Premise...

I'm so excited. This is the first time I can comment on a comment to the blog.

Dave writes:

I definitely agree that bad dialogue is an instant turn-off when reading a script. However, most producers will only even start reading the script if they’ve first been triggered by an intriguing premise. So when they start reading they’re looking to see if this is a movie, not whether the writer is the new Harold Pinter!

In my experience (but this may have to do with my penchant for structure), producers are reassured when the structure is clear and firm. All the details can be perfected during development, as long as the basic framework feels solid.

Having said that, great structure, great dialogue, great locations ... none of this can make up for a lousy, uninteresting premise."

I could not agree more. When thinking of a project, the first thing you should be thinking is...This premise...would I watch it if I wasn't writing it? Would I pay $10 to see it? Would I want my mother, brother, sister, uncle, best friend, to watch this movie? Would they even want to see it?

There is nothing worse that a boring, bland, run of the mill premise. In all of my reading, writing, and 'rithmatic, one thing I see over and over with my clients who have open submissions is a boring premise, which is a certain deal killer AND the first thing a reader comments.

As far as structure...once again I couldn't agree more. That's why I am trying so hard to modify my writing structure in order to make the structure perfect. I've spent so much time relying on my dialog to get the message through, that I forgot the most important thing to make someone read it, the structure.

As a reader, the thing I see with all of my CLOSED submission clients is that the premise in on point, pitch-able, and high concept, and the structure is relatively well-constructed. However, in almost every instance, the dialog and characters are just atrocious. Still...they are getting their film read, and the quirky esoteric unmarketable story sits on the shelf.

This is very important...if the structure is NOT good, and the PREMISE is not on point, NO ONE will read the script even if you are the next "Harold Pinter".

That felt good...like really gooood. Keep the comments coming.

Figuring out what you're terrible at

As promised...an optimistic post.

Writing and working in this industry is as much about finding your weaknesses as it is accenting your strengths.

For instance, I am great with dialog, decent on structure, and terrible at proofreading.

So, how do I account for that? I send my scripts to tons of people, have begun outlining more strictly, writing more extensive character developments, and trying to read scripts backwards. (yes, it's a little trick I learned recently. Try it)

The problem, not to sound boastful, is that in my opinion great dialog can make up for piss-poor structure. I look at the most recent re-write I did for a tv pilot I'm working on, and while I know the structure needs work, it sounds good, and flows because of the dialog, so it becomes difficult for me to see how to correct it. I know, I know, I know, it sounds terrible, and I know it does. On the other hand, great structure rarely makes up for piss poor dialog. But, I'm learning how to get the structure right.

But, that's why it's so important to see your biggest faults and PLAY TO THEM. Two of the most popular ways:

-Writing Groups--i have some excellent ones.
-Writing Partners--i am looking for one.

Either way, the easiest way to find your faults is to get other people's eyes on your script.

A professional will not only know where they are strong, they will be even more aware of where they are weak.

I'm obsessed with...

Google Analytics, and it's telling me that the average time spent on my blog is in a tail spin, and I think i know why.
I got a nice comment from a buddy of mine, a client actually, that told me my blog has been wholly depressing recently. I can't disagree, because I am in limbo, so many projects close to being completed, so much potential clearly pent up, and so many projects in development...it's daunting.

But, I promise, my next post will be optimistic again.

WOOHOO.

Making a movie...

...is incredibly frustrating because you have to rely on so many people. The dp has to light correctly, the actors have to act correctly, the camera op has to frame correctly, the producer has to produce correctly, and even the editor has to edit correctly.

Now, a lot of what that means is not only showing up and doing your job, but also doing it in a timely fashion. It is usually the problem that shows up in editing, because in low-budget films, you have to allow your editor and producers work on other projects in order to get a reasonable price. Either that or go with an inexperienced editor. Either way, what always ends up happening is a week becomes a month, and a month becomes a year. It's currently happening with my first feature, where we are 13 months out of principle photography. Now, granted, there were tons of problems, set-backs, and problems with all of the principles on the movie, but at the end of the day it's still 13 months out of principle.

Now, it wouldn't be that huge a problem, if we weren't having trouble lining up our next project, and if we didn't have a new project that is filming in October. So, we have to lock picture, do ADR, set sound/soundtrack, put up a website, and find a distributor.

It's definitely time to pull our stuff together and get this movie done.

Earthquake

Well, I felt my first earthquake today, 5.8. crazy.

Writing yourself into a corner...

happens. I'm currently writing a romantic comedy script about a guy and a girl who meets, fall in love, get disconnected, stop loving each other, and then start loving each other again... I know, a novel concept. However, the problem is that I just don't care about romantic comedies. They aren't my thing. And, since I'm not writing on assignment, I have no motivation to make the project something I care about. I'm just writing here and there, the inciting incident happens on page 6, but the character doesn't motivate his change until page 26. So far...it's boring. And that's the crux of my problem, the script is B-O-R-I-N-G, and that has made me write myself into a corner. Is it the usually corner, no. I can easily get myself out of it by restructuring the first act. The corner i'm writing into is not the normal corner (i.e. a situation that is wholly unsolveable by the main character), it's more of the corner of DO I EVEN WANT TO FINISH THIS SCRIPT and WHO THE HELL CARES ABOUT THESE CHARACTERS.

In fact, this happens with screenwriters more often that they would like to admit. I was talking with a screenwriter the other day who was talking about a great idea they had for a script, that 50 pages in they just stopped loving. Is this not the same as having an impossible situation that a character can not escape from?

Here is my dilemma. I have 26 pages of a spec script done. I know that i'm going to have at least a 120 page first draft for this script, because I am adding a lot of information I know I will either adjust, take out, or trim. I want to have every possible joke, slap-stick incident, and dumb, lumbering paragraph because I want to be able to edit judiciously.

This leads to a conundrum when dealing with a script you just don't care about...

a. is it that I will care about this script after editing, or do I hate the script?
b. is there a flaw in the moral distinction of the characters that will bite me in the ass later in the development of the story?
c. do I want to spend the next 2 months working on this project in order to sit back and say...yup, this is crap.
or

Do I think this is a project that can be saved, have some meaning, and succeed at being sold/produced?

This is the reason I love TV writing, 60 pages and you're done...max. Okay, maybe 70 for a long pilot or an hour long script. But revisions are easier, and finding the flaws is simple, if its not essential, it's gone.

So, as I sit writing this, staring at my script, I wonder if I wrote myself into a corner, a boring, unproductive corner, from which I should abandon and look at other projects. Maybe something violent, slick, and edgy.

Bankable...

is a word that is usually thrown around to talk about actors, but it should be also be in your vocabulary to discuss your career. What makes you bankable as a writer/actor/producer/director/reader/pa, etc? Have you worked on formats ranging from mini-dv to 70mm? Have you been optioned or produced or had a feature distributed, either in home video or theatrically? The more things you can do to add to your resume, the better. For instance, here is a writer's importance chart.

Have an idea
Have a good idea
Have a great idea

Wrote a treatment
Wrote a good treatment
Wrote a great treatment

Wrote a script
Wrote a good script
Wrote a great script

Had a script optioned
Had a script optioned by a reputable producer
Had a script optioned by a studio

Had a script produced on mini-dv
Had a script produced on hd
Had a script produced on 16mm
Had a script produced on 35mm

Had a produced script distributed on home video
Had a produced script distributed in limited theatrical
Had a produced script distributed in wide theatrical

Have your produced, distributed script break even
Have your produced, distributed script make money

If you look at the above chart, you will see that the higher you go on the food chain, the more likely you are to MAKE MONEY for an agent, manager, producer, or business partner. The more MONEY you can make, the higher you are going to be on the radar of someone important. Look at shows like WIPEOUT. There is no way that an agent or manager actually enjoys that show, but they see the potential for the show to MAKE THEM MONEY, and that's all they care about...and for good reason.

Now, if you have a 35mm feature that had a wide theatrical release, please e-mail and we should have lunch. However, the point of this post is that any little thing you can do to make yourself more marketable will help with the process. Winning festivals is okay, but doesn't add to your BANKABILITY.

So, what does add to the marketability for a writer? Being part of a film that makes money is the number one way. The next way is to be commissioned to write a script. Once again, you will then be making them MONEY. After that, the further a project gets through the process, the more likely it is that it was a quality project and thus...BANKABLE. Potential clients want to know that other people have trusted you with the success of their project BEFORE they place their success in your hands.

So, the thing to take away from this...the reason an actor is BANKABLE is because he has proven that he can MAKE PEOPLE MONEY. So, make yourself bankable in your career and you will begin to make some headway. Even if it's your buddy's film, if you believe it will be produced, try it out. The way most writers make their living is through writing on assignment.