Couple of weeks ago I found out I’d won the Grand Prize in the Table Read My Screenplay contest. Being flown out to L.A. next month and should be fun.
What is a table read? A table read is a group of actors brought together to go through a script. Each actor is assigned character or several characters.
Why do this? Screenplays should contain realistic dialogue. A table read allows you as writer to hear the work performed and make adjustments. Actors may trim words or take approaches to the character. Certain lines will appear redundant or on the nose. All of these improvements can springboard from a table read.
There are additional benefits depending on the genre. For example, a talented comic actor may get into character and improvise creating usable material.
How to do this?
1. Location. Pick a location where you have some degree of privacy. You want the actors to let it rip. If they get in character and begin yelling or moving about you’ll quickly become a distraction, if not annoyance, to a public location. Classroom, private room at a restaurant, or your home are suggestions.
2. Pay. Actors appreciate a show of respect for their effort. Some nominal pay (20-30 bucks) is good. Or just offer to buy dinner if you meet at a restaurant. Everyone will be more likely to show up and come back for the next one. You want trained actors. If a scene is flat or dialogue sloppy, you’ll know it’s on you as the writer rather than an amateurish performance.
3. Pre-Read. Send the scripts to the actors ahead of time or hand them a copy. Want them to have a chance to read through it and annotate their lines
4. Incentive for Actors. If you are a filmmaker or producer as well it’ll help you network with actors. Lead to future rules for them.
5. During the read. I suggest taking a food break in the middle of the read or at least a bathroom break. May take two hours to go through a script.
6. TAKE NOTES. If possible, have someone else read the narration. You want to be marking up your script and taking notes. You may also wish to video or audio record the performance to play later.
7. It’s a wrap. Pay everyone if you agreed to do so. Pick up the tab. Email ‘thank you’s. You’re creating your team.
Best of luck. Look for the video posting from my contest win in the months ahead at tablereadmyscreenplay.com.
Friday, June 11, 2010
Saturday, June 5, 2010
Creating TV series ideas on spec
(Guest Blogger Erik Bork explains creating a new TV series. Erik has a free initial consult offer right now. The half hour/one page is great to brainstorm BEFORE you write it, saving you many drafts. Please mention I referred you. Thanks.)
Here’s something that comes up a lot when I work with writers who have original series ideas, and spend time mapping out multiple episodes, character breakdowns and “show bibles”…
If you’re not yet established and not yet represented, your spec pilot is primarily a WRITING SAMPLE. Yes, of course you hope that the idea sells and gets produced and becomes a series, but that is such a million-to-one shot (even for those of us who do this for a living and sell pitches to networks on a regular basis), that it’s more realistic to focus on first things first — which is for this pilot script to get you noticed, advance your career, possibly get you representation and meetings. Beyond that, who knows? But the networks aren’t looking for spec pilots from unknown writers that they might produce, nor is the possibility of producing it independently as realistic as in features (although with web series, that is changing somewhat).
This is not to be discouraging at all — a spec pilot can be a very viable writing sample, and you never know what could happen beyond that. Make it the best writing sample you can, that achieves what a good pilot script should achieve. Which is what?
Well, the script needs to stand on its own. You will not be asked about what will happen in future episodes, or have the opportunity to illustrate that through a separate document. Your job is to make sure that the pilot script suggests and implies that there are endless great future episodes in this SERIES CONCEPT, because what you’re presenting in the pilot illustrates an ENDLESSLY REPEATABLE “FRANCHISE” for what happens in an episode.
“What’s the franchise?” is a common thing you hear T.V. agents, producers, and executives asking. Look at any successful series, and you can probably explain in a paragraph the template for what an episode always includes, in terms of story structure — hopefully a template that’s compelling, entertaining, believable, and somewhat fresh. Think of LAW AND ORDER, BUFFY, STAR TREK, EVERYBODY LOVES RAYMOND, etc. A typical episode’s story usually involves “X” kind of problematic situations that resolve through “Y” kinds of actions and “Z” kinds of conflicts for your characters.
Your pilot script should clearly illustrate what “XYZ” are for your concept.
Understand that no matter how serialized the overall series will be, and how much the pilot needs to set up the basic concept (and how these characters and situation come together), the pilot should also contain within it a sample of the kind of story we’ll see each week — the kind of case, or finite example of the conflicts and problems this series will showcase, with a clear beginning, middle and end.
Buyers don’t usually like what they call a “premise pilot,” where the entire pilot episode only focuses on setting up the series, but doesn’t include a “sample story” that shows them what future episodes will look like. Most pilots now set up the basic series premise stuff quickly in the first act, then get to a sample story that takes the rest of the pilot to play out. OR, they interweave “premise” elements within such a sample story.
I could go on, but these are the basic thoughts I wanted to put out there. Please feel free to comment or ask questions if you have any!
Here’s something that comes up a lot when I work with writers who have original series ideas, and spend time mapping out multiple episodes, character breakdowns and “show bibles”…
If you’re not yet established and not yet represented, your spec pilot is primarily a WRITING SAMPLE. Yes, of course you hope that the idea sells and gets produced and becomes a series, but that is such a million-to-one shot (even for those of us who do this for a living and sell pitches to networks on a regular basis), that it’s more realistic to focus on first things first — which is for this pilot script to get you noticed, advance your career, possibly get you representation and meetings. Beyond that, who knows? But the networks aren’t looking for spec pilots from unknown writers that they might produce, nor is the possibility of producing it independently as realistic as in features (although with web series, that is changing somewhat).
This is not to be discouraging at all — a spec pilot can be a very viable writing sample, and you never know what could happen beyond that. Make it the best writing sample you can, that achieves what a good pilot script should achieve. Which is what?
Well, the script needs to stand on its own. You will not be asked about what will happen in future episodes, or have the opportunity to illustrate that through a separate document. Your job is to make sure that the pilot script suggests and implies that there are endless great future episodes in this SERIES CONCEPT, because what you’re presenting in the pilot illustrates an ENDLESSLY REPEATABLE “FRANCHISE” for what happens in an episode.
“What’s the franchise?” is a common thing you hear T.V. agents, producers, and executives asking. Look at any successful series, and you can probably explain in a paragraph the template for what an episode always includes, in terms of story structure — hopefully a template that’s compelling, entertaining, believable, and somewhat fresh. Think of LAW AND ORDER, BUFFY, STAR TREK, EVERYBODY LOVES RAYMOND, etc. A typical episode’s story usually involves “X” kind of problematic situations that resolve through “Y” kinds of actions and “Z” kinds of conflicts for your characters.
Your pilot script should clearly illustrate what “XYZ” are for your concept.
Understand that no matter how serialized the overall series will be, and how much the pilot needs to set up the basic concept (and how these characters and situation come together), the pilot should also contain within it a sample of the kind of story we’ll see each week — the kind of case, or finite example of the conflicts and problems this series will showcase, with a clear beginning, middle and end.
Buyers don’t usually like what they call a “premise pilot,” where the entire pilot episode only focuses on setting up the series, but doesn’t include a “sample story” that shows them what future episodes will look like. Most pilots now set up the basic series premise stuff quickly in the first act, then get to a sample story that takes the rest of the pilot to play out. OR, they interweave “premise” elements within such a sample story.
I could go on, but these are the basic thoughts I wanted to put out there. Please feel free to comment or ask questions if you have any!
Friday, June 4, 2010
Free Consult with Emmy Winner Erik Bork
Previous guest blogger, Erik Bork (BAND OF BROTHERS) is doing some FREE phone consults:
http://www.flyingwrestler.com/free-consulting-coaching/
Can't beat that price. Tell him Stephen Hoover sent ya...
http://www.flyingwrestler.com/free-consulting-coaching/
Can't beat that price. Tell him Stephen Hoover sent ya...
Monday, May 31, 2010
Stretching Exercises
We've all heard the phrase "one-joke idea", and it's invariably used as a put-down.
But sometimes a one-joke idea can be innovative and experimental writing, in addition to being funny.
This is an SCTV sketch from the late 1970s, a spoof of the old game show What's My Line, here renamed What's My Shoe Size?:
For more than half its length, this is a straight parody of the old show, with a number of jokes (such as Bennet Cerf's overflowing vocabulary) dependent at least in part on your familiarity with the original. It's more than three minutes before we get to the sketch's basic gag, the overspecific game show premise (a frequently-used technique in game show spoofs). We watch the distinguished Broadway types trying to figure out a guy's shoe size, the absurdity of the activity made even more ridiculous by the questioning process of the show.
The writers made the decision not to stress the shoe size bit, almost as if they were somehow afraid of committing to the idea. So they are careful to space shoe size gags with jokes based on the original logistics of What's My Line, some of them admittedly very funny (such as Dorothy Kilgallen neglecting to remove her blindfold when shaking hands).
What is in my opinion a much more innovative and, in performance terms at least, more courageous sketch had been done on the Peter Cook and Dudley Moore BBC-TV series Not Only But Also in 1965:
This sketch is sometimes erroneously credited to Cook himself, but it was actually written by a Cambridge classmate of his for a university revue in the late 1950s (those intrigued by Cook's personality quirks may wish to note how he seems to be almost hiding from the camera in this musical number -- compare his reticence to the enthusiastic up-front mugging of Dudley Moore).
The bit opens like a standard Robin Hood take-off. Yes, they're singing about Alan-A-Dale, but we know they'll get to the Robin Hood jokes soon. Well, eventually anyway. I mean, they are going to get to the main sketch aren't they? How long is this stupid intro going to go on???
Of course, we eventually realize, that's the whole point. I think everyone who watches "Alan-A-Dale" finally gets the joke, and then thinks, if only subconsciously: How long can they stretch this out?
Personally I think the sketch would've been even funnier, if riskier, with a standard leading man as Alan-A-Dale, rather than the comedian that was used. He would function as a stand-in for the audience, clearly in discomfort and confusion wondering when they'll get to his adventure.
I also think the bit could have been stretched out even further, with more "Alan oh Alan"s etc. But the fact that it lasts four minutes, with only a few other non-premise jokes (Dudley bumping into the lens, Alan being blocked in his entrance) is extraordinarily impressive. It's almost like a blues jam, as everyone watches to see how far the performers can go within the self-imposed limits of the material.
But sometimes a one-joke idea can be innovative and experimental writing, in addition to being funny.
This is an SCTV sketch from the late 1970s, a spoof of the old game show What's My Line, here renamed What's My Shoe Size?:
For more than half its length, this is a straight parody of the old show, with a number of jokes (such as Bennet Cerf's overflowing vocabulary) dependent at least in part on your familiarity with the original. It's more than three minutes before we get to the sketch's basic gag, the overspecific game show premise (a frequently-used technique in game show spoofs). We watch the distinguished Broadway types trying to figure out a guy's shoe size, the absurdity of the activity made even more ridiculous by the questioning process of the show.
The writers made the decision not to stress the shoe size bit, almost as if they were somehow afraid of committing to the idea. So they are careful to space shoe size gags with jokes based on the original logistics of What's My Line, some of them admittedly very funny (such as Dorothy Kilgallen neglecting to remove her blindfold when shaking hands).
What is in my opinion a much more innovative and, in performance terms at least, more courageous sketch had been done on the Peter Cook and Dudley Moore BBC-TV series Not Only But Also in 1965:
This sketch is sometimes erroneously credited to Cook himself, but it was actually written by a Cambridge classmate of his for a university revue in the late 1950s (those intrigued by Cook's personality quirks may wish to note how he seems to be almost hiding from the camera in this musical number -- compare his reticence to the enthusiastic up-front mugging of Dudley Moore).
The bit opens like a standard Robin Hood take-off. Yes, they're singing about Alan-A-Dale, but we know they'll get to the Robin Hood jokes soon. Well, eventually anyway. I mean, they are going to get to the main sketch aren't they? How long is this stupid intro going to go on???
Of course, we eventually realize, that's the whole point. I think everyone who watches "Alan-A-Dale" finally gets the joke, and then thinks, if only subconsciously: How long can they stretch this out?
Personally I think the sketch would've been even funnier, if riskier, with a standard leading man as Alan-A-Dale, rather than the comedian that was used. He would function as a stand-in for the audience, clearly in discomfort and confusion wondering when they'll get to his adventure.
I also think the bit could have been stretched out even further, with more "Alan oh Alan"s etc. But the fact that it lasts four minutes, with only a few other non-premise jokes (Dudley bumping into the lens, Alan being blocked in his entrance) is extraordinarily impressive. It's almost like a blues jam, as everyone watches to see how far the performers can go within the self-imposed limits of the material.
Tuesday, May 18, 2010
Peer Review Websites: Great Place to Start
Occasionally I'll meet new writers he blow hundreds (thousands?) on screenwriting contests and ... go nowhere. Don't place. Booted out early. Nothing to show for their entry fee if they didn't pay for notes.
Before spending money on contests or hiring professional readers, consider joining and becoming active on FREE screenplay peer review websites.
Why?
Reading scripts -- pro scripts, amateur scripts, anything you can get your hands on -- makes you a better writer. That's the idea behind peer review websites: Learn by reading scripts from other writers. You give notes and, in exchange, receive notes. Much cheaper than paying consultants for early drafts.
You can network with a community of writers. Form friendships and a circle of trusted readers. Invaluable and free feedback. These writers will move up with you through the ranks and you can form your own long-distance screenwriters group.
There are producers associated with or trolling the sites. One may find your script and want to make it. Or a young filmmaker may want to make your short and enter it in festivals. Your work it out there -- and if it's good, things can happen.
Why not?
There is a danger of receiving notes that send you in the wrong direction. Another amateur writer may not give you notes that are helpful and you may be too new and 'chase notes' -- rewriting your script where it becomes something you don't want.
Does take hours to review script after script. That's time that you could have spent writing.
The reviews on several sites are public. I suggest you get your notes and take down that draft. Repost the script and repeat the process. Don't want old versions of your script out there on public websites.
Some of the reviewers are obnoxious jerks. Welcome to the writing world. However, most are extremely helpful to new screenwriters and give great notes. It's a mixed bag -- just like the quality of scripts you'll review on the sites.
Many new writers are worried someone will 'steal their idea.' Chances are that idea has already been written by many other writers. It comes down to the execution: Did you nail the script? If it's a comedy, is it funny? Horror, did it scare me?
If you do have a million dollar high concept that's great but never been done, yes, keep that under wraps. Pay some consultants for feedback instead. But you can't copyright and IDEA. You have to have a great script to back up the concept these days. Much of the paranoia of new writers is wasted energy. You're selling your ability to write a script more than a 'great idea.' You have to get your work out there eventually to sell it.
How do you get started?
Go to the websites. Sign up for free. Visit the boards. Click on "GET ASSIGNMENT" and start doing reviews. Download the script, read through it making notes in a separate word processor document, and then cut and paste it onto the site. Circalit doesn't require posted reviews to participate but the more active and respected members give notes.
What's the best that could happen?
Your script could make it to the top on the site and, like in any contest, be read by a producer or director who wants to make it. Could lead to an option, sale, or assignment on another project.
Which website:
I've been active on a few and here's what I've found:
1. TriggerStreet.com. Notes on your script are open for members to read. There are 'Daily Favorites' -- recently reviewed top 10. Through that process a Screenplay of the Month is nominated (3 finalists) and one chosen.
The good: Some excellent reviewers on the site. Experienced writers that take time and care to give notes. Many pro writers, on the verge writers, filmmakers, and film nuts make it a fun place to be. Useful info on the boards. Overall, great site.
The bad: Any peer site will have newbies that give bad notes. TriggerStreet has an appeals process to remove useless reviews. The Screenplay of the Month process encourages old drafts of scripts to be left up as you can't replace drafts without losing your 'place in line.'
Again, well-run site with some talented folks.
2. Zoetrope.com. Closed process (not just anyone can see the notes you receive). I've found it a more artsy crowd there than the other sites. But some solid notes and may be a good fit.
The good: Associated with a production company that actually reads the winning scripts and considers them for option.
The bad: Site can be difficult to navigate.
3. Circalit.com. This is a new site and a bit of a sleeper. I've had two filmmakers request scripts from here in my first couple of weeks of posting there.
The good: Easy to use. Industry people and pros populate the ranks.
The bad: No required reviews or tests to assure scripts are read. A group of friends could easily push up a script in the rankings. Not sure why someone would want a pro reader to review a script that way but it's a possibility given the format. Site is in the beta-phase though and these issues will be addressed.
Only see it getting better. Good place to get in early.
4. Talentville.com. Started by the co-founder of Final Draft, this website is easy to use. Nice design. You post scripts 'for free' but then add 'dollars' (earned from doing reviews) to your script to get reviews.
The good: Quality of the reviews I've received to date have been very good. Pro readers are on the site and there are industry members.
The bad: New site and word has to get out. Will see how it develops.
They've brought in many industry people and want scripts from the site to become films. One to watch.
In summary...
Becoming active on any peer review site is a good way to form a group of screenwriting friends and keep on top of what's going on via the discussion boards.
Reading and reviewing scripts (doing coverage) is an excellent way to improve your own writing. You will raise your standards. Pay your dues. Put in the time it takes to develop your draft.
There's a chance on any site that you may be 'discovered' or make a connection that springboards your career. More important, rewrite and rewrite your script through many drafts.
All of these sites will show you what you thought was the 'final draft' is nowhere close. A good lesson to learn early.
From there you can go to pro consultants if you want to get an idea of what a production company coverage of your script would find. See if it's ready to shop.
Then when you shop the script or enter contests it'll be with a solid draft: No typos, no format errors, no gaping plot holes. Your script won't be tossed aside in the first round or immediately booted by a production company as unprofessional.
You'll have a solid spec, the best version of YOUR SCRIPT (make sure it stays yours through all the notes and rewrites) possible. Now go enter contests and make your pitch phone calls with confidence knowing you've got a script you want the world to see.
If you are not active on a peer review site, sign up today! Best of luck.
(You can add me as a friend me on circalit: stephenhoover; Talentville: stephen_hoover; Triggerstreet: toddh99.)
Before spending money on contests or hiring professional readers, consider joining and becoming active on FREE screenplay peer review websites.
Why?
Reading scripts -- pro scripts, amateur scripts, anything you can get your hands on -- makes you a better writer. That's the idea behind peer review websites: Learn by reading scripts from other writers. You give notes and, in exchange, receive notes. Much cheaper than paying consultants for early drafts.
You can network with a community of writers. Form friendships and a circle of trusted readers. Invaluable and free feedback. These writers will move up with you through the ranks and you can form your own long-distance screenwriters group.
There are producers associated with or trolling the sites. One may find your script and want to make it. Or a young filmmaker may want to make your short and enter it in festivals. Your work it out there -- and if it's good, things can happen.
Why not?
There is a danger of receiving notes that send you in the wrong direction. Another amateur writer may not give you notes that are helpful and you may be too new and 'chase notes' -- rewriting your script where it becomes something you don't want.
Does take hours to review script after script. That's time that you could have spent writing.
The reviews on several sites are public. I suggest you get your notes and take down that draft. Repost the script and repeat the process. Don't want old versions of your script out there on public websites.
Some of the reviewers are obnoxious jerks. Welcome to the writing world. However, most are extremely helpful to new screenwriters and give great notes. It's a mixed bag -- just like the quality of scripts you'll review on the sites.
Many new writers are worried someone will 'steal their idea.' Chances are that idea has already been written by many other writers. It comes down to the execution: Did you nail the script? If it's a comedy, is it funny? Horror, did it scare me?
If you do have a million dollar high concept that's great but never been done, yes, keep that under wraps. Pay some consultants for feedback instead. But you can't copyright and IDEA. You have to have a great script to back up the concept these days. Much of the paranoia of new writers is wasted energy. You're selling your ability to write a script more than a 'great idea.' You have to get your work out there eventually to sell it.
How do you get started?
Go to the websites. Sign up for free. Visit the boards. Click on "GET ASSIGNMENT" and start doing reviews. Download the script, read through it making notes in a separate word processor document, and then cut and paste it onto the site. Circalit doesn't require posted reviews to participate but the more active and respected members give notes.
What's the best that could happen?
Your script could make it to the top on the site and, like in any contest, be read by a producer or director who wants to make it. Could lead to an option, sale, or assignment on another project.
Which website:
I've been active on a few and here's what I've found:
1. TriggerStreet.com. Notes on your script are open for members to read. There are 'Daily Favorites' -- recently reviewed top 10. Through that process a Screenplay of the Month is nominated (3 finalists) and one chosen.
The good: Some excellent reviewers on the site. Experienced writers that take time and care to give notes. Many pro writers, on the verge writers, filmmakers, and film nuts make it a fun place to be. Useful info on the boards. Overall, great site.
The bad: Any peer site will have newbies that give bad notes. TriggerStreet has an appeals process to remove useless reviews. The Screenplay of the Month process encourages old drafts of scripts to be left up as you can't replace drafts without losing your 'place in line.'
Again, well-run site with some talented folks.
2. Zoetrope.com. Closed process (not just anyone can see the notes you receive). I've found it a more artsy crowd there than the other sites. But some solid notes and may be a good fit.
The good: Associated with a production company that actually reads the winning scripts and considers them for option.
The bad: Site can be difficult to navigate.
3. Circalit.com. This is a new site and a bit of a sleeper. I've had two filmmakers request scripts from here in my first couple of weeks of posting there.
The good: Easy to use. Industry people and pros populate the ranks.
The bad: No required reviews or tests to assure scripts are read. A group of friends could easily push up a script in the rankings. Not sure why someone would want a pro reader to review a script that way but it's a possibility given the format. Site is in the beta-phase though and these issues will be addressed.
Only see it getting better. Good place to get in early.
4. Talentville.com. Started by the co-founder of Final Draft, this website is easy to use. Nice design. You post scripts 'for free' but then add 'dollars' (earned from doing reviews) to your script to get reviews.
The good: Quality of the reviews I've received to date have been very good. Pro readers are on the site and there are industry members.
The bad: New site and word has to get out. Will see how it develops.
They've brought in many industry people and want scripts from the site to become films. One to watch.
In summary...
Becoming active on any peer review site is a good way to form a group of screenwriting friends and keep on top of what's going on via the discussion boards.
Reading and reviewing scripts (doing coverage) is an excellent way to improve your own writing. You will raise your standards. Pay your dues. Put in the time it takes to develop your draft.
There's a chance on any site that you may be 'discovered' or make a connection that springboards your career. More important, rewrite and rewrite your script through many drafts.
All of these sites will show you what you thought was the 'final draft' is nowhere close. A good lesson to learn early.
From there you can go to pro consultants if you want to get an idea of what a production company coverage of your script would find. See if it's ready to shop.
Then when you shop the script or enter contests it'll be with a solid draft: No typos, no format errors, no gaping plot holes. Your script won't be tossed aside in the first round or immediately booted by a production company as unprofessional.
You'll have a solid spec, the best version of YOUR SCRIPT (make sure it stays yours through all the notes and rewrites) possible. Now go enter contests and make your pitch phone calls with confidence knowing you've got a script you want the world to see.
If you are not active on a peer review site, sign up today! Best of luck.
(You can add me as a friend me on circalit: stephenhoover; Talentville: stephen_hoover; Triggerstreet: toddh99.)
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