I’m pretty skeptical about script contests as a way to further your career. There are success stories but I think they’re the exception. So I was interested to read the view of Chad Gervich on the Script website. He says that winning a script rarely gives you the edge
An interesting twist on the old “write what you know” adage comes from aspiring screenwriter Mark McCann, who also is a policeman. One of his shorts was produced and has won some prizes and one of his feature scripts has just been optioned–for the fifth time. He told Arkansas Online: ”I try to avoid writing movies […]
“Chasing the Monster Idea” is a book by Stefan Mumaw in which he identifies seven questions that will help you determine whether you have a “monster” idea rather than just a good one (or a bad one). These questions also can help you figure out whether your movie idea is a monster. The first one: […]
You commit to working on some writing (or other) project that is important to you for up to 8 hours, with short breaks every hour. You plan it so you know what you’ll be doing (for instance, nobody will actually write for 8 hours, but it could be a combination: some research, some writing, some getting organized, etc.) You don’t have to participate for the full 8 hours–even four or six hours of focused effort will give you a big boost.
After exploring all the wonderful filmmaking information here at Filmmaking Stuff, you may benefit from putting some other blogs on your reading list. So to that end, I’d like to point out a few of my filmmaking favorites:
“If you want to make a living making movies, you need to realize that your library and the subsequent audience you source (over your career) are your major assets. And, as a result, your most important filmmaking focus (aside from doing good work) is to acquire and keep a customer,” he emphasizes.
Since starting Filmmaking Stuff, many screenwriters have written me, asking if I could provide advice on how they can protect their screenplay from theft. I usually tell screenwriters that most producers will not go through the process of raising a gazillion dollars without compensating the screenwriter fairly.
Or it may be that in the middle of my script things drag along too slowly–a common problem of first drafts. In that case, reminding myself that the traditional story model calls for escalating conflict can lead to better consideration of how I can add incidents that ramp up the tension and drama.