McAnally's (The Community Pub) > Author Craft
Writing Gigs, part three.
meg_evonne:
Kristin, just how hard is it to switch from novel format to script? I've no idea of what the format should even look like. I do know that you leave creative space for the directors and actors and to stick primarily to the dialog with little in the way of description. (Sort of like picture book authors have to leave tons of room for the illustrator.) Other than that? I've no idea. Is there a good manual on this maybe? Sample scripts that you'd recommend on style? Thanks!
Snowleopard:
Hey Meg,
It's Snowleopard.
Having had a couple of scriptwriting classes and written a couple of scripts - I highly
recommend the following book. I have it in my library along with Michael Strazinsky's book
on writing scripts.
http://www.amazon.com/Complete-Guide-Standard-Script-Formats/dp/0929583000
Scripting is a whole nuther ball of wax from writing prose.
You have to be way more succinct than in prose.
One page approximately equals one minute of air time.
If you've got any questions don't hesitate to ask.
Kristine:
I've been told this one is the one to get - http://www.amazon.com/Save-Last-Book-Screenwriting-Youll/dp/1932907009/ref=sr_1_1?ie=UTF8&qid=1404588774&sr=8-1&keywords=save+the+cat -
Blake Snyder is a working, selling writer himself, so that gives the reader a true inside glimpse into what it's like, what it takes, and what to expect on the long road to screenwriting stardom. Many screenwriting how-to tomes are written by guys and gals who have few or no real studio credits, so with this book you can be sure you are getting the info direct from the source of a successful member of the Hollywood elite.
Snyder starts out with a bang, describing how important a good title, pitch and concept are, and giving tons of useful advise for whipping those log lines into shape, the best shape ever in fact, for as the author points out, many industry powerbrokers won't even look beyond a log line...so it better be good. Damned good. He then discusses how to make your story like everything else out there, only different, and if you can come to understand that paradox, you will be a success indeed.
We also learn about the importance of creating characters that fit certain archetypes, like the hero and the villain, and how the use of Jungian archetypes can help you shape and mold real people that resonate with the audience. Also covered is the importance of knowing your genre and how to best amplify the style of that genre.
Another chapter deals with the author's own system of breaking a script down to 15 beats, and how every successful movie fits this same beat system. We also learn the art of building scenes and the use of those wonderful index cards for moving and changing scene progression, as well as following the basic rules of a great story, rewriting and reshaping the script, and of course, what the heck to do with the darned thing once you've finished. I really appreciated the glossary of screenwriting and industry terminology, something every writer should know (or at least pretend to know in meetings).
Although this book does follow the mold of many other screenwriting books before it, focusing both on writing and marketing the script and including summaries and exercises for the reader to expand their understanding, the difference that makes this book stand out is the honesty and directness of the author in giving the reader every best chance to comprehend and conquer the inner and outer workings of screenwriting. "Save the Cat" (I'll let you find out what the title means on your own!) doesn't hold back on doling out the solid advise, and presents it in a way that will not only inspire screenwriters, but also make them more aware of just how hard it really is to succeed. No sugar-coating here, but plenty of motivation and great info packed into one book.
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Snowleopard:
Some more new writing contests.
3 AUGUST WRITING CONTESTS
WritersMarket.com lists hundreds of contests for writers of fiction, nonfiction, poetry, writing for children, and more. Here are three with August deadlines:
Aesthetica Creative Works Competition is offered to talented writers of fiction and poetry. Top prize in each category (Fiction and Poetry) is £500. Deadline: August 31.
Gival Press Short Story Award is offered annually for the best previously unpublished short story. Top prize is $1,000 and publication. Deadline: August 8.
Jessie Bryce Niles Memorial Chapbook is offered for the best previously unpublished chapbook of poetry. The winner receives $1,000, publication of chapbook, and 50 copies. Deadline: August 1.
Bonus contest! Writer's Digest Self-Published e-Book Awards is an annual prize for the best self-published e-book. There are a variety of categories, including mainstream/literary fiction, genre fiction, nonfiction, inspirational, life stories, children's picture books, middle-grade/young adult books, and poetry. There is one grand prize of $3,000 cash, featured interview in Writer's Digest magazine, and more! Each category winner also receives $1,000 cash, recognition in Writer's Digest magazine, and more! Early-bird deadline: August 1.
Kristine:
SCI-FI SCRIPTS WANTED - HIGH CONCEPT
-----------------------------------------------------
Thunderbolt Entertainment - Seeking High-Concept Sci-Fi Scripts
-----------------------------------------------------
We are looking for completed, feature-length, high-concept sci-fi scripts with highly original concepts and compelling characters. By high-concept, we mean material where you're able to pitch the hook for your story in one sentence or less.
Budget is open. Both WGA and Non-WGA writers may submit.
Our credits include "Stitch" (starring Edward Furlong and Shawna Waldron), which we discovered through InkTip.
TO SUBMIT:
1. Please go to www.InkTippro.com/leads
2. Enter your email address (you will be signing up for InkTip's newsletter - FREE!)
3. Copy/Paste this code: 55qdpm3bju
4. You will be submitting a logline and synopsis only.
IMPORTANT: Please ONLY submit your work if it fits what the lead is looking for EXACTLY.
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