Michael Rogan's Blog, page 5
August 17, 2015
What Goes on a Screenplay Title Page?
Not sure what (exactly) to put on your screenplay title page? (And in what order?) Here is a slideshare presentation on 8 keys to ensuring your screenplay title page looks professional, marketable – and not like some total newbie.
What Should You Put on Your Screenplay Title Page from scriptbully
The post What Goes on a Screenplay Title Page? appeared first on ScriptBully.
101 Screenplay Format Tips That Don’t Suck
Welcome to 101 Screenplay Format Tips That Don’t Suck! This is – what the hip, tech-crowd calls – a “living document.” (Meaning we’ll continue to update it with tips as we come across them. And I’m TOO LAZY to come up with ALL 101 Screenplay Format Tips at once.)
If you’ve got a suggestion for one of the 101 Screenplay Format Tips be sure to let us know over at our Facebook page. And if you’d like to FOLLOW our Pinterest board of the same name you can find it over here.
Let the Screenplay Format Awesomeness Begin!
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Screenplay Format Tip That Doesn’t Suck #1: FIRST Thing on the FIRST Page Should Be “Fade In”
I know you want to get cute and avant-garde with your first page, but trust me: just STICK with “Fade In” up at the top of your first page. (Save the “Darkness” and “Smash Cut” for when AFTER win your Oscar.)
Screenplay Format Tip That Doesn’t Suck #2: Interiors and Exteriors are ALWAYS Abbreviated and Written as “INT.” and “EXT.”
There aren’t a TON of hard-fast rules in screenwriting. But this is one of them. Make sure all your INT.s and EXT.s are formatted the proper way. (And don’t forget the dash AFTER the period.)
Screenplay Format Tip That Doesn’t Suck #3: Watch Your Use of Parentheticals
I know you REALLY want to describe every line of dialogue. (Example: “slyly”) But parentheticals are the adverbs of the screenplay industry. One or two go a LONG way – and are usually way over-used.
Screenplay Format Tip That Doesn’t Suck #4: The “Later” Heading Can Be Your Best Friend
If you’re simply doing a time jump – within the same location – ya don’t need to repeat all that annoying location info in the slugline. Just throw in an all cap “LATER” and you’ll keep the flow of your script moving. (And not tip off you’re an amateur.)
Screenplay Format Tip That Doesn’t Suck #5: Use Character Action in the Parenthetical Spot
Instead of those annoying parenthetical adverbs that describe dialogue – “(wryly)” – use that spot to indicate action, if it relates to the dialogue. (It’s a clever way to keep the flow going, without breaking it up with another subheading.)
Screenplay Format Tip That Doesn’t Suck #6: Don’t Orphan Your Dialogue
No matter what software, or screenplay formatting tool you use, be sure to avoid orphaning single lines of dialogue at the top of a page. (Instead push the previous sentence over and keep your manuscript looking clean.)
Screenplay Format Tip That Doesn’t Suck #7: NEVER Stray From the Courier Font Neighborhood
Don’t get fancy with your fonts. Just stick with 12 pt, Courier. Changing it up with some hip font you found, not only makes you look like an amateur. It screws up the film length estimate. (And then you’re screwing up production…big no-no.)
Screenplay Format Tip That Doesn’t Suck #8: Courier New is Not Your Friend (Unless Your Script is Short)
Using Courier New won’t get you throw into screenwriter jail. But it can pad out your script considerably. So if you don’t need the extra 12 pages or so, then keep it to good, old no-frills Courier font.
Screenplay Format Tip That Doesn’t Suck #9: It’s V.O. Not “Voiceover”
Can’t tell you how many different ways I’ve seen voice-overs in screenplay format. Remember: it’s “(V.O.)”…and it should ALWAYS be placed just to the RIGHT of the character’s name. (Bonus points if the V.O. is moderately interesting.)
Screenplay Format Tip That Doesn’t Suck #10: Always Keep It “Present Tense”
No matter what happens in your screenplay – and that includes flashbacks and montages – always write it in present tense. (“He sees…”; “She strikes…”) Writing in past tense is an amateur giveaway.
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101 Creativity Hacks for Screenwriters
Welcome to 101 Creativity Hacks for Screenwriters! This is – what the hip, tech-crowd calls – a “living document.” (Meaning we’ll continue to update it with tips as we come across them. And I’m TOO LAZY to come up with ALL 101 Creativity Hacks at once.)
If you’ve got a suggestion for one of the 101 Creativity Hacks, be sure to let us know over at our Facebook page. And if you’d like to FOLLOW our Pinterest board of the same name you can find it over here.
Let the Screenwriting Creativity Awesomeness Begin!
Follow ScriptBully – Scriptbully’s board “101 Creativity Hacks for Screenwriters on Pinterest.
Creativity Hack for Screenwriters #1: Focus on “Learning” NOT “Writing
Turns out our brains HATE to be stressed out. (And writing is stressful.) But the brain LOVES to learn. (Builds what are called “dendrites.”) So whether yer in the midst of composition or coming up with a new story idea try to anticipate what you’ll LEARN from the exercise. (It’ll open up a whole new side of your brain.)
Creativity Hack for Screenwriters #2: Look at Vintage Magazine Covers
Just Google “vintage magazine covers” and you’ll see a treasure trove of cool, weird – and sometimes offensive – magazines from days gone by. (Rumor is: Matthew Weiner got the idea of “Mad Men” simply by looking at old versions of “Look” and “Life” magazines.)
Creativity Hack for Screenwriters #3: Talk to an Expert (About Almost Anything)
There’s nothing quite as inspiring as talking to an expert who is passionate, if slightly obsessive, about their area of expertise. (Even if you don’t know much about it.)So reach out to sources through a site like HARO, or simply contact obsessed blog owners, and see if they’d be willing to chat about their field for a possible screenplay idea. (They WILL say yes.)
Creativity Hack for Screenwriters #4: Read a Newspaper From a Different Town (or Country)
I LOVE checking out newspapers from places I’ve never heard of. (I once spent a week following stories in the Nunavik community of northern Canada. OnlineNewspapers.com is a good place.) You’ll get a quick sense of a community’s values, worries, concerns, obsessions – and the things they struggle with each day to keep going. (Sounds like a story idea to me.)
Creativity Hack for Screenwriters #5: Think Up the Weirdest Genre Mash-Up You Can
If the creators of “SharkNado” can ride that weird mash-up franchise all the way the SyFy TV-movie bank…then you certainly shouldn’t feel limited. Come up with the craziest mash-up of story genres you can. (Who knows…a network just might buy it?)
Creativity Hack for Screenwriters #6: Embrace Improvisation
Musicians know the power of improv, but us writers can often forget. So, instead of going over your beat sheet for the 25th time, do a bit of “riffing” and see what you come up with. (Worst case: you get a few extra pages that day.)
Creativity Hack for Screenwriters #7: Use Empathy for a Creative Breakthrough
We can get so caught up in our own head we forget there’s other FRICKIN’ people on the planet. So take a few minutes and write from someone else’s EMOTIONAL point-of-view. You might just find a HERO for your next story.)
Creativity Hack for Screenwriters #8: Welcome “Bad” Ideas
Even “good” ideas will suffer if their execution is less-than-stellar. So why stress? Instead, take your WORST idea and see if you can have FUN turning it into something halfway decent. Who knows: you might just get something AWESOME from it.
Creativity Hack for Screenwriters #9: CrowdSource Your Next Writing Project
Try writing a colloborative project with some WRITING colleagues. (Or perhaps set a group assignment you all have to COMPLETE.) Mary Shelley got “Frankenstein” out of something similar – to get something 1% as good would do ya just fine.
Creativity Hack for Screenwriters #10: Get a Bit of Isolation in Your Diet
Thoreau wasn’t the only author who flourished by WRITING “away from the madding crowd.” Pick a writing spot FAR AWAY from your local Starbucks – or your family – and schedule some isolated, Walden-like composition time of your own.
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August 16, 2015
Audiobook Library
Want your screenwriting awesomeness delivered directly into your ears? Wor
ry not, Michael Rogan and the rest of the peeps have put together the following audiobooks:
How to Write a Screenplay That Doesn’t Suck Want to learn how to write a screenplay that doesn’t suck and can actually make you money? Want to know how to write a movie script that’ll get you the attention of managers, agents, directors, actors–the talent of the industry? Grab this audiobook and take your screenwriting chops to the next level?
How to Write a Movie Script With Characters That Don’t Suck Learning how to write a movie script is more than just figuring out the margins and hitting a few plot points along the way. (Sorry, Syd Field.) It’s about infusing your movie scripts with emotion, dilemma, and the best kick-ass characters you can write. Grab a copy of this audiobook to become a punk-rock movie character creatin’ machine.
How to Write With a Script With Dialogue That Doesn’t Suck Want to know how to write a script that people will remember, and can catch the attention of producers and other above-the-line talent? (Don’t worry about agents; they don’t want to talk to you. Nail your dialogue. Really. And this audiobook can make you a super-ninja dialogue faster than an Aaron Sorkin hallway monologue.
Selling a Screenplay in the 21st Century
So if you’ve got a script you think that kicks some major butt, and you’re looking for a way to crash the film industry and, hopefully, quit that crappy day job you’ve been slaving at, then give this audiobook a try.
The post Audiobook Library appeared first on ScriptBully.
What 10 Top Screenplay Competitions (Actually) Pay
Screenplay competitions are a fantastic way to get crucial feedback on your script, and network with film development folks. (Pitchfest anybody?)
But in some cases, you can actually make a decent amount of change from a script competition.) So, here is a slideshare presentation on what 10 Top Screenplay Competitions pay:
What the Top 10 Screenplay competitions (Actually) Pay Out from scriptbully
The post What 10 Top Screenplay Competitions (Actually) Pay appeared first on ScriptBully.
10 Secrets to Mastering TV Script Format
TV Script format might be the ONLY thing more confusing than movie script format. (And can often derail many new writers from attempting a TV spec – which is unfortunate because there is MONEY in them TV hills.)
So, here is a Slideshare presentation on 10 Secrets to Mastering TV Script Format:
10 Secrets to Mastering TV Script Format from scriptbully
“10 Secrets to Mastering TV Script Format” Transcript
TV Script Format Key #1: There are 4-5 Acts in an hour-long drama
Description: I know you’ve come to know and love the 3 Act Structure, but TV scripts actually have 4-5 Acts for an hour long drama. They still follow the 3 Act Structure in terms of presenting a problem, raising the stakes, and resolving the problem, but there are more dramatic breaks for commercials.
https://blcklst.com/help/tv_script_standards.pdf
TV Script Format Key #2: For TV, you must label the acts
Description: In a TV script, every act (including the teaser or cold open) needs to be centered, capitalized and underlined. The end of the act should follow the same format, so the end of Act Two should read: “END OF ACT TWO” in your script.
https://blcklst.com/help/tv_script_standards.pdf
TV Script Format Key #3: The 1 page = 1 minute of screen time rule is serious
Description: This general rule applies to features as well, but it’s much stricter in the TV-world. There is little wiggle-room if your script is too long since the time slots are tight. You only get an hour, so even if what you have is really, really good, it can’t go over.
http://www.movieoutline.com/articles/television-script-format.html
TV Script Format Key #4: Hour-long Drama page length versus half-hour Sitcom length
Description: If you’re writing a spec script for an hour long drama, you should aim for 53-60 pages total over the course of 4-5 acts. Sitcoms are typically 3 Acts. Single-Camera half-hour sitcoms usually run 28-32 pages long and multi-camera sitcoms are usually 40-48 pages long.
http://www.movieoutline.com/articles/television-script-format.html
TV Script Format Key #5: Spacing differences between multi-camera sitcoms and single-camera
Description: Single-camera sitcoms often follow the format of hour-long dramas and features when it comes to spacing. Typically, multi-camera sitcoms that are filmed in front of a live audience have double-spaced dialog which accounts for the longer page counts. Of course, there are exceptions so be sure to read script examples for the show your writing a spec for.
http://johnaugust.com/2010/angles-spacing-and-monikers
TV Script Format Key #6: It’s all about the breaks
Description: A successful television script has its commercial breaks in exactly the right place. For network TV, commercial breaks are unavoidable, but every show does them a little bit different. Become an expert in the show you’re spec’ing and read example scripts to see where they usually break and when. Some shows have 4, others have 5. You need to match the show you’re writing.
https://blcklst.com/help/tv_script_standards.pdf
TV Script Format Key #7: Your script needs mini-cliffhangers to thrive
Description: Once you’ve determined where your breaks need to fall, you need to make sure you have extra compelling drama at those breaks. Commercials on network TV are a fact-of-life, so if your show needs to cut away you need to leave the viewers with a dramatic event strong enough to insure they’ll come back after the commercials.
http://www.movieoutline.com/articles/television-script-format.html
TV Script Format Key #8: Multi-Camera Sitcom Writers, Don’t forget your character list!
Description: Right below the slug line on your multi-camera sitcom, you need to list the characters that are needed for each scene and enclose the group of names in parentheses.
http://aspiringtvwriter.blogspot.com/2013/03/multi-cam-sitcom-format-vs-single-cam.html
TV Script Format Key #9: Cut down your character descriptions!
Description: When writing a feature, you’re used to descriptive character introductions including general physical appearance and age. When writing a TV-spec, the characters are known. No need to describe Phil Dunphy, we know what he looks like! Save these for new characters you’re introducing.
http://www.writersstore.com/13-things-bad-screenwriters-commonly-do/
TV Script Format Key #10: Mind your act lengths!
Description: When writing a feature, the second act is usually the longest. In TV, the first act is typically the longest. This is because shows often need a little more time to hook the audience before the initial commercial break. You have to get your viewers invested in the story so they’ll stick through the commercials later.
http://eyesondeck.typepad.com/scriptfaze/2009/03/how-to-format-a-tv-drama-script.html
TV Script Format Key #11: Multi-camera sitcoms follow their own set of rules
Description: Apart from including a character list and double-spacing your dialog, multi-camera sitcoms filmed in front of a live audience have their own set of rules. For example, character exits and entrances are underlined, and major sound effects are often marked with a colon. Just another reason to read episode scripts of the show you’re spec’ing. It’s important to match their format!
http://screenwriting.io/how-are-multicamera-tv-scripts-formatted
TV Script Format Key #12: Make sure your script caters to its specific franchise
Description: Because TV programming functions by and for advertisers, each show has a franchise with a specific audience. Some examples include Sci-Fi, Teen, and Legal. Each franchise has its own audience and those audiences have expectations about that franchise. For example, in classic westerns the good guys wore white and the bad guys wore black. Even if your show challenges the conventions, you must be aware of the audience’s expectations. Know your genre! Know your audience!
http://filmmakeriq.com/2011/04/the-screenwriting-rules-of-series-tv/
The post 10 Secrets to Mastering TV Script Format appeared first on ScriptBully.
How to Master TV Script Format
TV Script format might be the ONLY thing more confusing than movie script format. (And can often derail many new writers from attempting a TV spec – which is unfortunate because there is MONEY in them TV hills.)
So, here is a Slideshare presentation on 10 Secrets to Mastering TV Script Format:
10 Secrets to Mastering TV Script Format from scriptbully
The post How to Master TV Script Format appeared first on ScriptBully.
August 14, 2015
How to Make a Film (On a Shoestring Budget)
Learning how to make a film doesn’t require years of film school, a million- dollar budget – or even a HD camera. (“Are you taking notes, Mr. Bay?) But when dipping into movie making it DOES help to know what to DO – and what NOT to do – before you hit the set.
So, here are 12 tips for how to make a film…on a shoestring budget.
12 Tips for Movie Making on a Shoestring Budget from scriptbully
The post How to Make a Film (On a Shoestring Budget) appeared first on ScriptBully.
101 Screenwriting Tips That Don’t Suck (21-30)
Welcome to 101 Screenwriting Tips That Don’t Suck! (Part III Tips 21-30)
If you’ve got a suggestion for one of the 101 Screenwriting Tips, be sure to let us know over at our Facebook page. And if you’d like to FOLLOW our Pinterest board of the same name you can find it over here.
Let the Screenwriting Tips of Non-Sucky Awesomeness Begin!
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Screenwriting Tips That Don’t Suck #21: Comedy SHOULD Be Over the Top
A lot of comedy scripts I read are nuanced and subtle. This is NICE – after you’ve already sold 3 scripts – but when starting out make your comedic characters and situations outrageous, big and full of obsession to maximize your story’s impact.
Screenwriting Tips That Don’t Suck #22: Visualize Shots First, Then Write ‘Em
Writing is a very emotional process. (But not always a visual one.) Which is why it’s good to VISULIZE the important shots of your script before describing them in your script. Just write down what you “see” – and not only will your script appear professional, but directors will frickin’ love you.
Screenwriting Tips That Don’t Suck #23: Make Sure ALL Love Scenes Are a Turning Point
Love scenes are incredibly awkward to shoot. (And watch.) So make sure if you do throw a love scene into your story that it pivots the story in a different direction. (Eg: “When Harry Meets Sally”; “No Way Out”) Otherwise it’ll just make everybody – including the reader – feel uncomfortable.
Screenwriting Tips That Don’t Suck #24: Get in the Habit of “Playing” Story Development
Instead of just consuming every film – or TV show – like every other human, start to ask a question: “What would I do differently?” Any characters need more fleshing out? Do the stakes seem vague and unclear? Just keep a list of small tweaks you’d do to make these stories better. It’ll improve your creative eye and make you much more attuned to what your story needs.
Screenwriting Tips That Don’t Suck #25: Don’t Be Afraid of Awkward Silences
Leave questions unanswered. Make your readers as uncomfortable as your characters. Silence can be a powerful story element. (And it can quickly ramp up the stakes of any scene.)
Screenwriting Tips That Don’t Suck #26: If a Scene Sucks, Write It From Different POVs
Sometimes your scenes just lie there like a dog fart. When that happens, try writing the scene from two different characters POV. (Most likely you’re not “seeing” the scene for all its emotional potential.) Blend the two versions and you might have something extraordinary.
Screenwriting Tips That Don’t Suck #27: Read Your Final Draft Dialogue Aloud
Dialogue may sound logical when written, but it can be absolutely dead weight when spoken. (Talking to ya, George Lucas.) So, read your final draft aloud and find the awkward, verbose areas where you can prune and clean up your dialogue.
Screenwriting Tips That Don’t Suck #28: Find Your Genre’s Expectations, Then Kill ‘Em
Every genre has some tried-and-true storytelling chestnuts. But the quickest way to get some heat and exposure for your spec is to find those expectations and then subvert them. (In a way that makes sense, and spins the story in a completely different direction.)
Screenwriting Tips That Don’t Suck #29: Think of Story as a Psychological Journey
Coming up with plot twists and turns (the audience never sees coming) is job #1 for a screenwriter. But they’re a lot easier if ya view yer story as a journey that forces your hero to realize EVERY problem-solving strategy they THINK will work…doesn’t!
Screenwriting Tips That Don’t Suck #30: Learn the Art of the Strong Verb
How do ya write VISUALLY? The key is STRONG verbs. Characters should “ERUPT.” Gunfire should “EXPLODE.” Metal should “TWIST.” Use verbs that do heavy visual lifting – and your story will connect with readers big-time.
CLICK HERE for Screenwriting Tips 1-10
CLICK HERE for Screenwriting Tips 11-20
The post 101 Screenwriting Tips That Don’t Suck (21-30) appeared first on ScriptBully.
August 12, 2015
Screenwriting Tips That Don’t Suck (11-20)
Welcome to 101 Screenwriting Tips That Don’t Suck! (Part II)
If you’ve got a suggestion for one of the 101 Screenwriting Tips, be sure to let us know over at our Facebook page. And if you’d like to FOLLOW our Pinterest board of the same name you can find it over here.
Let the Screenwriting Tips of Non-Sucky Awesomeness Begin!
Follow ScriptBully – Screenwriting That Doesn’t Suck’s board 101 Screenwriting Tips That Don’t Suck on Pinterest.
Screenwriting Tips That Don’t Suck #11: Check Out a Film (or TV Show) You’d Ordinarily NEVER Watch
Can’t stand holiday-themed TV movies-of-the-week? Or inane teeny-bopper horror movies? Good! Then it’s your JOB to watch a couple and, like an anthropologist, study them for techniques you can STEAL for your own creative project. (Best of all, nobody will know!)
Screenwriting Tips That Don’t Suck #12: Write More Garbage Than the Next Guy (or Girl)
Forget marketability. Or high-concept characters. Absolute KEY to becoming a pro is learning HOW to shrink the amount of time it takes you to go from TRASH to TREASURE. So…just write more trash. (Side benefit: This approach is a lot less stressful, and a helluva lot more fun.)
Screenwriting Tips That Don’t Suck #13: Aim for a Story You’re Not Sure You Can Pull Off
For your next project, shoot for a story you’re not sure you have the chops to pull off. (Or even sure how it’ll end.) Taking huge RISKS in the story planning process may be scary…but it can pay off huge down the line. (And don’t worry – development folks will tame your story down later.)
Screenwriting Tips That Don’t Suck #14: Eliminate All Your Character “Comings and Goings”
Please, for the love of Michael Bay movies, remove ALL exits and entrances from your screenplay. (Even Shakespeare knew he needed a bear to make “exits” interesting.) Instead, start your scenes a half-page late and let the audience start the scene a paragraph behind.
Screenwriting Tips That Don’t Suck #15: Keep Dialogue Sentences Short & Snappy
Actors LOVE juicy dialogue. What they can’t STAND is long lines of speech that require them to take a breath in the middle. So, keep your sentences short and snappy – and able to said on a single blast of oxygen.
Screenwriting Tips That Don’t Suck #16: Have Characters Ask Questions That NEVER Get Answered
Your job is not to inform…it’s to entertain. So constantly have your characters ask questions, both literally and metaphorically, that never get resolved. (This creates tension…and tension is your friend.)
Screenwriting Tips That Don’t Suck #17: Avoid Monologues By Having Other Characters Interrupt
There are FEW monologues in real life. So have your main character INTEND to churn out three pages of dialogue, and have the world – and other characters – stifle them every step of the way.
Screenwriting Tips That Don’t Suck #18: Leave the Symbolism for Your 2nd Draft
Don’t worry about the “deep literary crap” until you’ve finished your rough draft. All those creative patterns and symbols will show up organically…so let ’em evolve and give them room AFTER you finish your first draft.
Screenwriting Tips That Don’t Suck #19: Open Your Script With Character Needs (Not Just Action)
Getting your audience to identify with your hero early on is crucial. And nothing works better than establishing your hero’s PRIMAL need (security, affection, power, success) and how it’s being thwarted. (You can always throw in the fireworks later.
Screenwriting Tips That Don’t Suck #20: Pepper Your Story With Threshold Guardians
This comes from the Joseph Campbell mythic school of storytelling. Threshold guardians block your hero’s access to the NEW WORLD. And though they aren’t necessarily bad, they are DIFFICULT and ANNOYING to deal with. (And vital to your story’s pace.)
CLICK HERE for Screenwriting Tips 21-30
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