Screen writing...where to begin?

Disrupter

Perhaps this is a topic I could post in the writing forum, but this is more about process then actual writing, so Ill toss it here.

Basically, probably like most of us forum goers, Ive always been a very creative guy. Or at least a guy who WANTS to be creative. I found myself getting into programming because it seemed like a good trade-off between being creative and being applicable. I have a decent job, Im getting married in the fall, I just bought a house, life is good. And I'd likely be happy with makin' some babies, and doing the typical family life until eventually I die. But...

I kind of want more. So, about a year ago I started writing some sitcom scripts, as well as a novel, off and and on. The novel is about half way done, and Ive gotten through about 12 scripts, with another few I will probably pound out in the next week or so. I've shown them to various friends and they seem to all really love them. Admittedly, they're my friends, but at the same time, my friends are kind of dicks, so, who knows?

Point is, what do I do with my final work? Ive looked into script formatting and length, so the next step after I get about 13 solid ones is to edit them- get them in the right format and length, and strengthen the stories and jokes. I plan on getting some of my more clever friends involved to see if they can help tighten the work. But what do I do when its all done? What steps does one take to actually attempt to do something with their work? I assume screen writing and writing novels are completely different. I am interested in hearing from anyone who has accomplished either (or at least tried).

For the scripts we were thinking about doing Youtube stuff, but to be honest, the format isnt great for 22-30 minute episodes. Also, its so saturated with crap that it seems like a waste. The other idea was to pick a bunch of the funnier scenes and sort of make a ton of little promo clips to get interest, and go from there. But all this is very indy.

Regardless of the odds of success, what does one do to TRY and break in professionally. Who do you send your scripts to? Do you contact an agent? Do you contact a professional editor? Basically, Im clueless as to the process once you've created something. So, anyone have any idea?

Improvolone

Are you in LA? Probably not, so this is going to be a harder road.

Have you written scripts for currently existing shows? If so, these are called spec scripts. If you haven't written spec scripts, do so. In LA theatres (such as iO) will often have spec script read throughs. It gives the actors experience, it showcases the writer, and agents come to see if anything sounds good. If you're going to film it wiht the intent to try to get work out of this, you don't want non-actors doing the performance work. A so-so performer will tank your script.

If there isn't much production happening in your area, well, the easy/crazy answer is produce your own.

Disrupter

Yeah, I did some reading about spec scripts. Apparently they want you to do scripts for all sorts of shows. So if you were doing a sitcom, theyd want 30 Rock, Two and a Half Men, Grey's Anatomy etc. to show your range. Which, I suppose if I am taking things seriously, I should do. The problem is, I dont watch a wide range of sitcoms to really know how to write those other characters.

As for not living in LA, yeah, that probably is an issue. However, I figure with writing, it would be maybe plausible to work remotely, Im pretty sure I did some reading about how they sometimes will just freelance out scripts, then tear them apart and rewrite them. And thats how you start breaking in.

As for producing it on our own, I live near chicago, so I assume theres a decent amount of indy folk making their own projects. I know next to nothing about the actual production of a show. I dont know how or where to get equipment, want to do with it, how to find actors etc.

I assume there would be clubs, or at least internet communities about these things where you can sort of get together with people outside of your talents. The problem is, Id assume most directors feel they can write their own stuff, or have buddies who write for them. There probably isnt a lot of demand for writers. (its likely similar to indy game development. "OH I CAN WRITE THE PLOT!" isnt really too helpful. Can you program? Can you do 3D modeling? Or in this case, can you work a camera, can you do sound editing?)

Im guessing for now, the best way to feel like this thing hasnt just stalled and been a waste is to move forward with producing a series of small 1-2 minute scenes from the scripts, like teasers. So we can get some feeling of satisfaction seeing some finished work. Plus itll help us learn more about the entire concept.

Anyone film students in the chicago area round these parts?

noir_blood

I would recommend joining a bunch of writing groups.

I rarely show my friend my work, mostly because well, they're your friends and tons of times they won't go all out on it. Or unless you hang around a very specific sort of people, they won't really know how to critique a work to make it better.

And yeah, It's really important you get people to start acting out the script. This is where you'll find things that don't work, work better than you thought, etc.

Meetup.com helped me find a bunch of writing ones, and even a screenwriting specific one here in Dallas. They also have a group of actors that will read your script if you're part of a writing group, so there's that. I imagine Chicago is going to have a lot of similar groups.

CL might not be a bad way to go. Just post that you're looking for amateur actors. Decide whether you want them to do it for free, are willing to pay, or something like "all the beer and pizza you guys can eat" sort of thing.

Oh, and I know you already said you finished a script, but if you haven't, Read 'Story' By Robert McKee

Disrupter

Well, the original reason I showed my friends was because at first it was going to be more of a group thing. Us making a sitcom together. Unfortunately, though nobody seems to have as much to offer outside of enthusiasm.

I found some groups (apparently through meetup.com, but I just googled) that I might check out. There's a bunch for indy film making, some for just screen writing. I assume the screen writing group would be awesome at first, to get people to properly critique my work.

I definately need editing, since I usually write the scripts relatively frantic.

I'll check out that book.

Thanks for the advice so far.

Tavataar

Disrupter wrote: »

So if you were doing a sitcom, theyd want 30 Rock, Two and a Half Men, Grey's Anatomy etc. to show your range.

I don't know if you wrote this intentionally or not, but regardless it still made me crack up!

I concur that you should have people who have writing experience critiquing your work. I know that my friends and I could write up jokes that we found hilarious, but no one else would crack a smile at. I think this happens all the time in the current industry as it is, so the more random people you can make laugh the more you know your work is truly entertaining.

Disrupter

Yeah, I understand that my friends would clearly have the same sense of humor as me and would likely find the same stupid stuff funny. That being said, Im not TOO worried about the humor. Once I finish the current script Im working on, and edit a few of them to be a bit less painful, I'll likely post them in the writing forum.

PA is always a bit harsh, so if the scripts can remotely succeed there, they will likely be decent for the demographic.

The only script Ive shown to anyone outside my group is the pilot. My buddy showed it to some youtube film maker peeps he knew and they said it was funny, not sure what came of that. The pilot is pretty crappy though in comparison to the rest, IMO. That tends to be the case though, pilots are much harder to write since you have to set up a bit.

Likely I'll eat my words and my confidence will be shattered after more people see the scripts.

Improvolone

Dude, you live in Chicago? I'm sure you can find a theatre that does spec script writing, check out iO. Take classes at Second City (and maybe iO, but for what you seem interested in, Second City). Look into TMLMTBGB. Dude, Chicago is a great fucking town.

Also, do stand up. A lot of very famous comedy writers were also comedy performers.

2868

OK. I'm going to try to address a few issues here, as well as give you some helpful advice.

I'm a working screenwriter, and I teach the form. I have some experience.

Before we get into starting a career we need to take baby steps. You need to know this format in and out.

First off, teleplays and screenplays are entirely different animals. Written entirely different ways. A one hour teleplay has act breaks in the script and has a Teaser and four acts. A 30 minute teleplay has two acts. Here is the paradox ALL TELEPLAYS FOLLOW THE THREE ACT STRUCTURE! So you must make the three act structure work within the desired format.

If you are writing a teleplay on spec for an existing show (this is the way most writers break into the room) you need to find that show's Bible and write your spec according to the established format for this show. A google search tends to yield most bibles. If you cannot find it, follow the bible of the most similar show. For instance, don't use the wire's bible for a procedural.

Which brings me to my next point, don't write spec scripts for serials. No Mad Men, or Sons of Anarchy specs will get read. House, CSI:Your Mom, etc., those are the specs you want to write. If you're writing comedy then you're OK I don't know too many serial comedies.

Finally, I noticed you said you don't watch TV. Get the fuck out? Why do you want to write TV. This is like a novelist telling me that they don't read. It's horseshit, and I'm not outright calling you a silly goose, because hey, you should dream; if you want to do this FUCKING WATCH TELEVISION. Then read television. Download every script for every show good or bad that you can get your hands on. Read them over and over. Emulate them. Shit, copy them so that you understand format.

On to Features.

Features always follow the Three Act Structure. I'll talk more about it in a minute. There are no act breaks in features, just write the film according to standard spec script formatting. Read a shit ton of scripts find a style you like. Read Chinatown. Read the Coen Brothers. Read William Goldman. Finally, and the man's a blowhard, read Syd Field. Don't go to any workshops or anything yet. You're not ready. You need to consume cinema before you do that. Have a favorite movie? Find the script.

OK. More info before I get into the business side.

Buy screenwriting software. I recommend final draft, but the point is don't just use word and your eyeballs to format this. There is a man, call him a PA, he is a failed writer. He hates you. He lives in a little hole in every studio and his job is to sort through the slush pile and find any excuse to throw your script in the garbage. That is his job. Formatted poorly? Saved him the trouble of reading it, you did.

Learn the three act structure. Here is how.

There is a man who wrote the handbook to dramatic writing. The man's name was Aristotle. The handbook is called The Poetics. It's free on google reader or your phone or however you get ebooks. Or go to a used bookstore and get it. It's complicated. There are four year courses on the poetics. Get the cliff's notes too. Drama occurs in three acts. You name any dramatic (or comedic) work and I'll tell you the act breaks.

Once you have a passing familiarity (preferably more) with The Poetics then pick up Field, or anyone really who breaks down The Poetics for the screenplay format, using examples you're familiar with (From Pulp Fiction to Water World). Learn to identify and think in these terms now, before you try to write your first screenplay.

Sub Plots. Learn to write them. Your second act focuses on the A plot, but it should also have a B plot (Maybe even a C plot). This is true of any film or TV show. If you only have an A plot, you do not have a third act. Third act troubles are resolved by creating a compelling sub plot in the second act.

The Business. Sucks. Right now. The feature spec market is deader than hell. I've spent two years writing pieces only to have them die in the producers hands. TV is a little easier on a scale from Sisyphus to Prometheus, I'd put breaking into television somewhere around Tantalus' plight. You've got to slave, expect to work 2-5 years for nothing. Writing spec after spec. Your first 5-10 projects will go into a drawer in your house and may never be seen again. Or you may learn ways to make them better.

As for living in LA. It's the only place deals get made. That said. I live in Austin. I have representation in LA. I miss a shit ton of work because I don't live there. Work happens all the time if you are good at selling yourself, or have someone who can sell you. That said. Don't fucking move there until you know how to write well, talk about writing well, can talk about the nuances of EVERY HIT. (Show or Film). Also LEARN to talk like THIS. In emails and texts, etc. Producers are fucking retarded, and you literally have to scream at them to get them to notice things that are important.

I've left a lot out. I fill many semesters with this junk. If you're serious about this you can send me a PM after you learn format and we can talk beyond structure: Character, Plot, Pacing, Business, etc. But commit to learning structure first. STRUCTURE. Also once you have a grasp on the format and dramatic theory then look for Nonprofits, like film schools, you can drop 100 bucks and sit in on a class like I teach, and later a workshop.

Don't pay a screenwriting guru to attend a seminar. No one sells their spec because of what they heard in a seminar.

2868

Also. This is important. When you are starting your career, never let anyone. ANYONE (outside of a workshop obv). Read an unfinished and unpolished piece. Before you send Query Letters, or slip that script into a mail slot, make sure it is the 10th or 20th draft.

There is no quicker way to kill your career than to show unpolished work.

Edit* (Nothing against the writing forum, but this means don't post your script there for 'notes' only take notes one to one and in person with this format.)

Posting a scriptment is OK. Once you learn to write one.

Improvolone

He touched on a number of things that didn't even occur to me but are so crucially important. So, um, that.

KrubicksCube

There's a few basic books that are good. Frenshem's (sp?) guide is pretty good. Also read some scripts of movies that you like to get a few ideas.

The idea with screenplays is that your grand creative flourishes are concise and punchy, and more importantly, that you sell it as a visual story (why else to make it into a film, right?). Anyway, hope either of those suggestions helped, script writing is hard, good luck!

noir_blood

Everything 2868 said.

Also, have mypdfscripts bookmarked.