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WRITING SCREENPLAYS • A VERY DIFFERENT ANIMAL
NO NARRATION OR DESCRIPTION. Unlike writing novels, where character development and description in the narrative is crucial, screenplays deal entirely with dialogue with brief descriptions to set the stage. Rather than narration to set the stage for the reader, the dialogue develops character. Only brief explanations when first introducing a character are needed since eventually, the director and actor will determine actions, attitudes, and personality. THE READER. Often, a reader (Producer, Director, or Studio Executive or Reader) of a screenplay pays little or no attention to anything but dialogue as they breeze through the writing. If the dialogue is not catchy, clever, interesting, depthful, it will not carry the story. What little description is used is necessary only for the director (and any reader) to follow the course of dialogue. IMAGES. The dialogue, with limited narrative set up, needs to clearly provide a quick and meaningful image and understanding of what is happening, where it is taking place, and who is involved. The reader also needs to know who is involved in a scene, even if they have no speaking part, and these images must be conveyed simply and easily with very minimal written explanation.
DIALOGUE. The conversation between people, or in sotto voice (an undertone not to be overheard), needs to convey the entire story and storyline surrounding that moment in time. This dialogue also has to carry the all-important chaacterization consistency with individuals, and within relationships. Where in a novel the writer can put in dialogue and then explain it further in narrative, description, or action, this is not possible in a screenplay which must be carried solely by the dialogue.
MECHANICS. The mechanics of the screenplay writing and layout are critically limportant to most readers of screenplays. This involves the layout of the writing, where the page fits and whether or not it continues, the dialogue unseparated by blocks on pages, and many more mechanical guidelines that the movie industry has insisted upon over the years. While it is true that known screenwriters ignore many of these mechanics, a new or flegling writer needs to follow them to get past the first impressioin of the eventual reader.
LENGTH. It is extremely important that the screenwriter knows and understands the length of the entire screenplay, and different sequences. The number of pages are very meaningful and convey an understanding of the screenwriter in how to set up a screenplay throughout the entire story.
CAMERA ANGLES. In the past, screenwriters set up the camera angles for each scene, change of scene, and cutins, etc. However, today, movie producers, directors, executives and readers are offended by the screenwriter trying to tell them how a film should be shot. There are several other areas that can be offensive if the writer is unaware of how screenplays are viewed and read in Hollywood.
WRITER'S CAMERA ANGLES. Even though camera angles are no longer included in the screenplay, it is extremely limportant that the writer keep in mind where the camera is at all times. Every movement, comment, attitude and action needs to be seen in the writer's head through the camera angle. Often new or flegling screenwriters pay little attention to the camera angle which causes the reader to become confused and lose interest. This understanding by the writer of camera angles has nothing to do with how the film would eventuallyo be shot, but it has everything to do with the writer's construction of the story and its content.
BINDING THE SCREENPLAY. It is even important that screenplays be bound and presented in a specific manner. While there are many ways to bind pages today, the movie industry has grown up out of a very specific, accepted set of rules, and that includes the binding of your work. Keep in mind, that cutesy, eye-catching binding and cover page are seldom accepted in Hollywood. Also, if a screenplay moves beyond the initial reading, it will generally be placed in a three-ring binder so the pages are best if they are 3-hole punched, and have brads holding the pages together.
APPEARANCE. It is also best to keep in mind that perception and appearance is critical. If your submission looks like you do not know what you are doing, it will nevr get read. Following well accepted guidelines in this matter is important. Many screenwriters who are not knkowledgable on how Hollywood works and thinks believe that once their script is read it won't matter how it appears. However, the fact is, it has to be read before anything can progress. If your work doesn't fit the bill, it will likely never be read, no matter what the rejection slip might say. The idea that someone is goiig to be as enthralled about your writing as you are is tantamount to failure. If you are of the opinion that you can ignore the views of the Hollywood elite, you might as well save your postage.
WHAT WE DO FOR SCREENWRITERS
20 PAGES We will read a portion of your script, preferably the first twenty pages, to see how your story and script flows. We will evaluate it against the above and other criteria and report in writing our opinion and suggestons. Usually the first 20 pages should be sufficient for us to see how your mechanics, plot, and characters flow and evaluate the all-important dialogue.
ENTIRE SCRIPT. We will also read the script and give an overall, in-depth evaluation of not only the above, but of the marietability of your script, and offer suggestions as to o how your script can be improved and what needs to be done to make it a successful effort.
THIS IS WHAT YOU GET
REPORT. We will send you a report of our evalulation in simple to understand terms, providing examples of good and poor dialgoue, mechanics and structure, You will have a list of responses covering the numerous points we have found that leads to good and effective script writing.
FOLLOW-UP. We will answer five specific questions you send us via e-mail. The questions may be on anything relating to the report we sent you and the work we have read.
FURTHER DISCOUNT. After you have re-written the pages we have read, we will re-read them for a 50% fee, and send you along another in-depth report.
WRITING STAGEPLAYS
A stageplay is similar to a screenplay in most of the ways indicated above with the following additions:
STAGE PRESENCE. Your script must convey the placement and movement on stage of both people and furniture. It must also provide paths for actors as they move on stage, and specific stage nomenclature must be used. You need to write with the understanding of a director who must put your play into action, knowing where everything is and where everybody stands, moves, and enters and leaves the stage.
NARRATION. There is absolutely no narration or set up that is not explained in dialogue so the audience knows whata you want them to know. You can make no assumptions that the audience will understand nuances or movement, action, or even dialogue.
DIALOGUE. In addition to what is mentioned about screenplays, a screenwriter must keep in mind that there are few michorphones on a stage and words need to be spoken clearly, distinctly, an dloud enough to be heard. Therefore, the choice of long comments, fancy language, hard to pronounce words, etc., should be kept to a minimum if not eliminated altogether.
WE DO NOT ACCEPT
We will not accept, read, or report on any writing that involves pornographic material, lesbian-homosexual relationships, darkly sinsiter evil, horror, illicit sexual, or vulgar language manuscripts. If there is any question in your mind about your manuscript fitting into one of these categories, please do not send it to us. | READING SERVICE PRICES We will read, evaluate, and report on the following quantity manuscripts:
20 PAGES
40 PAGES
ENTIRE SCRIPT
Fee includes a complete reading, evaluation and report back to the author, including suggestions of improvement, changes, and/or re-direction, as well as areas of strength and consistency. We will accept up to five questions about the evaluation via e-mail from the screenwriter for up to 14-days after receipt of report.
SUBMISSIONS Submissions should follow normal script structure, using Microsoft Word (no Word Perfect) formatted in Palatino, Times, or Georgia text, black print, sentence case. Work must be e-mailed with the full name, address, and e-mail address of the author. SEND TO submissions@writelikethepros.com
RETURN Reading will take ten business days. Reply will be by e-mail to the author's e-mail address.
PAYMENT Payment must be made prior to our reading the script pages and may be paid by credit card or PayPal.
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