that folks should avoid like the screenwriting plague? Let us know in the comments below.

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5 Best Screenwriting Books You’ve Never Read (But Probably Should)

We all know the usual suspects when it comes to screenwriting books.

Every would-be professional screenwriter has a crowded bookshelf littered with the likes of Robert McKee’s Story, Blake Snyder’s Save the Cat, Linda Seger’s Making a Good Script Great AND one of the legion of screenwriting book iterations Syd Field cranked out. (May his productive bad-ass self rest in peace.)

But just as watching some obscure foreign film on Netflix can broaden your screenplay education – Danish Cyberpunk, anybody? — so also can reading one of the more overlooked, off-the-grid screenwriting volumes give you a choice nugget. (And also prevent your screenplay from reading like a carbon copy of what everybody else is churning out.)

So, here are five helpful (but slightly obscure) screenwriting books worth adding to your Amazon wishlist:

Best Screenwriting Books You Probably Haven’t Read (Yet)

Book#1: Screenwriting Tricks of the Trade – William Froug

I have to be honest; I am completely biased when it comes to this book.

Not only did I get a chance to take a class from Mr. Froug at UCLA – name-dropper! – but this book is everything I look for in a screenwriting book. It’s:

Short
Not rigid about structure
Free of the fluff of most screenwriting books
No upsell to “Buy my writing software, now!”

Think of this as a screenwriting version of Strunk and White’s Elements of Style. Unpretentious. Unrelenting. Something you should read every month or so.

Browse on Amazon: Screenwriting Tricks of the Trade

Book #2: Story – Robert McKee

Huh?

Story, by Robert McKee? Are you kidding? Everybody has a copy of this book.

You’re probably right. Most screenwriters DO have a copy of this book. But not many screenwriters have actually READ the book. (Can’t blame somebody for being overwhelmed by a book that can concuss a cat, if used nefariously.)

Which is a shame. Lots of good stuff in there.

I especially think every screenwriter should look at the sections on:

Genre (His absolute sweet spot)
Research
Writing a treatment
How to establish your story’s premise as a dialectical debate

These juicy nuggets come in the second quarter of the book. And right before the breakdown of beats in a story, you know the part that looks like a chemistry diagram of your story.

If you haven’t cracked this tome open recently, or it never got removed from your Barnes and Noble bag, give it another try. It’ll be more valuable than that piece of story writing software collecting dust on your PC.

Just don’t try to finish the whole thing. You got other things to do…like write your damn script!

Browse on Amazon: Story

Book #3: The Actor’s Life (A Survival Guide) – Jenna Fischer

Okay, so this isn’t technically a screenwriting book. (Though I think Fischer’s hilarious story could definitely be made into a film…and something far better than Being John Malkovich.)

But not only is this this best book I’ve ever read on detailing exactly what a would-be actor goes through in Hollywood — spoiler alert: it ain’t pretty — it’s also the perfect way to get inside the mind of the very folks who can often make-or-break your script’s chances of getting read.

Because every cog in the Hollywood wheel that can help your script get optioned — producers, managers, agents, directors — knows that “ALL roads lead to the actor.”

And unlike many of the other dry, insufferable acting guides this book is a funny, honest and inspiring. (Something us screenwriters could always use.)

Browse on Amazon: The Actor’s Life (A Survival Guide)

Book #4: Now Write! Speculative Genre Exercises From Today’s Best Writers and Teachers

There are a metric crap load of writing exercise books out there.

Most of them are a bit artsy-fartsy for my tastes — “write about your first memory” — but every book in this series provides nuts-and-bolts exercises that can help stretch your creativity and simply get you writing more.

Of course, these books are designed primarily for fiction writers. But so what? All you gotta do is just take the exercises and turn them into mini 5-page standalone scenes and they are the perfect writing session generators.

Bonus: If you’re a dedicated genre writer, such as in Horror, Sci-Fi, Mystery or Thriller, then they’ve got books organized just for you. (And if you’re needing to develop your comedy muscle then just take the same exact exercise and give it a comedic spin.

I can’t recommend this series enough. Even the best screenwriting software in the world won’t get you writing. These books will.

Browse on Amazon: Now Write! Speculative Genre Exercises From Today’s Best Writers and Teachers

Book #5: Master Shots Vol. 1- Vol. 3 – Christopher Kenworthy

On the surface, it may appear I’m cheating. Again.

I’m adding a non-screenwriting book to my list of screenwriting books you should totally check out. But I vehemently disagree.

This series of books on giving the low-budget film director everything they need to pull off any type of camera technique is an absolute must in every screenwriter’s library.

And that’s for one very simple reason: unless you have experience on the production side you won’t really know what’s possible — and not possible — when it comes to the camera.

You won’t know the best way to write a dialogue-heavy scene without putting people in a coma (Vol.2)
You won’t know some of the cool set-ups that directors can do when establishing a scene (Vol.3)
You won’t know how to write your script around camera techniques that are realistic and affordable (Vol.1)

And let’s face it, most of us are writers for a reason. We ain’t that good at all that camera crap.

This series of books takes care of that blindspot and can up your film craft IQ in no time.

This isn’t to say you need to fill your script with CUT TOs and MOVE IN ON. But digesting these screenwriting books will give your stories much-needed professional credibility, not to mention a treasure trove of cool ideas that won’t require 130 million dollars to shoot.

Browse on Amazon: MasterShots 

What’s Your Screenwriter Take?

Do you have some favorite screenwriting books not on this list? Of course you do. Let us know in the comments below.

The post 5 Best Screenwriting Books You’ve Never Read (But Probably Should) appeared first on ScriptBully.

What the &$*# Is the Right Screenplay Title Page Format?

It should be obvious, the right screenplay title page format. (“You put in your title…and your name!”)

But there is a subtle set of industry expectations when it comes to creating your screenplay title page. And missing out on any of the key elements — or putting them in the wrong place — or even adding extraneous info not required can make you look like an amateur quicker than owning all 12 Transformers movies. (In Blu-Ray and Regular-Ray.)

So, here’s a quick, down-and-dirty guide to creating a screenplay title page that’s professional and gets the job done — namely tell people the name of your damn script:

The Straight Scoop on Screenplay Title Page Format
Screenplay Title Page Format Element #1: One Font to Rule Them All

You’ve probably seen produced screenplays on the Internet, with crazy, fun, and whacky fonts. (Especially for the title.) And you’ve wondered: how come I don’t get to have fun with my title page font?

Because…that is something the agent (or producer or manager) puts on the title page when sending out. When you’re starting out, don’t get cute.

Instead make sure everything on your title page is in standard Courier, 12-point font.

I know this sounds like I’m putting a damper on your creativity. I am. On the title page. Be creative in your story, not your title, where it counts.

Screenplay Title Page Format Element #2: The Frickin’ Title

Wow. Earth-shattering insight. The title of your script should be on the screenplay title page.

And yet…Your title needs to be:

The first thing at the top of the page

All UPPERCASE

I’ve seen scripts with titles that were:

Lower case
At the bottom of the page
Italics
In size 89 font.

Don’t do this.

Put your title first, in uppercase, about 1/4 of the way down.

Screenplay Title Page Format Element #3: The All-Important Byline

Below the title, on the next line, lives your byline. And your byline consists of:

The phrase “written by” (in lowercase)
Followed by your name (on the next line)

Do not do “By Michael Rogan” or “Authored By Michael Rogan” or “Birthed by Michael Rogan” or “WRITTEN BY MICHAEL ROGAN.”

Just do this:

 written by

Michael Rogan

Keep. It. Simple.

Screenplay Title Page Format Element #4: Name Your Sources

If your script is an entirely original creation — and used no other inspiration than the fever dreams inside your brain — then you can skip this part.

But if your material was based on a book or on a play — or an Kim Kardashian tweet — then you’ll want to include the following just below your byline:

Based on a (form)

by (Author of original material)

Screenplay Title Page Format Element #5: Seize the Day

I know this may unsettle a few scribblers, especially if you’ve been trying to shop the same script since 1997, but in the lower right-hand corner of your title page should live the “date” of your draft.

Now, of course, you can always update this, as you send out new versions of your script for consideration. But the date is an important convention that helps the agency, production company, or studio keep their assets organized.

And you want to write out the month, and then use numbers to represent the day and year. So, it would look something like:

April 4, 2089

Not…4/4/89 or 4.4.89.

Don’t reinvent the wheel when it comes to putting the date on your title page. The wheel is doing just fine on its own.

Screenplay Title Page Format Element #6: Contact Info

If your representation is going to be sending out your screenplay, then they will take care of this for you. Otherwise, at the bottom right — if you’re sending out your script on your end — you want to include your contact info.

This includes:

Your name
Your email address (Please, have a somewhat professional-sounding email)

Don’t include your address. It’s not needed and can only make you appear like a newbie, if it’s a non-LA address.

And though some of the old-time screenwriting books recommend you include a © it offers you no added protection, and only makes your script look dated.

Were you taught a different screenplay title page format? Let us know in the comments below!

The post What the &$*# Is the Right Screenplay Title Page Format? appeared first on ScriptBully.