Michael Rogan's Blog, page 9

Script Writing 101 – Why Your Screenplay’s Locations Suck

In this Script Writing 101 quick tip you’ll learn:

How interesting locations can help you write a script that is significantly less sucky
Three keys to turning boring locations into scintillating awesome sauce
How the pros use locations to their maximum benefit

Locations.

For many screenwriters they’re an afterthought. (Like character names or the plot in a Michael Bay movie.)

But this can be a serious mistake for film scribes.

Why?

Because locations can:

Add tension and conflict to the scene
Keep the viewer from falling asleep
Turn in a mediocre script into a seriously awesome script
Do some serious storytelling work for ya…and all without using less dialogue

Location, Location, Location

Like overpriced real estate in California, location does matter.

Say we’ve got a scene where a sales manager in his 30s has to tell a regional sales rep, thirty years older than him, that he’s being laid-off.

It’s one thing if we play that scene in an office conference room.

But what if we moved the scene to a urinal?

Or a Jacuzzi?

Or the sales rep’s driveway?

Would any of these scenes play differently in these situations? Of course.

If we’re in the sales rep’s driveway, he may feel “more comfortable” coming after the young upstart with a chainsaw pointed at his face.

But if we’re in a Jacuzzi maybe the sales rep. feels not only the indignity of being fired, but also insecurity about his less-than-stellar physique next to all of these thirty-year-olds who look like sleep at the gym.

And here’s the cool thing: you don’t have to have your character say a SINGLE word about how they FEEL.

“Of All the Gin Joints…”

So how do you give your scripts a location steroid boost?

Well, there are a couple ways:

1) Move the location of the scene to a place where one of your characters gains the upperhand.

The football jock beating up the Mathelete in front of the school is one thing. Move that scene to a Neil Gaiman Comic-Con panel and that may change things slightly

2) Move the scene to a location that would STRONGLY embarrass one of the characters.

Would that cool, ironic emo kid be quite as suave if it turned out his Mom was the opening headliner for his band?

3) Dedicate an entire rewrite of your script that looks at nothing but locations.

That scene between your two romantic leads. You know the one that lies there like a big old goose fart in your first act?

What if you put it at a roller derby match?

How about a Thanksgiving pageant with Ritalin-infused third-graders?

Or the cut-throat environs of the New Horizons Senior Citizens Bingo Night?

Here’s my patented trademarked copyrighted ScriptBully Location Rewrite Formula:

Find the scenes in your script that felt like they were written on Ambien.
Pinpoint the character that is “driving” the scene and what it is that they “want” (Not always the hero, but most likely…)
Make a list of 4-5 locations that would create a literal or metaphorical obstacle to that character’s goal

(If the scene is a ‘meet cute’ for a young couple I might go with one of these: Loud punk rock concert; Support group for divorcees; Shooting range; hot air balloon (that runs out of air); Convenience store robbery…etc.
Rewrite the scene with the new location.



“The Dude Abides. I Don’t Know About You, But I Take Comfort in That…”

This doesn’t mean you have to put your scenes in exotic, visually-stunning locales to juice up the conflict in your scenes.

In Kramer Vs. Kramer, the family kitchen becomes a site of confusion and technological warfare when the Dustin Hoffman character tries to make French Toast for his son.

In The Social Network, the most poignant scene of the film happens in an impersonal conference room where the Mark Zuckerberg character learns the limits of his “friendly” empire.

In The King’s Speech, the spare, stripped-down office of the Australian speech therapist sets the stage for an explosive clash of egos and wills.

Just remember to keep the locale simple, but the tension high and you’ll find your location can do some of the major storytelling heavy-liftin for ya. (And who doesn’t like somebody else to do the heavy lifting for them?)

If you liked this post, please leave a comment below and facebook like it or tweet it. Thanks!!!

The post Script Writing 101 – Why Your Screenplay’s Locations Suck appeared first on How to Write a Screenplay That Doesn't Suck.

Script Reader Reveals Secrets to Writing Film Characters as Addictive as Heroin

By Matt Thomason

Summary: Former script reader shows screenwriters how to create unique and dynamic characters that don’t suck and will attract the attention of managers, producers and agents.

Story

Want to write the next summer blockbuster? Want to turn that script idea you have into a bidding war? Want to sell that screenplay that’s been gathering dust in your drawer?

Well, according to Michael Rogan, author of the eBook “How to Write a Script With Kick-Ass and Awesome Character,” you should spend less time “worrying about your stupid margins” and spend more time creating awesome characters in the midst of a dilemma.

“Most writers think creating characters is about figuring out how tall a character is or who they voted for or what’s on their iPod playlist,” said Rogan. “No! No! No! Creating characters that people will actually pay money for is about creating characters who are forced to make gnarly, horrible, uncompromising choices.”

“It’s a bit sadistic, but absolutely crucial to executing a professional-level script that can make you hundreds of thousands of dollars.”

Rogan spent years reading screenplays – “If I never read another vampire script, I’ll die a happy man” – for production companies around the world. And though what his bosses searched for in material varied in offices from London to Century City, one thing that never changed was an emphasis on original and interesting characters.

“Producers can sell characters. They can’t sell Act-II Midpoints,” said Rogan. “The poster. The casting. The marketing. The location scouting. It all begins and ends with character. Characters are the black-tar heroin in this business that everybody wants to get their hands on.”

Though Rogan believes writing great characters isn’t a simple paint-by-numbers process – “Creating characters is a lot of trial and error, mostly error” – he does offer plenty of tips and strategies in his eBook  “How to Write a Script With Kick-Ass and Awesome Character” on how screenwriters can up their character game rapidly.

 

“When you know what every character in your script should and has to do, then creating characters becomes a lot frickin’ easier,” said Rogan. “It’s not easy. But it ain’t magic either. Every writer can create awesome characters.”

“And once they do it consistently, there isn’t much in this business that can stop them.”

##

Michael Rogan is an author, screenplay reader and writing coach based in Southern California. He is also the editor of the ScriptBully inbox magazine devoted to helping film scribes learn how to write well, get paid and achieve the career of their dreams.

Amazon Link: http://www.amazon.com/dp/B0083V24NO

Email: michael@scriptbully.com

Phone: (310) 751-0343

 

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What the Olympics Can Teach You About Writing a Script That Sells

What we’ll cover:

How to write a movie script that 34 million people will love
Why the Olympics is affecting what Hollywood is buying right now

I won’t tell you how inspirational the 2012 Olympics in London were. (Of course they were.)

And how we can take lessons from the courage displayed by the athletes. (Though we can.)

Or try to convince you that the hard work and sacrifice these athletes have made over the last four years – with no guarantee of success – is a perfect metaphor for the act of screenwriting. (It is.)

No, I think it’s important to look at what these 2012 Olympics can tell us about which of your story ideas have THE BEST CHANCE of selling.

And it has everything to do with TV ratings.

“I’ll Buy That for a Dollar”

I’m writing to you from California, where Olympic events go into cryogenic freeze for at least EIGHT HOURS before they are allowed to be seen.

And though this year’s games had everything going against it:

a) social media spoilers;

b) a delayed broadcast that everyone bitched about;

c) declining ratings;

d) a fractured audience.

…this year’s ratings (at least in the U.S.) have been BEYOND anyone’s expectations.

Not just good or better than projected, they have been A-MAZING.

The Olympic games in America averaged 32 million viewers a night. (Those are prime-time numbers network television hasn’t seen since the mid-70s.)

And everybody in Hollywood is desperately trying to figure out the answer to two questions:

Why the f$#@ are ratings so high?

And what kind of movies do we need to make right now to capitalize this? 

“Greed, for Lack of a Better Word, is Good”

There are many theories as to why so many people stayed home to watch the Olympics in viewership numbers not seen since All in the Family was a #1 show.

A blistering heat wave spreading across the U.S.;
A horrible economy forcing people to look for cheap entertainment;
Interesting storylines involving fascinating athletes.

And I think all of that is true.

But I really think it comes to down this:

Life sucks right now. And we need some stories that remind us it won’t suck if we keep fighting.

Recently asked a buddy of mine, who works in the story department of a production company, what they’re looking for right now:

“Family comedies, family adventures, family…anything.”

I don’t think it’s a coincidence when life gets monumentally shitty that we tend to turn towards solid, down-to-earth bedrocks that we can depend on.

And despite the fact that we can use our phone to “connect” to 2,000 of our “closest” friends, I think many of us feel more lonely, disconnected and scared than ever before.

And stories that help us through that, and that are told well, will grab the attention of people.

“Now, Hold on, Mister Potter!”

I’m not suggesting you dumb down the scripts you’re working on, or write something you hate.

If you’re a sports fan, write your own twisted version of Hoosiers or The Blind Side.
 If you’re an action-movie junkie, see if you can write something about more than just cars that turn into robots.
If you’re a comedy scribe, write about the power of love – not just the power of a good fart joke.

Don’t be  so clever, or post-modern. Or hip. (At least not for the time being.)

We don’t need clever right now. We need good stories.

Do that and Hollywood, and the world, will reward you handsomely.

What do ya think? Are positive, uplifting movies coming back in full force? Or is this just an aberration? Leave a comment below!

The post What the Olympics Can Teach You About Writing a Script That Sells appeared first on How to Write a Screenplay That Doesn't Suck.

What are the Best Film Schools in the U.S.?

So what are the best film schools in the U.S.? (Perhaps a better way to put it is would be: what are the best ways for me to rack up close to 120k in staggering student loan debt?)

Well…here is my very non-scientific and highly subjective list of the best film schools in the good old United States of America.

 

 

Transcript of Video Below:

Hi there, it’s Michael from ScriptBully magazine and in this short video I’ll go over the best film schools in the U.S. where you can learn the craft of film and rack up huge amounts of student loan debt.

What do the best film schools have in common? Besides….being a great way to max out your visa card? They teach pro-level skills and (hopefully) set you up to actually make money working in the film business.

But how do you know whether a film school is worth the financial debt? Well…a big clue is how many working alumni do they actually have.

So here is my somewhat, though not entirely, scientific list of the top 5 best film schools in good old America.

At No.5 is…CalArts.

Originally founded by Walt Disney, probably as a way to find cheap animation talent he could exploit, this school is probably the most alternative of the bunch. And that’s because the opera class is right next to the directing seminar which is right next to 3-d animation department.

It’s a very collegial and cool campus atmosphere, even if the buildings are a bit on the…uh..dated side.

Graduates include John Lasseter of Pixar and Tim Burton. (I wonder if he had the same hair back then. Hmmm.)

Up next at No.4 is UCLA.

Often dwarfed by its cross town rival USC, the strength of UCLA is really in its faculty. We’re talking big wigs like William Froug, Lew Hunter, Richard Walter, Peter Guber. (All of whom whose books you should read.)

Seriously. Go read them.

There’s also a strong emphasis on classic storytelling. (Not as much risk-taking here as at other schools like Cal Arts.) But the goal is clear: get skills that will get you work.

And it’s also the cheapest school on the list. (Which can be nice when you’re carrying close to 100k in debt.)

Next up let’s head to the East Coast for Tisch School of Arts at NYU

The alumni who’ve come out of Tisch are astounding. We’re talking Spike Lee, Oliver Stone, Vince Gilligan (guy who created my favorite show “Breaking Bad”), Charlie Kaufman, Scrosese…the list goes on.

My personal opinion, and from people I’ve spoken with, is that it’s a fantastic breeding ground for directors and producers. (Maybe just a bit less so for feature writers. Though a TON of TV drama writers come out of here. ) But you could do a whole lot worse than spending your days and nights in Greenwich Village.

No.2:

I could have really done either of these for no.1. But my No.2 is AFI (American Film Institute.)

This one is really, really hard to get into. Unlike a traditional university, which has a film department. This is an instiutue with one purpose, create the best filmmakers they can.

Students here tend to be older, average age I think is 27. (So you won’t find any annoying 22 year olds who think they know everything.)

And It’s a 2-year program, which is really all about specialization. Meaning you’re going to work your ass off in your specifc field, not taking othe classes to broaden your education.

Alums include Susannah Grant, Paul Schrader and David Lynch. (Man what I wouldn’t have paid to have been in a class with David Lynch.)

And  the No.1 Film School in the Us according to my super not scienfic opinion is….USC

That’s right the University of Spoiled Children…I mean Univirsity of SOuthern California.

USC is like the Yankees of film school. They’re theHi there, it’s Michael from ScriptBully magazine and in this short video I’ll go over the best film schools in the U.S. where you can learn the craft of film and rack up huge amounts of student loan debt.

What do the best film schools have in common? Besides….being a great way to max out your visa card? They teach pro-level skills and (hopefully) set you up to actually make money working in the film business.

But how do you know whether a film school is worth the financial debt? Well…a big clue is how many working alumni do they actually have.

So here is my somewhat, though not entirely, scientific list of the top 5 best film schools in good old America

At No.5 is…CalArts.

Originally founded by Walt Disney, probably as a way to find cheap animation talent he could exploit, this school is probably the most alternative of the bunch. And that’s because the opera class is right next to the directing seminar which is right next to 3-d animation department.

It’s a very collegial and cool campus atmosphere, even if the buildings are a bit on the…uh..dated side.

Graduates include John Lasseter of Pixar and Tim Burton. (I wonder if he had the same hair back then. Hmmm.)

Up next at No.4 is UCLA.

Often dwarfed by its cross town rival USC, the strength of UCLA is really in its faculty. We’re talking big wigs like William Froug, Lew Hunter, Richard Walter, Peter Guber. (All of whom whose books you should read.)

Seriously. Go read them.

There’s also a strong emphasis on classic storytelling. (Not as much risk-taking here as at other schools like Cal Arts.) But the goal is clear: get skills that will get you work.

And it’s also the cheapest school on the list. (Which can be nice when you’re carrying close to 100k in debt.)

Next up let’s head to the East Coast for Tisch School of Arts at NYU

The alumni who’ve come out of Tisch are astounding. We’re talking Spike Lee, Oliver Stone, Vince Gilligan (guy who created my favorite show “Breaking Bad”), Charlie Kaufman, Scrosese…the list goes on.

My personal opinion, and from people I’ve spoken with, is that it’s a fantastic breeding ground for directors and producers. (Maybe just a bit less so for feature writers. Though a TON of TV drama writers come out of here. ) But you could do a whole lot worse than spending your days and nights in Greenwich Village.

No.2:

I could have really done either of these for no.1. But my No.2 is AFI (American Film Institute.)

This one is really, really hard to get into. Unlike a traditional university, which has a film department. This is an instiutue with one purpose, create the best filmmakers they can.

Students here tend to be older, average age I think is 27. (So you won’t find any annoying 22 year olds who think they know everything.)

And It’s a 2-year program, which is really all about specialization. Meaning you’re going to work your ass off in your specifc field, not taking othe classes to broaden your education.

Alums include Susannah Grant, Paul Schrader and David Lynch. (Man what I wouldn’t have paid to have been in a class with David Lynch.)

And  the No.1 Film School in the Us according to my super not scienfic opinion is….USC

That’s right the University of Spoiled Children…I mean Univirsity of SOuthern California.

USC is like the Yankees of film school. They’re the richest and they think they’re best. (And they probably are.)

Ironically they are a bit more alternative in their emphasis, especially in their screenwriting programs. No paint-by-numbers Syd Field craft here.

Alums? Who didn’t graduate from here? Ron Howard, George Lucas, Steven Fricking’ Spielberg, Judd Apatow…. and way way too many more to name.

So..there you go. There are FIVE great ways to blow close to a hundred thousand dollars and (possibly) set yourself up for a great career in the film business.

If you’ve liked this video, please leave a comment or question below and facebook like it or tweet it. and if you’d like a free copy of my eBook 7 secrets of a kick ass and marketable screenplay head over to scriptbully.com for a free copy.

Good luck with your film career. And I’ll see at David Lynch’s house. Bye. richest and they think they’re best. (And they probably are.)

Ironically they are a bit more alternative in their emphasis, especially in their screenwriting programs. No paint-by-numbers Syd Field craft here.

Alums? Who didn’t graduate from here? Ron Howard, George Lucas, Steven Fricking’ Spielberg, Judd Apatow…. and way way too many more to name.

So..there you go. There are FIVE great ways to blow close to a hundred thousand dollars and (possibly) set yourself up for a great career in the film business.

If you’ve liked this video, please leave a comment or question below and facebook like it or tweet it. and if you’d like a free copy of my eBook 7 secrets of a kick ass and marketable screenplay head over to scriptbully.com for a free copy.

Good luck with your film career. And I’ll see at David Lynch’s house. Bye.

The post What are the Best Film Schools in the U.S.? appeared first on How to Write a Screenplay That Doesn't Suck.

How to Write a Script That Will Win You Screenwriting Contests and Help You Rule the World

Want to know how to write a script that doesn’t make you look cool to slacker friends–but can also help you win some contests and (possibly) get you noticed by decision-makers?

Here’s a video I recorded of a couple to tips to help sharpen your script to help improve your adds of winning a script contest.

 

Video Transcript Below:

Hi there. It’s Michael from ScriptBully. And in this short video I’ll go over 3 tips for how to write a script that can win contests, get noticed and..possibly…change your life.

Tip No.1: Follow the rules

This means if they say just the first five pages, do just the first five pages. this means if they say the script must be set in Tuscaloosa, Alabama it’s gotta to be set in Tuscaloosa, Alabama.

Don’t assume you are special. don’t assume they’ll make an exception for you. Don’t assume you are the one writer who can break the rules. you are not a unique snowflake. so get over it.

This also means including the contest fee when you send in your script. this means signing the appropriate release.

This means dont include illustrations or drawings or diagrams or pie charts detailing how Johnny Depp would be just perfect for the lead role of the kind-hearted troll. Just include what they ask for. And follow directions.

I’ve been involved in contests where people’s script got tossed just for not doing these simple things. Dont let it happen to you.

Tip No.2: Be funny and/or original

The emphasis on making sure your script is marketable isn’t as required as it is with an agency or production company submission. And that’s okay. This means…you can take a chance.

If you want to write about a magical gay unicorn who fights the Nazis. go right ahead. Just make sure it’s entertaining.

If you want to write about a group of ex-ninjas living in a retirement home who have to band together for one last mission. Knock yourself out. Just don’t be boring.

And though it’s not a requirement…being funny really really helps.

Having read for script contests over the years I can promise you it’s an unrewarding job. (And by unrewarding i mean it pays like 20 bucks a pop)

And the more you can do to be funny and make it less like indentured servitude for your reader, the more it will really help your chances.

Note: Being clever and hipster with movie references is not the same as being funny.

Tip No.3: Lower Your Expectations

Unless you’re entering the Nicholl fellowship, Sundance Lab, or Walt disney fellowship it’s highly unlikely that winning the contest will let you quit your job at Home depot and start pricing real estate in Malibu.

But that doens’t mean winning isn’t valuable. it can not only boost your confidence, but also give you momentum to your career, put your script in front of people who may know other industry people, and, in my opinion best of all, can give you access to cool events like film festivals and panels.

just don’t stress too much about it. It’s really not worth worrying about too much.

But if you are entering one of the biggies that i mentioned, realize that just being a semi-finalist for one of those can drastically change your life.

But no pressure. okay? Just keep writing. and pretty soon they’ll be naming contests after you.

Doesn’t suck and will actually sell.

Till we talk again. Keep writing. And kick writer’s block in the ass.

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