The Greenlight.com

One Creative Motherfucker! An interview with Merrel Davis on Branding

2011-03-30T20:45:00.009-04:00

Today The-GreenLight.com has the pleasure of chatting with Merrel Davis founder of Screenwriter Karaoke a monthly networking event for new and veteran screenwriters.

GL - Merrel, Thanks for taking the time to do this interview. Please tell us a bit about yourself – How did you get interested in screenwriting?

MD - I took a long and meandering journey to through several industries to get to Los Angeles. It began in the soulless depths of a government contract office in Washington D.C. In case you haven't done your own empirical study, every terrible cliché about government work and office work you can imagine is true. The number of dead souls wandering among the living outside of the pentagon number in the thousands. My time in “job prison” was not without benefit; I was able to reflect and cultivate my storytelling, put my toe into the water, save money and then ultimately move to New York City.

The screenwriting portion of storytelling, was a natural progression for me. I'd been involved in other parts of production and post-production (I actually wrote about that here: "Become a better Screenwriter through Post-Production") I found myself editing short films and comedy skits that frankly, weren't very funny. I had a sort of an aha! moment which went something like “why am I polishing their turds? When I can polish my own!”

2009 was an important year for me, it marked the real transition into “screenwriter.” I wrote a feature script that, while not produced, was solid enough to get me in on scholarship to several screenwriting workshops and conventions. I sold a series of animated scripts overseas, and then in 2010 my short script “Obsolesk” won best science fiction script at AIFF, all while I was working as production staff on a NAT GEO television show.

While in New York City I began a monthly networking event called “Screenwriter Karaoke.” I was looking to have some no-pressure hang time with like-minded industry peeps. So, I started Screenwriter Karaoke; it's an easy way to come and meet other screenwriters and filmmakers, have a couple of drinks, and sing a couple of songs. Since the inception of Screenwriter Karaoke, I've taken it to events such as The Great American Pitch Fest and the Creative Screenwriting Expo

Now here in LA, I've seen attendance triple and lots of great new faces coming out every month.
Our next Screenwriter Karaoke event is April 2011 in Los Angeles.

GL - Branding? What do you mean when you say a screenwriter needs to “brand” themselves?

MD - It's tough as ever to reach the dream. The talent pool grows and grows and at any waking moment in LA there is a cacophony of writers clamoring recognition and livelihood. When I say a screenwriter needs branding, it means they need to effectively set-themselves apart and above of their peers. Good writing is vitally important, not much can be done without a solid foundation, but so much is how you present yourself in the context of your good work.

Before we get too deep, let me say, “branding” is a broad term, some people believe a brand only applies to your body of work directly, I am one of the many people who believes your brand is not only your work, but your personality, your brand is how you carry yourself in the marketplace, and that marketplace is partially online. Your brand is the essence of you, presented for consumption and extends beyond just the subject matter of your craft.

I've encountered countless writers and filmmakers who have good work but have lacking presence in meetings and person. Balancing artful business with your cultivated craft, that is your brand.

When a client approaches me and says “Merrel please brand me” the first thing that I tell them:
Managing your brand is kind of like thinking the way a literary manager would, but with a targeted focus on online branding and printed material.

Your brand includes current and previous bodies of work, websites, online presence, business cards, accomplishments, awards etc. – my job is to synthesize and cohesively set-forth a brand that truly represents the client.

Generally speaking, a client comes to me or my partner (see http://covermyscript.com) for story notes and development, we sort them out, and then ask when and where they are pitching (or even if they even are.) Based on whether it's an indie or a studio film we then devise a plan for online.

GL - But I just want to write, why should I spend so much time working on my image?

MD - “But, I just want to write” is a nice way of saying, “No one has compensated me well for my writing yet, and I resent that.” This isn't about image, it's really about effectively letting people know who you are and what you do.

What's the first thing anyone is going to do after they meet you? If they are interested, they'll Google you or IMDB you. If somebody Googles your name what comes up? Facebook profiles, a genealogy chart or a navigable body of professional work?

Web presence is vitally important for this reason, everyone has an iPhone or an Android phone, it literally only takes 3 seconds to call up information.

GL - What are some of the do’s and dont's of branding? Are there any?

MD - Last year, I wrote an article “WTF! 10 lessons I learned about the entertainment industry in 2010.” it covers a lot of my lessons learned in conducting business in Los Angeles.

When it comes down to it, authenticity is the best policy. But don't over-do it! Here's a snipit from my article: “There is nothing more noticeable than the stench of desperation in the room. Los Angeles is the city of 'keeping up appearances' and the way you carry yourself is as important as the message you carry. That’s not news, but be very careful not to confuse candor and aspiration for desperation, or the other way around.” Don't be that person!

With regard to websites it's very important to have one. If you already have a site here's a list of no-no's. If you do any of these, I presently hate you, but we can be friends soon I hope!

- An entirely FLASH based website is the bane of my existence. The flash renaissance is over, often you can't skip the intro, it's not as easily searchable by “the googles,” and flash doesn't work on hand-held devices such as the iPhone and iPad. Also, auto playing music or video is just bad form. Give the user a chance!

Lastly, don't use Blogger or Blogspot websites for your film. NO! Get your own website and email, the days of hotmail and AOL are out. It's hard to take someone serious if their email address is HappyKittydance5@aol.com and similarly if they have a free hosted website on blogspot.

GL - Ok, so now we’re standing out from the rest of the crowd? What next? What if I’m not ready for my new found attention? What steps should a new writer take to get themselves ready to be the focus of a producer’s attention?

MD - The best steps you can take to ready yourself for the attention of a producer or anyone else for that matter, is to have a solid track record and body of work that is easily found and consumable to somebody who is just the slightest bit interested. It's amazing how much ground you can cover with a link to your website, a writing sample, and an IMDB link. It shows prospective colleagues, managers, agents and producers that you are aware of what is required of you, and oh by the way, here it is.

GL - Should your brand extend into your writing style?

MD - Your writing style IS a large part of your brand. What you write about will help you decipher how to brand yourself. That sleek dark, grungy website may be good for the Phillip K. Dick inspired spec, but not for a teen comedy.

GL - How has being a “Creative Motherfucker” helped your career?

MD - Yes, it is actually true that my business card has one of the seven dirty words. I think Carlin would be proud, I mean if he weren't turning over in his grave, that motherfucker!

Seriously though, my business card has landed me countless meetings, facilitated immediate connections, and just looks damn cool. It is the ultimate litmus test; there are three outcomes, they: 1) Look at my card briefly, not long enough to take it in, then tuck it away quickly. 2) Look at my card and read my title and become aghast. Or 3) Look at my card, see my title and laugh.

For people who respond like #2, you just saved me some time. For people who did #1, it shows me a lack of interest, where as people who actually look at it love it. So, I guess being a creative motherfucker has its advantages for sure.

GL - What kind of projects can we look for from @UncompletedWork?

MD - On every horizon things are looking up!

On the web side, I'm building a website for an academy award nominated writer/director. On the producing side of things I'm currently in pre-production on a reality / docu series. My latest script, an unnecessarily, overly-complicated time-travel romp is in the throes of a reoutlining. When I'm not working I'm usually berating myself for not working while playing Call of Duty: Black Ops.

GL - Merrel, thanks again for taking time to share your knowledge! We look forward to seeing you at #scriptchat Sundays at 8pm EST.

Jeanne V. Bowerman (@JeanneVB) On Adaptations

2011-02-12T10:17:00.011-05:00

Today we have the pleasure of chatting with Jeanne V. Bowerman co-founder of the #SCRIPTCHAT Twitter group for screenwriters. Jeanne calls herself a recovering insecureaholic, but if anyone has had the pleasure of chatting with her on Twitter, you quickly come to understand that @jeannevb is one of the most learned and helpful Tweeps you'll ever meet. Today we get to chat with her about her experience Adapting the Pulizer Prize winning Novel Slavery by Another Name - Douglas Blackmon.

GL) Adaptations are notoriously difficult to write, they’ve even made a movie about it! What drew you to this project?

JVB) First of all, I absolutely loved the film ADAPTATION. I watched it recently, just to see if there were any real-life similarities. I’m sure I laughed at all the wrong places, mostly because I’ve been to Robert McKee’s three-day seminar. I even follow author Susan Orleon on Twitter… though she doesn’t have a clue who I am. :)

As for what drew me to this particular project, I’ve given that a lot of thought. People often ask why a white girl from a small country town in Upstate New York would be interested in neoslavery. I wasn’t conscious of the answer until I was deep into writing the first draft. While writing, I realized I was more drawn to the brutal plantation scenes of the African Americans than I was the affluent world of the white Southerners. While I would never begin to compare my life to slavery, I will admit, there are times when I have felt trapped in a world or role I desperately wanted to free myself from. I related to that sense of helplessness and lack of control. More importantly, I want the truth of our nation’s history to be told. That responsibility weighs heavily on me. I want/need to do this story justice.

Beyond the personal draw, there was also a professional one. I wanted a challenge. I had written lighter romantic comedies prior to that, and in truth, I don’t even watch rom coms in theaters. I prefer foreign films, indies, dramas and subjects that move me to my core. I needed this challenge. I craved this. I knew the minute I found this book, I had to adapt it. Period. This was the one.

GL) What are some of the challenges you encountered along the way?

JVB) There were many, but the biggest was simply finding the story to tell. Yes, there was a book to work from, but this was no ordinary book. It covered 70 years of our nation’s grim history, with many examples of how African Americans were unjustly enslaved after the Civil War. We could have chosen any number of protagonists, but we had to find just the right one. I’m confident we did.

GL) Knowing that not everything can make it form page to screen. How do you make the hard decisions about what stays and what goes?

JVB) We used a combination of Doug’s expertise and my naiveté of the subject. The very first thing I did was scour the book, page by page, making a list of facts that emotionally moved me. There were so many to choose from that I literally broke the binding. Then we focused on the ones that would move the protagonist’s story forward. But, the biggest challenge was avoiding the temptation of making it a history lesson. The book will be a documentary on PBS in 2012, so that freed our minds a bit, knowing that was a platform where the history will be discussed. Our goal in this feature script was to tell the moving story of a the man who tried to stop slavery in 1903, bringing the very first white plantation owner to trial for holding slaves, forty years after the Civil War. If it didn’t fit in that spectrum, we cut it.

GL) You’re writing the screenplay for SLAVERY BY ANOTHER NAME with the author of the best seller, Douglas Blackmon. Novels and scripts are very different animals. How have you blended the two writing styles?

JVB) Doug was amazing. He has a background in theatre, so I could tell from reading his book, he already wrote in a visual way. He was also incredibly generous, and far more liberated than most authors in being open to changing the story. Oddly, I was the one who was more resistant to straying from the facts. Perhaps it’s because Doug had spent so many years writing it, he was ready to move on to a new way of storytelling, and I was stuck in the "oh my God, I can’t believe this happened" mode. But once I opened my mind, we went wild. Some of the best scenes in the script are ones we used creative license with.

As for blending styles, we made a decision after completing the 31-page outline that I would write the first draft. That way we had a consistent voice and a blue print to start from. When I finished it, I sent it to Doug, and he added his mark. His style is verbose, and mine, very tight. So our fit was perfect. He’d add; I’d cut. But he was never territorial about my editing his words or vice versa. We are a team, and more importantly, we are professionals. I’ve never worked so well with another writer before.

GL) What advantages are there to working with the Author? Any disadvantages?

JVB) In a story like this, Doug was my research man. He had spent 7 yrs in the basements of courthouses throughout the South, going through stacks of papers. If I had a technical question, I just called him. He is also the most humble man I’ve ever met. Here he is the senior national correspondent of The Wall Street Journal and a Pulitzer Prize winner, yet he never once pulled rank with me. This was our project from day one. I’m still amazed by that.

Honestly, the only disadvantage was his insanely busy schedule. WSJ responsibilities always came first, as did his speaking engagements, and of course, his family. But just to steal an hour here and there, I’d go to any town I could to hear his speeches. I wanted to watch the audience’s reaction to his words, making certain we were capturing what people were most curious about.

GL) How is writing with a partner of any kind different from writing a solo project? What are the good the bad and the ugly...?

JVB) Writing partners is a subject for an entirely separate interview. I have a lot to say about that, having had four, one being my teen daughter.

Good: someone to brainstorm with and feed off of. Film is a collaborative process, so why not start at step one? Writing with someone certainly gets you comfortable with compromise. The trick is to compromise without feeling compromised. Often, there’s a fine line.

Bad: you never have total control of your story. Egos can get in the way.

Advice: I always make a rule that the project comes first. If there’s a disagreement, we ask, "Is this what is best for me personally, or is this what is best for the project?" Writing partners are like a spouse. There will be days you love them, and days you want to smash their face in with a baseball bat. Having said that, I’d go the writing partner route again, but I don’t ever want to write with just one person as a permanent partner. My taste varies so much that I prefer to play the writer field. I would absolutely write with Doug again though. We recently discussed an idea for another historical drama that’s very graphic and violent with a strong female lead. When we mentioned it to Joshua Stecker, West Coast Editor of Script Magazine, he laughed and said, "Just wondering, do you guys have a comedy in you?" Love that guy. Actually, Doug is very funny. We might just have to try writing a comedy together someday.

GL) What makes a good adaptation? What should a new writer look for when scouting for gems?

JVB) Story, story, story. No matter what happens in the book, you have to find the story that would bring people into the theatre and keep them in their seats, preferably glued, for two hours. To do so often requires cutting major parts of the novel. I was once advised there was no point in doing an adaptation unless you were going to put your mark on it, and make it your own. I found that interesting, because as a reader, I’m always annoyed when the movie is so different from the book. The truth is, no matter how you slice it, an adaptation often doesn’t live up to the imagination of a reader. Some stories should stay on the page.

As for what to look for, author and screenwriter Chuck Wendig wrote a post recently advising choosing short stories to adapt instead of novels. When I read that, I had an "I should have had a V8" moment. He’s right. They’re certainly more prone to adaptation, since they’re already tight and concise. I’d also look for amazing characters, ones you can evolve and put through boatloads of conflict. Make sure there’s a moment in the story when your protagonist is on the bathroom floor (figuratively, of course) and has to make a choice that will make or break him. Push that sucker to the limits.

Also, don’t be afraid to pick up the phone and call an author. That’s what I did with Doug. Just called him out of the blue. Sometimes it works.

GL) How do you know you’ve done the material justice? When do you know you’re done?

JVB) I’m not sure there’s ever been a moment when I didn’t question if we did the material enough justice. It’s such a powerful piece. Every single day of writing the first draft, I cried. The tears were for the people who were enslaved and for their ancestors. Our number one goal in all of this was to speak the truth. That responsibility weighed heavily on us. Not a day went by when I didn’t ask myself "are we doing the African American community justice?"

It’s been six months since we officially "finished," and I’m in the middle of the latest polish, focusing solely on dialogue. Doug would agree that whenever we step away from the script for a month or more, we read it and see things we can change. The trick is knowing when to stop and put your baby out there. We have purposely not papered the town with the script, wanting it to shine to its full potential first.

GL) What can we look for from @jeannevb in the future?

JVB) This is my official announcement that I’ve been invited by Script Magazine to be a regular contributor to their website, discussing the life of an unproduced writer. I’m totally jazzed to share not only my own projects, but also those of other screenwriters, discussing various ways to break in. I want to focus on out-of-the-box personal stories to energize writers to get creative in their quest to be produced. It fits in perfectly with my Twitter Pimp Angel style. My goal: to get an email someday that one of my posts sparked the idea that helped a writer take another step forward. If we can’t support each other, what’s the point? I realize there are a lot of selfish people in this industry, but I do not intend on being one of them. Ever.

Beyond that, I’ll be writing my fingers to the bones. My business card reads "writer of things". I don’t care what it is, a short story, novel, screenplay, short film… if it can move you, I want to write it. Currently, I’m finishing up a quirky family comedy, purposely keeping it low budget. If I can’t find a production company to make it, I’ll do it as an indie. With all the talented creatives I know, I’m confident I will make this one happen with or without a studio’s help. As for the short film, director, Mike Bekemeyer, and I are working on one, inspired by a lover’s quarrel I tweeted out from Starbuck’s one day. Beyond the film world, I’m finishing up my first novel, THE RING THAT BINDS. It’s based on the true story of my friend who died of Lou Gehrig’s disease and the four women who cared for her. Don’t worry, it’s not all sappy and depressing. It’s full of humor. I have several agents waiting to read it and plan on adapting it for film as well. I have more irons in the fire I can’t speak about publicly yet, but my fingers and toes are crossed for my writing to finally bring in a steady paycheck.

GL) Any last words of advice and encouragement for new writers?

JVB) It sounds so cliché, but never give up, even if a tidal wave is drowning you. There’s no room for self-sabotage in this business. Wussies are the first to drown. So surround yourself with a writing support system that can be your life raft. For me, it’s all the writers of Scriptchat, especially the treefort: Jamie Livingston, Zac Sanford, Kim Garland and Mina Zaher. Seriously, I don’t know what I’d do without them. When any of us hit a wall, the email boxes ping back and forth until a solution is found. The support fuels me on. In truth, I’m not one who needs a lot of cheerleading. I have no problem hunkering down and doing the work. But when I hit a snag, having them to brainstorm solutions with is invaluable. Get a system like that of writers you respect and trust. Oh, and get a therapist :)

Also, don’t ever think you’re bigger than you are, and do not ever act out of desperation. Both are terribly unattractive. No matter where you are in your career, you have something to learn. If you’re feeling desperate, then that means your work isn’t good enough. Get your ass back in the chair and make it better.

Put forth positive energy, work hard, help others, and the karma will all come back to you.

GL) Thank you so much for taking part in this interview with The-GreenLight.com, it was an honour and a pleasure. See you on Sunday 8pm EST for #SCRIPTCHAT!

TV Pilot update

2010-03-19T16:20:00.005-04:00

Hello...

So I've been busy packing up my house. (I'm moving next weekend)... But I have managed to do a little writing here and there. My problem is I'm over thinking everything. Instead of writing I've spent a lot of time analysing other Pilots. i.e. The Pilot for a show called Reaper. I'm in the process of dissecting it, and going over it with a fine tooth comb in order to decipher the secrets of a pilot. The same with the pilots for Buffy and Supernatural... It's almost an obsession...

I am learning a lot... You should read as many scripts as you can get your hands on. Thankfully I have friends in the industry who feed me scripts and new stuff all the time! I am truly grateful for that!!! And I also have friends who are able and willing to guide me and tell me when my writing sucks and when I'm on the right path. Of course... you can't always trust your friends to provide you with honest feedback. Obviously the care about you and your feelings so... ALWAYS HIRE A PROFESSIONAL!!! My is Xandy Sussan of CoverMyScript.com... She's GOOD! And a bargain at $150. I trust her to be honest and thorough, and she is witty and sarcastic. So we mesh personality wise... Find someone you mesh with... If you're not in tune with your reader then they won't get you and your writing... It'll be like brushing your hair against the grain! BAD IDEA and all you'll end up with is a big mess.

Anyway... off topic...

I'm also starting to flesh out ideas for my next feature... I think I'm ready (i.e. I have the skills) to write it. It's called Breakfast With Tiffany. Check out the logline for more details... I'm also gearing up for a complete overhaul and rewrite of Ghost Hunter. In its current state it's a bit of a mess... BUT you can go to The-GreenLight.com and download a copy to read if you like... It's a hot mess and I know it... the concepts are sound. I need to fix it... I added a lot of weirdness to it 'cause I started a failed re-write before I finished the first draft... Nightmare...

AND I still need to do a little work on Blood and Roses and Losing Faith. They need some punching up... But other than that... :) check 'em out here

In the meantime... the outline for my TV Pilot is still not quite there... I am anguishing over the fact that its been 6 months and I have yet to write a word of dialog. I have it on good authority though that my efforts to perfect this outline will be quite beneficial when I sit down to write the first draft... I certainly hope so - it's killing me!

Anyway... I'm going to stop rambling... I have far too much to do, and not enough time to do it... NEXT Month however, I am off for 3 wks (surgery). So perhaps, in a painkiller induced state I will rattle off a few pages and actually get someone this writing done!

Peace!

- G

Weekend Update with Gord Rogerson

2010-02-19T09:02:00.003-05:00

Ok... So I've been EXTREMELY busy trying to get the 2nd Annual Script contest sorted out for The website. We're absolutely ecstatic that we have 3 wonderful sponsors so far this year!!!

SellAScript.com
ScriptDelivery.net
BlakeSnyder.com

They are providing some amazing prizes for the contest that will provide our writers with some much sought after industry exposure.

I'm about 12hrs away from finally finishing the outline for the Pilot I've been working on. Having never written for TV before, there has been a bit of a learning curve. Although I have 30+ years of viewing experience I am finding it difficult to find the soul of the pilot. Thankfully, I have good friends who are not afraid to tell me when I suck (actually I think some enjoy it a little too much). So I've been listening and absorbing their comments and working with the ideas they are imparting in order to create something that is engaging, fun, exciting, and complete awesomeness made physical... Needless to say... its taking me a while to be awesome. BUT... I'm almost there. A few more hours tonight and tomorrow and I'll finally be able to start putting words in people's mouths.

I have also had the opportunity to get some more interviews for the site worked out. I am in the process of crafting some good questions for another interview that should be posted soon. Good times! Lots to do and keep me busy...

Meanwhile in my personal life... I'm moving! So now that I don't have any time at all to myself... ;) No it's good. The new place is huge, open, has multiple floors, and a basement I can turn into a video studio... I have an idea for a web series called FALLING. That's all you get... Just the title... and that its a one camera show that can be filmed in a basement. :)

Anyway... That's the update. Stop by the-GreenLight.com for more details on the 2nd Annual Script competition...

Peace!

- G

The-GreenLight.com 2nd Annual Script Contest

2010-02-18T14:09:00.004-05:00

We are pleased to announce the 2nd Annual Script Contest

Deadline:
May 30th, 2010 (early); July 30th, 2010 (regular); September 30, 2010 (late)

Notification:
Semi-Finalists: October 30th, 2010; Finalists: November 30th; Winners: December 15th, 2010

Objective:
Our mission at the-GreenLight.com is to provide new writers with helpful insight and tools to make there writing better.

Eligibility:
Open to all writers 18 and over.

Entry Fee:
$25 (by May 30, 2010); $35 (by July 30, 2010); $50 (by September 30, 2010)

Rules:

* Open to all writers 18 and over.
* Limited to first 500 entries
* Screenplays must not have been previously optioned, produced, or purchased prior to submission.
* Screenplays must be original work of applicant(s).
* Winning screenplay submissions written by 2 or more writers require all awards to be divided equally among the writers.
* Screenplays must be in English.
* Entrants must submit a completed entry form containing a Synopsis and Logline, screenplay and the appropriate fee according to the posted deadlines.
* Multiple submissions are accepted but each submission requires a separate entry form and fee.
* Finalists must then submit the entire screenplay within 7 days of the posted Finals Announcement\Notification.
* Finalists screenplays must be between 85 - 120 pages and be copywritten or registered with WGA\WGC. - Writer(s) should retain 1 copy of original script.
* The-GreenLight.com is not responsible for screenplays lost in cyber space, or stolen. (but if you have paid, and your submission is lost we'll work it out if you can provide the payment details.)
* Judges decisions are final.
* Electronic submissions only via the online entry form and email.
* Prizes may not be substituted unless agreed upon by the writer(s) and the-GreenLight.com.
* The-GreenLight.com reserves the right to cancel the contest due to lack of interest. Any fees collected will be refunded promptly to the Writer(s). Notification of contest cancellation will be made on the day following the Final Deadline. (Threshold is 25 entries min.)
* Submission of entry form and fees implies explicit acceptance and consent to the contest rules as listed above.

Awards:

All Selected Finalists will received written feedback from the judges.

1st place

* $150 Cash Award
* Certificate of Achievement
* SellAScript.com Prize package
* Save the Cat! Story Outlining Software from BlakeSnyder.com
* Notes from the Contest Judges
* Dedicated Promotional Page on the-GreenLight.com
* More to come...

2nd Prize

* $100
* Certificate of Achievement
* SellAScript.com Prize package
* Copy of Crafty Screenwriting: Writing Movies That Get Made by Alex Epstein
* Notes from the Contest Judges
* More to come...

3rd Place

* $50 Cash Award
* Certificate of Achievement
* SellAScript.com Prize package
* Copy of Save The Cat! The Last Book on Screenwriting You'll Ever Need by Blake Snyder
* Notes from the Contest Judges

Honourable Mention

* Certificate of Achievement
* ScriptDelivery.net Prize Package
* Notes from the Contest Judges

The-GreenLight.com - An excellent chat with Writer\Director\Producer Justin McConnell

2010-01-21T08:50:00.021-05:00

Today The-GreenLight.com has the pleasure of speaking with Justin McConnell Writer\Director and CEO of Unstable Ground a cutting edge Media company in Toronto, Canada.

Thank for joining us.

TGL - Tell us a bit about yourself. How did you get into the film industry? What first attracted you to writing and directing?

JMc - This may be a cliché answer to start an interview with, but film is in my blood. I may not come from a filmmaking family exactly, but they were a family of movie lovers. I both thank and blame my father for where I am today – had he not snuck the staple horror/edgy flicks past my mom from a relatively young age, I probably wouldn’t be doing what I’m doing. Thanks to him exposing me to “classic” (debatable, I’m aware) titles like Alien/Aliens, the Predator movies, Critters & Gremlins flicks, Argento (I wouldn’t recommend trying to watch “Phenomena aka Creepers” when you’re 12), and the first of it all, Monster Squad – the doors were opened that made me into the wonderfully twisted individual I am now.

From there it just became a mission – watch and study film (I mean really study it), make a bunch of cheapie shorts, film school, starting my own production/post company, and just working with the nose to the grindstone. If you want something bad enough, you just put everything you’ve got into it, and hopefully it works out.

TGL - A couple of years ago you wrote and directed a short called "Ending the Eternal" that tells the story of Samuel Gradius an ages old Vampire looking to put an end to his life. Since then it has spawned a Graphic Novel and you'll be shooting a feature length sequel called "The Eternal" later this year. Was that always part of the vision for Samuel Gradius? Did you intend to tell his story in three parts or did that evolve with the success of the short? Tell us a bit about the new project.

JMc - Samuel Gradius’ story was more an evolution than a solid plan. The first incarnation of that short I actually wrote back in high school (circa 1999-ish), as a short story called “Musings of an Ancient”. From there, the first draft of the script was written all the way back in 2003. Around that time I was shooting a feature-length documentary called “Working Class Rock Star”, and it pushed development of the idea to the backburner until 2007, when we finally said “Let’s just get the money together and make this bloody thing”. At that point my long-time writing partner Kevin Hutchinson and I sat down and started really breaking down and producing the short.

Waiting until then turned out great in a lot of ways – we had very little to make the short (less than $20K) – so it connected us with a strong team in it for not only money, but the art (special shout-out to our DOP Pasha Patriki). It introduced us to a great non-union (at the time) actor named Adam Kenneth Wilson. We first met him during the audition process, and he brought so much to the character from the get-go that we decided we had to expand Samuel’s story. We were so impressed with Adam once the short was finished that we asked him to join us as a co-writer.

From there it just grew and grew. The feature idea came first – we finished the first draft of the script in mid 2008, and started shopping for finance. At a certain point we realized just how difficult the indie market is right now, so decided we needed an edge – and the graphic novel idea, “The Eternal: Final Dawn”, was born.

Out of everything the graphic novel has been the most interesting for me from a writing perspective. We are writing it as the 500-year history of the character, a prequel of sorts. In doing so, we’ve managed to flesh out a really detailed world in which Samuel and “The Eternal” exist. I also got to put on my historian cap, and research a lot of myth/legend/history to weave into the narrative. The thing nobody knows yet is the other larger elements at play in Samuel’s story – elements that also weave through our other upcoming films “Deliver Us” and “New Generation”. We want people to be able to connect the universe in the same way one would Stephen King’s THE DARK TOWER, or a show like LOST. Give something more immersive to potential fans.

TGL - A lot of our readers have asked questions about making into production. Can you briefly walk us through the journey, like a timeline of how you made it from idea to completed project? Do you think short films are the place for people, who want to launch a career in the film industry, to start?

JMc - Making a film, even a short, is a long process – at least it is if you want it to be any good. You don’t want any weak links – in the end, one bad performance, a weird music cue, FX that don’t work, etc. – can sink the audience reaction to your work. In an industry as over-saturated as the film industry is now, and technology existing in which anyone can slap together something on a Handi-cam and call it a film, you need that edge.

Obviously it all starts with the idea and script. That needs to be developed fairly well – don’t just write a first draft and shoot that. Take some time with it. I’m not going to go into the financing side, since the next two questions talk about that – but you need to develop and figure out your budget next. How cheaply can you do it well? What is your ideal budget? Once you have that figured out, and you know how much money you have to play with, pre-production can begin.

The film itself is made in pre-production. If you slack here, your film will suffer greatly. The lower the budget, the more responsibility you’ll find yourself saddled with. I’ve worked on many things in which, as director/producer, I didn’t have the budget to pay a full crew – so you have to decide who you have room for, and what roles you can sacrifice. The hope is you’ll have enough money, but don’t feel bad if you are also up until 4am making craft-services for the next day, even as a director (which I’ve done on a number of occasions). Filmmaking isn’t glamorous, and a lot of my “success” came from the willingness to get my hands dirty.

You need to be organized from day one. Shot-lists, storyboards, and a good firm schedule can really help your film. I never show up on set without knowing exactly what I plan to shoot that day. The D.O.P. gets my shotlist days before we shoot so we’re on the same page and can discuss problems that may arise BEFORE we get to set. And most of all remember – even the highest skilled veterans like to work and create, so don’t be afraid to ask for professional help on deferral and reduced rates. I know that as a genre filmmaker, my product is only as good as my FX team and DP, so I never compromise there.

There is no set timeline to get a film done, but the key is efficiency. With “Ending the Eternal” we did a loose 1.5 months of pre-production (keeping in mind that with a full crew this pre-pro would be significantly shorter), 3 shoot days, and a couple of months of post (again, this isn’t work all the time – you need to let your cuts sit a bit, let friends watch and give feedback – you never know what can be improved if you don’t rush things). With a feature the schedules vary – a standard indie feature preps for approximately 10-20 days, and shoots for about the same. More money allows more time to play around and get everything perfect, so in an lot of ways the indie filmmaker has to be even more organized to make an impact.

As for short films, I’m of two minds. Dov S-S Simens would disagree with me, but I think they have a great deal of value. The “calling card” short is a great commodity to get your foot in the door - look at Neill Blomkamp, Jason Eisner or James Wan. However, you have to go into them knowing you probably won’t make your money back. Very few people buy shorts, and the licensing fees are very low. They are great “demos” for your abilities, especially on the festival circuit, but if you can take the same money and make an effective feature film out of it, then you may actually have a product that is worthy of distribution and decent revenue.

TGL - We also get a lot of questions about money. What kind of budget was there for Ending the Eternal? And how does it compare to the feature?

JMc - “Ending the Eternal” was very low budget (less than $20K), but everyone still got paid decently enough on set. However there was still a lot of donated work, so if everything cost what it should have, probably closer to $50K.

On a feature film things are different – sure, you could ask people to work for 15-20 days for little pay, but I really don’t like doing that. A paid crew is one that won’t screw you over in the 11^th hour. “The Eternal” was written and designed to be a proper film, with a proper budget and actual known (name) actors. Because of the cast we have attached (which can’t go public yet), we need a lot more money – and because we’re poised to make a Canadian indie feature with the intent of a limited theatrical release and worldwide sales appeal, we aren’t just going and shooting it. We’re raising a fairly sizeable chunk of money for an indie film made in the current industry.

However, as it stands I have multiple versions of “The Eternal” worked out – we have the “ideal” version, and then know we are able to make it for approximately half the money. This of course means less cast pedigree and more corners cut, but you need to have a contingency plan. Money is extremely hard to come by, and even more-so now. It’s out there, but it takes a lot of work (and don’t kid yourself, working capital) to put together. We still don’t have all of our goal finance on “The Eternal”, despite having shopped it and taken countless meetings over the last year and a half. The financial climate across the board is one of nervousness and very little risk-taking, so you have to be ready and put yourself in a position to keep swimming, if plan A doesn’t pan out.

What I’ve learned to do is play the game and diversify as much as possible. “The Eternal” may be our flagship film, and our highest budget (night and day compared to the short – but it is a much bigger story) – but you meet so many different kinds of financers that it’s good to be ready to take the discussion into multiple directions. Because of this we have three other properties packaged and ready to shoot, at varying lower budgets. If someone doesn’t want to invest in “The Eternal” but still wants to invest in something a little less financially heavy, we’ve got “Foster’s Bane” (thriller @ $500K), “Skull World” (doc/comedy @ $100K), and a new currently untitled project (dark comedy/thriller @ $100K).

TGL - What are some of the challenges you've faced in getting your work off the page and onto the screen? How did you overcome these challenges?

JMc - I’ll let you know when those challenges are entirely overcome. At the moment the financing game is a tall mountain to climb. We’re confident we’ll get our goal, but you have to be prepared for a lot of disappointment. You can meet and negotiate and plan out your project for months and then everything you worked toward can fall apart in a single phone call.

With indie film, a lot of financing structures are also built around the idea of co-production. A $2 million film might have 10 different financers, or two (each putting in half the money), etc. If one of those financers pulls out, goes bankrupt, or anything else, your project could sink. You need to be extremely careful in how you approach everything. I’ve thought we’ve had full greenlight twice already with “The Eternal”, and twice it’s fallen apart. It can be incredibly disheartening, but you keep going.

Another worry is creative control. The fact is – if someone is paying for your movie, unless you are very lucky, or David Lynch, it’s not going to be the same film you saw in your head. This is both good and bad – film is a collaborative art and other opinions are good. Notes and changes can sometimes be for the better. But not always. I haven’t hit the point yet in which I’ve had someone literally tell me to change something or it’s a deal-breaker, but I know it’s coming.

I think the only thing you can do as a filmmaker worth your salt is move forward carefully, and be ready to get screwed over. And when it happens, don’t let it kill the dream. You need thick skin, or you’ll get chewed up and spit out. Remember, there are a million other people just like you, at varying degrees of talent, all competing for the same dollar. All after the almighty “greenlight”. Talent is one thing, but unless you take the time to teach yourself the business and really know what goes on at markets like AFM, and how deals are made, you are just a dreamer. Even as a writer. You need to know these things in 2010. Everyone that “makes it” on an indie level does.

There are great resources out there to learn these things. Search online for producing tips and blogs (like Todd Farmer’s great writing blog), get an IMDbPro membership and read the message-boards, add filmmakers on Facebook and actually try and talk to them, pick their brain. People love to talk, love to pass on knowledge (well, most of them), so never feel shy. Your passion and sincerity will come through, and you can gain tons of valuable info. I also highly recommend Lloyd Kaufman’s book “Produce Your Own Damn Movie” and Dov S-S Simens “2-Day Film School” DVD collection.

Also, more than anything else, learn the pitfalls in the industry. Avoid the sharks and so-called producer’s reps/sales agents that are really only after conning you out of money. There are some great sales agents out there (most are IFTA members), but there are also fly-by-night con-men that will take you for every penny you’re worth if you give them the chance. Check everyone out. Being stupid will result in nothing but debt and shattered dreams (or thicker skin, if you have to learn the hard way). The sharks prey on your ambition and most young filmmakers aren’t grounded enough to realize that “too good to be true” usually is.

TGL - What is your writing process?

JMc - I generally write with my long-time creative partner Kevin Hutchinson (www.secondskincreations.net), but regardless it’s generally the same when it comes to screenplays. After the initial idea, or spark of an idea, we sit and discuss it, sometimes we’ll meet a few times just talking it back and forth. We come up with the general story, working out any plot holes or problems that may arise. The next, and most important step, is characters. Generally, we make up detailed character backgrounds for everyone in the story, even the minor ones. We make sure we’ve come up with who they are, where they’ve come from, their personalities, how they’d respond to a given situation. The audience will never know the detail we put in, but it’s that detail that dictates the story. It becomes much easier to write if we know what John Doe will do if a big monster jumps in front of him. If we know their every insecurity, their psychology, etc. For example, if a character has intense anxiety disorder, then a certain degree of suspense actually organically comes from that trait.

Next up is the rough outline – a point by point breakdown of the major beats in the story. We then take that outline and write it up, change things that need changing, and start hashing dialogue. Generally we know the entire story before we even start a draft (though in some cases a free-form script can be something powerful – just very rarely).

Finally, the first draft starts, which I usually end up writing on my own (with constant input from Kevin). After that, we revise together to second draft. Any subsequent drafts come with the benefit of time and reflection – over time ideas change, some things get thrown out, and the story becomes more solid.

TGL - A common question we get is about rewrites during the shoot. What we have on paper sometimes doesn't translate 100% to the screen... Did you find or do you expect that you'll have many re-writes during filming?

JMc - Rewriting during production is usually for practical reasons. A location will make the blocking impossible and it has to revised, or an effect or gag doesn’t work and you have to improvise, etc. As a writer and/or director you have to think on your feet, especially with low-budget. You may write your story for one way, but after casting your actors may have a different cadence to their speech patterns (ie. Dialogue changes needed), certain performances may seem weaker (character time cut), or you might just simply run out of money (which shouldn’t happen if you produce well).

I think the best moments and re-writes are the ones that come while making the film. You may have a great idea or a way to add another layer to the story easily, halfway through the shooting schedule. Or anyone might have made a great suggestion...... a film continues to be written while it’s shot, and it’s important to realize that it’s a good thing.

Which side of things do you prefer? Writing or Directing?

JMc - For me they are somewhat indistinguishable. I somewhat prescribe to the Auteur Theory, and am trying to shape a career as a writer/director.

When writing I’m actually breaking down the film, shots and all, in my head. I know the way I want the scene to play out – so when it comes to directing what is written not much gets lost in translation.

Even if I end up directing a script that isn’t mine, the director is still very much a writer in that case. The words and the story are one thing, but how that story is told on screen is just as much a part of the writing process. A reaction shot, decisions on how lines should be played – many things, both subtle and less so, dictate how the story is interpreted. Both roles are different sides of the same coin.

TGL - What advice would you give to someone looking to film their first short?

JMc - If it’s your first short – just shoot the bloody thing. Do a simple idea that doesn’t take a ton of effort, and shoot it. Aim to make it the best you can. Get this into your head now – if it’s your first short, chances are it isn’t going to be amazing. Do it anyway. The first short is all about experience.

My first short was “Retribution of the Meek”, which I made in high school. Cheap cameras, cheap blood, etc. But I learned things making it that still apply today. “Ending the Eternal” was actually my fifth short film, but the first to get any sort of actual notoriety. I made one after that, “Open Invitation”, and I think the growth as a filmmaker is clear between the two.

Just keep shooting – but don’t go to make your first short and sink $20K into it – because it’s a waste of money. Make sure you know what you’re doing before you really start putting cash into your career. A bad looking $20K short is just that – worthless. But a bad looking first time short is worth the experience. Who knows, you might be a genius who can pull off something amazing right out of the gate, but it’s unlikely. Film is a learned craft, a culmination of years of experience and knowledge. So take the time, and don’t worry if it takes longer than you expect – it will.

TGL - We see a lot or media online and everybody has a YouTube Channel these days. Has the Internet become a new tool for Indy writers/directors? How have you used this medium to get projects out there?

JMc - The internet has made me. I’ve got pages on Facebook, Vimeo, Youtube, Twitter, Google Video, Daily Motion, Pelime, Myspace, Imdb, etc. Embrace it. Never before has it been so easy to get your work out to the world. The networking sites have also allowed me to get to know the webmasters/editors at most major horror news sites, so they run my press releases. Whore yourself, but do it respectfully. Attach your uploaded videos to theme-driven groups. You never know who is going to see your stuff online. Enter in online film festivals, post links on message boards – go to where the fans of your type of film are, and get your buzz building. It’s worth the work.

The internet can also help you build your network and crew – Craigslist, Mandy.com, social networking sites – you may find everyone you need to get your film off the ground via these. Use it to make your name, to advertise your upcoming events, to make your presence known. And when you’re about to go into production, use the internet and approach Variety, Hollywood Reporter, and Baseline Studiosystems (who provide all film info for the New York Times, Yahoo, Fancast, and much more) – announce your project in the trades or production charts – people will come out of the woodwork inquiring about your film. Some great contacts can be made this way.

Be careful with short films though – if you want to make a festival impact, you can’t release on the internet first – as most major festivals require your film to be an exclusive premiere (or at least not available for free on the internet). We did pretty well at festivals with “Ending the Eternal”, but we didn’t get into some because I decided to give it an internet release first. I don’t mind – plenty of fans have been made online.

TGL - We've spoken about the Eternal Saga, what other projects are you working on? What can we look forward to in 2010?

JMc - 2010 is planned to be the year of “The Eternal”, but we have a number of other projects in varying stages of development. I’ve been shooting a new documentary called “Skull World” (www.skullworldmovie.com) for a little over a year now. That wraps in Fall 2010. In addition, we have two lower budget features, “Foster’s Bane” and a currently untitled one. Besides that, some music videos. Generally our main focus is on getting Samuel’s story out to the world.

TGL - Again, thank you for taking the time to speak with us.

JMc - You’re quite welcome. Hopefully I didn’t write too much.

2010 - The-GreenLight.com Interviews

2010-01-15T09:10:00.002-05:00

Ok... so this week I have been lining up articles, and interviews for the site. I had a bit of a bad experience with one of the cold calls. The woman I contacted was offended that I had not memorized her book, and by some of the questions that (you) our readers sent in to us. So she told me not to contact her again until I knew "more about what I was asking" and not until I had read her book "please". To paraphrase a chimp on roller skates from the Simpson's Season 5 - Deep Space Homer - "No. I don't think we'll be doing that". I thanked her for her time, and correspondence and told her that I personally didn't think there was a stupid question except the one that isn't asked.

ANYWAY... I'm still laughing about it really, because the next email I got was from someone who would love to share his knowledge with us! So...

We have 5 interviews lined up already and at least one new article from a wide range of talent. Indy Film producers, Directors, Writers for TV, Film and Animation... We're really looking forward to a great year!

I will have some updates from interviewees and winners of The-GreenLight.com Script contests and more...

We're having a blast and 2010 is shaping up to be a fantastic year!

Peace and good writing!

- G

Cold Calling

2010-01-13T14:52:00.004-05:00

Ok... so in order to get your name out there and get your writing in front of people you need to master the art of Cold Calling. I... am not a master. But I do know the importance of the activity.

I get butterflies in my stomach as I'm dialing the phone. I sit and re-read and re-read and re-read email queries over and over until I'm satisfied that they are 100% perfect... Inevitably I go back to them a day later and BAM! Spelling mistake, or I've accidentally repeated a word a dozen times. I think even veterans have this issue. BUT! Its an exercise that needs to be done.

Most of my cold calls are for interviews for the Website. Contacted people I don't know or haven't spoken to in years is difficult and uncomfortable. So here's a couple of tricks I use to make it a little less like a job interview.

1) Know your stuff. If they ask a question of you, you need an answer. So if you're pitching a show, know your world. So when they ask you... Why do the Purple dragons eat only vegetables and the Green dragons only marshmallows you can easily answer with something that sound splausible.

2) Know who you're calling. Find out about them people, the company, their prod. history and make sure that what you're ptiching is something they'd be interested in. If you're pitching a Sci-Fi Epic to a Documentary company you'll look like an ass.

3) Remember the worste thing that can happen is they tell you they are not interested. You have nothing to lose.

4) Remember your stuff is GOOD! I mean really good... BE confident, and self assured... but don't be a jerk about it. People LOVE to offer opinions... and yes, I'm sure you put everything you have into your script or show, but remember. You going to them. Show them that you know your stuff. That you are confident that you can do the job and get results... but that you're open to their ideas and expertise.

5) MAKE SURE ITS READY... Don't make a single call until you have something polished to show them. It's really hard to rattle off a completely polished script in 24hrs. So be prepared for them to say... Can you send us a sample? Make sure its polished. Get some expert Coverage done. Make sure you've dotted you I's and crossed your T's. A sloppy script won't sell... an unfinished script... unless you're Paul Haggis or Quentin Tarantino won't sell either... They can sell concepts... We're not so lucky...

6) If its a phone cold call... Rehearse with a friend. Have them pretend to be the producer and go through your pitch. It sounds stupid, but at the end of the day the more you go over it the more you know what will work and what won't. You don't want to run at the mouth and sound like an idiot on the phone. You want your conversation to be as polished as your script.

7) FOR GOD SAKES keep it short. Don't linger. A query letter is a page. Be breif. Answer questions, be informative, but don't ramble. Again... you'll sound like a Noob!

I have rehearsed cold calls in front of a mirror before. Just to get an idea of what I would sound like. I've also recorded myself answering questions to make sure I'm not shooting myself in the foot.

At the end of the day, the best advice I can offer that has helped me is... be prepared.

Anyway... Time for a few more calls...

Cheers!

- G

Struggling

2010-01-08T13:06:00.003-05:00

Ok... Sooooo... every once in a while you get a really great idea that needs to be forced out of your head and onto a page before it chews a hole in your brain like those weird beetle things from the Wrath of Khan.

I am currently STRUGGLING to get one such idea out. The TV Pilot... I know I've been cryptic about the content, premise etc. and I will continue to do so, but OMG! This project is going to kill me. I have so many ideas and concepts I want to impart to the audience during the first episode I'm STRUGGLING to find a good, straight forward storyline that has everything I need to have in it, with a little candy for the soul in order to snare the audience into my series trap...

So dilemma... do I give up some of the details and rescue the plot, or do I include the details and leave out some of the candy - that might be the difference between a sale and a pass...

It's a pretty complex concept that I'm trying to impart in 43min. During that time I also have to introduce the characters, their relationships, and personal goals... Ugh! My 5 page outline is pushing 17 pages now... By the time I get to writing the actual script I'm going to have no room for dialog!

Anyway... my rant of the day is simply this... Having good ideas is not always in your best interest!

Peace!
- G

2010 - The Year it all happens

2010-01-05T14:30:00.004-05:00

Ok... I'm just going to throw this out there for ya... By the end of 2010 I will be a produced screenwriter. Period. There's really no question about it. Here's why... and please forgive me if this sounds egotistical... I don't mean it to be...

1) I'm good. I have a great imagination, and stories just come to me like farts to a fat man...
2) I've been told my dialog is "brilliant", "charming", "real", and "effortless"...
3) I know people... and they know people... ;)
4) Why not me? huh?
5) I work hard at it... (this is the real key)
6) I'm determined to make it happen (the second key...)
7) I am building a really nice library of material and it's going to pay off.
8) I listen to my critics. It's one thing to get coverage done and do a re-write... Its a little more difficult to listen to the message behind the comments and apply the theory.
9) See #1.
10) Because I look good in expensive suits and I have an acceptance speech prepared for my first Indy Spirit Award... :)

Really I think it boils down to #5,6,1,2... in that order. Writing is something you do because you have to, because you would be completely lost if you didn't have the outlet... BUT you also have to work at it. Every time you get a sharp comment from a reader you need to ask yourself. OK! How do I make this project better? You can't please everyone... but you have to...

Anyway. I have set some goals for 2010... Lofty ones... but with hard work they are attainable. Every month I will complete a script for a TV show I am currently watching to build my Library and exercises and develop my writing skills. I will finish and polish (to a fine porcelain sheen) my last script "Ghost Hunter" and my next Feature Project "Breakfast with Tiffany". My TV pilot will be complete by months' end and flawless by the end of February... Ready to flog to any and all who will listen... It will be a whirlwind... You won't know what hit you... I promise, I will do my best to entertain you, and when you read my work, I assure you you will walk away happy you took the time... Cheers!

Get ready... cause here I come...

All the best in 2010 my friends!

- G

Holiday season

2009-12-18T10:15:00.005-05:00

Hello...

Ok... so I'm an awful blogger... I haven't had time to write anything here 'cause I've been super busy on other projects. So here's the update....

The-GreenLight.com 1st Annual Script Contest was a success. Our winner T.L. Lewis wrote a masterful piece entitled "REBIRTH" set in the days of the Huguenots. It's brilliant.

Also we're now running a monthly contest that is doing very well... We'll be announcing our 3rd winner at the end of the month! The quality of script submissions is amazing. There are a lot of really talented and creative people out there... Sooooooooooooo... I'm reading and reading and that's an awesome thing.

Now for me... I am on the 3rd draft of the outline for my Pilot. That doesn't really sound all that impressive (3rd draft of an outline)... But if the outline sucks so will the script... Everything should be worked out ahead of time so you don't end up doing what I did with Ghost Hunter (we'll get to that in a minute). Also... when you have a good outline the finished piece practically writes itself. By the end of the outlining stage you should know everything you need to know so that all you have to do is drop in some of your witty dialog and BAM! 1st draft is ready for polishing.

Now... Ghost Hunter... It's my 3rd feature script. Post-apocalyptic Earth... A world shrouded in darkness... Well... Let me just say... don't start the first RE-Write if you haven't finished the 1st draft. I found myself re-writing the script before I had even finished the 1st draft. This lead to a number of problems not the least of which was the fact that some of the things I re-wrote in the early stages didn't line up with anything on the back end... So you have these things that seem like major plot points that vanish into thin air... Needless to say I have a Major overhaul to do on it before its ready to be sent off for its first round of coverage... If I sent it now... I would get a two word report back "EPIC FAIL!" - It's all good... I know its a hot mess... But its done! and the foundation is solid... Soooooo writing is re-writing... and I will do a re-write.

So... between polishing off the 3rd feature, getting 3 drafts of the outline for my TV Pilot and all the fun stuff we're doing on The-GreenLight.com I've been a little busy... Too busy to blog... BUT once my vacation starts in about 5 hours and 57 min... I have nothing but time...

My goals for this vacation... Write an episode of Hotwheels: Battle Force 5, an American Dad, and outline an episode of Trauma... Also... finish the outline for the Pilot, and get the 1st draft of the script written! I only have 2 weeks... So I'll be happy with just getting the 1st draft of my pilot done... BUT you have to set goals! and the higher they are, the more you'll prove to yourself what you can actually accomplish if you set your mind to it.

Cheers! and have a safe and happy holiday season!

- G

I'm still alive...

2009-08-27T17:04:00.003-04:00

Ok... so I haven't blogged in a while. I'm REALLY busy though!

Let me summarize... I work at a University as a computer geek! (day Job), all the students are coming back in the next week. I have 5 Dept. to look after (mostly by myself), and they all want something NOW, or 5 Min. ago. Sooooooooooooooooooo... No time to blog... And really it is no time... 'Cause the other exciting part of my life right now is that every other waking moment I am learning to write for TV! I have been reading, and writing as much as I can! Thankfully I have a number of friends who work in the industry who are wonderful and fantastic enough to share their wisdom and scripts with me so I can learn the formatting and pace of TV Writing.

I have finished the 1st draft of the Re-write on Blood & Roses I started after the last contest results came in. It is obvious that there is something not quite right in the script. It makes it to the finals but is missing something the judges are all looking for to make it a winner... Sooooooooooo, re-write... and the 1st draft is done. Hurray! I have also been working on finishing Ghost Hunter. I have about 20-30 pages left on that one before I will turn it over to my script angel Xandy for her harsh and poignant critique (which is always right on the money). She, is a script saver! But... unfortunately for me, or rather fortunately for me, I had a brilliant idea about the story while waiting for the bus a coupe of days ago, so now I have to re-write a GIANT section of the script... so Maybe it's more like 50 pages.

Next, I have 2 spec scripts to write. 1 - 1hr TV Drama. and 1 - 1/2 TV comedy. I will likely do a Vampire Diaries for my drama... Looks like such a good series! and right up my alley. And an American Dad for my 1/2 comedy. I have been, for the last week and a bit, expertly guided into the wonderful world of Animation writing by Xandy's equally accomplished husband Stephen. Both have worked on some of my Favourite Saturday morning cartoons like The Batman, Ben 10, Superman: The Animated Series etc... Such good shows... So much fun! And I'm learning soooooooo much my brain can hardly contain the knowledge. I am also getting some good Q&A from both of them. I hope their investment in me pays off. I will certainly do anything and everything in my power to get to my goals... I have given myself 5 yrs to have one of my scripts produced into a Feature. I have my award speeches mostly written in my head...

"I'd like to thank the academy for this great honour, 5 yrs ago as I sat blogging about my writing career I never could have imagined the moment when I would be standing here..." So on...

I kid... but I do have a set, set of goals... (I actually carry them around in my wallet). I will accomplish every last one of them, and you know... I have set some pretty impossible goals out for myself before and blown through them like a F5 Tornado - Baby!... Soooooooooooooo... What if I do have my eyes set on that golden statue? I've got some good stories to tell. Now its on me to get them down on paper, and make them sparkle and shine like the Trophy itself. If I can do that, nothing can stop me...

Anyway... way off track... After I'm done the specs, I have to write my Pilot... Which I have also been working on. The universe is outlined, the characters are good... The working doc. is quickly turning into a Bible for the show. So it'll be a good reference to work with once I get down to outlining the pilot. Teh pilot will be quick paced and grab you before the teaser is finished... Once Esprit is introdced you'll fall in love and that will be the end of it... You'll be an addict! I promise!

So anyway, gotta jet...

KEEP WRITING!!!!! You know you want to!

- G

Awesome Q&A with Canadian born Actor Noah Danby!!!

2009-08-11T19:21:00.020-04:00

TGL - Today we have the pleasure of speaking with Noah Danby. Originally from Guelph, Ontario Canada (props to the hometown!), Noah has had an action packed career as a series lead on Painkiller Jane, as a regular on Stargate SG-1, and appearing on Sci-Fi hits like Smallville, The 4400, and Mutant X and in features like the upcoming release of Uwe Boll's Darfur. Thank you for taking the time to do an interview with us at The-GreenLight.com.

Writers often wonder what impact their words have on the people who bring them to life. As an actor, what makes a great script great? Is it well defined characters, good dialogue, or is it a script with more room for you to play?

ND - Well I think it’s all of the above but it all starts with a story. Dialogue can change according to the circumstances. Room to play is important but a lot of the time, trying to find what works with what is written is also challenging and fun. Well defined characters, is more like icing on the cake but at the very base of it all a story that people would take 2 hours out of their day to watch and listen to is what you want to go for. If you have that you’ve just up’d the anti for everyone working on the film and watching it.

TGL - It seems, at least from the sidelines that one of the major differences between TV and Features is that there is more collaboration between cast, crew, and the writers on a TV set. Have you ever have to opportunity to work with the writers to develop your characters and if so, what kinds of input can a writer expect from an actor?

ND - From my experience it all comes down to time. For feature films, there is a lot of time for development. So an actor can and should spend that time developing that character into something very different and unique. While with TV most of the casting is done the week before you go to camera so an actor is more inclined to spend his rehearsal time coming at the script from his or her own perspective rather than that of a fully developed and original point of view.

TGL - There was a really great episode of Painkiller Jane when your character Connor was suffering from hallucinations and almost took out the entire team in a hail of bullets. When you’re presented with material like that how do you take the written word and give it such emotion? Do you stick to the script word for word, or use it more as a guide and use your skill as an actor to provide the impact?

ND - I dare say that was some of the best material that Matt Hastings had ever shot. Those words came from his mouth not mine. After reading the script I had decided that I was going to bring everything I could to that particular scene and I did. We shot and shot and I went to that dark place for almost 16 hours. Wearing a body cam for 7 hours and then taking it off and shooting the rest of the material with the Vipers we had on set. But to answer your question. I don’t think anyone knew what was going to happen in this scene until they saw me do it for the first time. I ended up going above and beyond what was given to me in the script. We ended up shooting way past our time constraints for that day but Matt simply turned to the line producer who was questioning his decision and said “What do you want me to do, This is the best fucking footage I have ever shot. I have to keep rolling.” Out of all the work I did on that show that is definitely one moment that stands out.

TGL - You’ve done Sci-Fi, Action, Comedy, pretty much the entire spectrum. What type of script is your favourite? What captures your attention about it?

ND - My favorite material to work on, is the story that inspires. That, after watching, you think to yourself…”Yes I can!” Those were the movies that had the largest impact on my life and the least I can do, is return the favor.

TGL - If you could pick a role, any role from any movie or TV show ever made, what would it be? What aspects of the character, story line, and dialog makes that the role for you?

ND - My next role, is always the one I am most excited about playing because the possibilities are endless and it’s mine! ALL MINE!!!!!!

TGL - What advice would you give a screenwriter who’s just starting out in the biz? If you could offer any insight from an actor’s perspective what would it be?

ND - Work on your craft every day. Remain Disciplined with it. Like a workout or eating. LOL. Don’t sit and wait for inspiration because then it will pass you by.

TGL - What projects are you working on? Where can we catch up with you next?

ND - You can see me in the upcoming season of Flashpoint, The Bridge and in the Feature film Darfur. I am currently in preproduction on a reality TV show called Bounce set to start shooting this September.

TGL - Thank you again for taking part in this interview, we look forward to the release of Darfur, and talking with you again.

Writing...

2009-08-11T10:43:00.003-04:00

Ok... So work is starting to pick up and I'm falling asleep on the couch after dinner so I'm struggling to find the time and motication to write anything... That being said, I got another 10 pages done last night, and a bunch of re-writes from Act 1 done too. Sooooooooooo... Long story short... 30 pages to go and the new draft of the feature will be done. then... Re-write, polish, re-write, polish... over and over again...

Still no results from the WriteMovies.com 21st contest... That's ok... It's not even 9am in L.A. at the moment, but I'm getting anxious to hear the results. I know I've done really well. Making it to the finals is quite an acheivement... So anything else is just gravy! You know? But the words... CONTEST WINNER - Rogerson, Gordon - BLOOD & ROSES would be sweet!

To quote Stuart Smalley (SNL Character)... "I'm good enough, I'm smart enough, and, doggonit, people like me!" *grin*

So... what to do... Well... I have an hour for lunch which I will spend reading the latest edition of Candaian Screenwriter Magazine, and wolfing down my Toasted Tomato sandwich. And the other 45min writing... I would like to get at least 5 pages done today! If I can do 5 pages a day for the next 4 days and finish up on Saturday and Sunday... I can sit down and write episode on of my Pilot series starting Monday! Hurray!!!!

I will write a nice blog about the WriteMovies.com Contest experience when the results are in.

Cheers!

- G

No News

2009-08-06T16:02:00.003-04:00

Ok... well the title is a little misleading... I have a modicum of news... My news is that I have gone back to the feature I have been writing for the last 8 months in order to push through and get the last 40pgs written.

Now that the foundation for the Pilot is finished, I've decided to focus on finishing the project I was working on when this new brilliant idea popped into my head. I am going to finish the feature, then write the first episodes of "Cabal". Reasoning... nothing concrete... just you should always finish what you start. I'm kind of like a cat or a bird in that respect.. I get distracted from what I'm doing by the shiny new idea... It's hard to finish something if your mind keeps coming up with NEW somethings just as fun... SOOOOOOOOOOOOOOOOOOOOO... I am forcing myself to finish the feature "Ghost Hunter" (working title) before moving onto the series. :)

I would also like to mention that Blake Snyder author of Save the Cat! and Save the Cat! Goes to the Movies passed away a couple fo days ago. I never met him, but the lessons he shared with the Screenwriting community have played a big role in my writing career.

An Interview with Director\Producer Michal Page

2009-08-04T10:58:00.013-04:00

Today we're doing a Q&A with Michal Page, Director\Producer. Michal has worked in the Film industry for 14 yrs, and has an IMDB entry as long as my arm.

TGL - Hi Michal, thank you for taking the time to sit down with us, please tell us a little about yourself.

MP - My name is Michal Page. I've worked my way on set through the ranks of an Assistant Director to a Director/Producer & Production Manager. I've also dabbled in Acting but HATE IT. I've been in the 'biz' for over 14 years and known on set as 'Scoops', 'Dinky' or 'Dinkster'...and can be found in the credits usually with my name spelled wrong. I like long walks on the beach, surf n' turf, the REDWINGS and today I woke up completely hungover with little elves hammering away at the inside of my head and my stomach churning from some sort of cheap hooch and I truly feel like the most pathetic being on the planet. I get in the shower which has lost virtually all water pressure for some reason. I think back upon the previous evening's poor decision-making in which I ignored the voices in my head telling me to go home at a respectable hour, preferring instead to stay until the bitter end....huhhhhhhhh and as I stand under this little trickle of a lukewarm shower, a dark sense of gloom settles over me. some sort of regretful shadowy feeling. I think what the HELL did I do last night? Did I make out with a handsome and/or geek total stranger in some dark booth or in the ladies room? No. (dang) did I dance on the bar? No, no that's not it. (dang dang) Did I drunk dial an ex? Oh shit, no it's worse. I drunk POSTED a zillion strange men on Craigslist's Women Seeking Men. Shit. Shit. Now I will have an inbox full of dick pics and notes from lascivious stalkers...and what if I didn't spell check?? the spelling and grammar perfectionists will have at me next. and wait.. what exactly did I write? Oh god, I didn't reveal my long and agonizing stint of celibacy did I? How will I get to work in time to destroy all of the computers because I know my coworkers read CL all day. Surely they will know it was me. I'm packing my bags because now I need to change my identity and move out of the country but I will still remain hilariously awesome - just somewhere else.

TGL - Bahahahahaha *roflmao*... But seriously "Dinkster" How did you get into the Movie Making Business and what has kept you working in the industry over the years?

MP - Honestly, there was no magical wish I made nor did I know anyone in the biz....I was going to Ryerson University and just happened to walk into a lab at school and came across a flyer from a Production Company that needed PA's (production assistant) for the up coming Feature Film being shot in Toronto. I went for an interview and the interview I felt went okay - but as I was walking out to my car - this guy came running up to me in the parking lot and said, 'I'm sorry to run up to you like this, but I heard your interview...My name is blahblah blah, I'm the 1st AD (assistant director). I was wondering if you would like to be my TAD (trainee ass't director - in charge of getting the cast processed (hair/makeup/wardrobe/signing cast in&out etc etc, basically a glorified gopher) on set for the duration of the film?' I was like, 'HELL YA!' Well, I guessed I did something right, I did the entire film and they asked me back to do the next and then the next....Back then you only needed to finish 3 films as a trainee and 3 reference letters from 3 differ Guild members to get into the DGC Union (Director's Guild of Canada). I entered the union as an Associate Member and shortly after became a full member...Now, over 14 years later - I still the love rush of shooting and I am still plug'n away as an Assistant Director but now also have been a Production Manager, Producer and have even Directed. What keeps me in the biz? Passion, cool people, free food and travel on someones dime other than myself...Could anything be better? :p

TGL - Writing is a very personal experience for most writers. They put pieces of themselves into each scene, and character. When you have a script in front of you and you are thinking about how it should play out on screen, how do you interpret the Writers vision? What are some good tips for writers to keep in mind when they are creating a scene...

MP - Tips? For me, when I write things and want to bring it to life...I make sure to surround myself with a Production team that shares the same vision. It's So important to have a DOP (director of photography) and a Director that know how to not only bring the story out through actors, but also through all the other lil' effects you need to bring to life without words and scenery.

TGL - How much creative license is taken with a script once it leaves a writers hands? Is there an effort to stay true to the concepts and vision, or do you find that Directors take creative license with a script in order to bring their vision to life?

MP - Well if you have a great team that shares the same vision you'd stay pretty close to the story and vision on how you want to tell it - but unfortunately, budget always plays a HUGE roll in making that happen.

TGL - Creating well defined characters that stand on their own is sometimes difficult in writing. Separating one character from others is challenging in that you almost need to have multiple personalities yourself to develop a unique voice. As a Director\Producer how much is in the script? How much is Direction? And how much is Acting? Is it a chorus of all three, or a solo act?

MP - Again, the casting process is a complicated one. But all Producers, Director's and Casting have a huge part in who is cast and who can bring the 'vision' to life as how you'd want it portrayed... (so 100% pre production prod.dir.cast) but once cast, the actors, I think, are over 80% responsible for how the character comes to life. That's why it's SO important that it's made clear before hand who you want - nothing worse then not goin' to these meetings on who you want and what you want in pre-production - then, gettin' to set for Day 1 of shooting, and the actor can't act their way out of a trash can.

TGL - If 100 new scripts were handed to you, and you had to pick only one to develop and produce, what would you look for? What script characteristics make a project jump out at you?

MP - Huummmm - well the 100 scripts would have to be dropped off to me in person so I could see who I'm dealing with...Then, I'd pick the most good looking dude in the lot...you know, cause we'd be spending A LOT of time together...so I better have some eye candy... Bah hahahaha!

TGL - There’s a big difference between what the US calls a Big Budget Movie and what Canada calls Big Budget. I heard that an average feature budget in Canada is around $2 Million vs. $25 Million in the US. How much attention to the financial side of things should a Writer pay when trying to market a film? Can a $25 Million dollar movie be made for $2 Million in Canada? Or are we just not putting as much production value into our home grown box office?

MP - Well you can't shoot a film like X-Men, Hulk or Superman on a 2 mil budget...Be realistic. I mean, you can put a plastic model Superman dangling on some fishing line but would you really want to? I mean, unless the Director or Lead Actor is George Clooney. Eye candy is SO important. :p

TGL - Are there many differences in working on a Canadian project vs. a US project?

MP - Yeah, the food...and a pay cheque. Oh, did I also mention George Clooney possibly shirtless?

TGL - Do you ever have the writer on set for last minute re-writes or consultations? Is that the standard or the exception?

MP - It's rare. If the production office happens to be close by, yes....but usually if re-writes are needed they will be faxed to the 2nd AD on set in the mobile AD/production office...or if minimal - the Director/Producer/Writer will conference call on set.

TGL - What advice do you have for writers who are looking to make it big? Got any secrets you wanna share? ;) Is there anything you’d like to say to the people who are reading this interview?

MP - Advice? Yep, don't expect to make it big. Having dreams and thinking positive of making it big is one thing, just don't expect it. Huummm - what would I like to say about anyone reading this interview...? Well, you just got a taste of how awesome I am and should we meet on set one day, I like my Starbucks '1/2 decaf venti, sugar-free vanilla, skim milk, 180 degree latte - in a double cup w/ a sleeve' and served with a smile...

TGL - Michal, thank you for taking the time to talk with us. As always it has been a pleasure.

MP - NO WORRIES DUDE! ANY TIME!

"HOUSE"

2009-07-30T10:53:00.002-04:00

Okay... So as a writing exercise to get used to writing for TV instead of Features I am going to write an episode of "House M.D.". I love the show. I'm familiar with the characters, style, pace, act breaks. I've read a couple of House Scripts. (not as funny on paper - Hugh Laurie really makes it work).

I have been looking for really weird medical problems AND FOUND ONE!!! I have also worked through the A\B\C story arcs. Yippeee... So this weekend, I'm going to sit down and power through 60-70 pages of a House script.

Since he is in the loonie bin recovering from his addiction at the moment. The story will center around Chase, Cameron and Foreman. The B-Story will revolve around Cuddy with a hint of Wilson, and the C-Story... House playing with his Doctor's head.

FUN! I have never tried to write a 60 page script in 4 days... It's only 15 pages a day (I've done that in an hour before). If I play my cards right and get to work, I could have it finished by Saturday and have 2 extra days of polishing!

As a side note... I am losing my mind waiting for the announcement from WriteMovies.com! I made it to the finals. The script is solid and has a real market appeal at the moment 'cause Vampires are hot and so are Vampire Love stories so I'm confident I will do well in this last round. I just NEED TO KNOW HOW WELL!!!!! Anyway, without sounding cocky it's a sell-able script. As with EVERYTHING it could prob. use a little work, but the story is good, AND I've already outlined the sequel. :) I'm feeling confident in my ability as a writer. Not cocky. That's what I'm working with. There's no reason why Blood & Roses shouldn't win this competition. I just don't know how good the rest of the writers are. There are a lot of unrecognized Genius' out there and I could be up against all of them... You know what I mean? Plus, I already have plans for the prize money, and something on order :) Is that wrong?

Anyway, gotta jet...

Keep writing!!!

- G

I don't have a life 'cause I'm creating the lives of others...

2009-07-29T08:15:00.000-04:00

Ok... So, I spent the better part of my weekend and most of the last few nights writing and I have the foundation of what could be a really fun series. The Town of Gillies Hill Lives!

This is a Sci-Fi\Fantasy show. That being said, I think that most Sci-Fi fails to reach a mass audience because its just a little too out there. Alex Epstein said during our conversation (which I keep quoting) that the TV audience is a more mature audience than the movie audience which is comprised more of younger guys "who want to see things go boomie!". I agree... I like a good BOOMIE! :) And as he also pointed out with HBO programming it really opened things up and you can do more (and by do more I mean the Holy Trinity... coarse language, nudity and, violence...). Just look at one of my new favourite show True Blood... I don't think I've seen an episode in the last month without Anna Paquin's naked body flailing about... Anyway... the point I'm trying to make is that even the most Fantastical story has to be rooted in reality and a good way to do that is to create characters who are knowable, likable and familiar.

One of my proudest moments was when a contest judge told me that the characters in my screenplay felt like friends, like she had known them for a good long time. SUCCESS!!! If you don't have a protagonist that the people like the script isn't going to do well. If they don't care about the main character, why should they care about what they are doing... End of show...

My friends can attest to this... the characters I create all have a bit of me in them, and they certainly have a bit of my friends in them, and EVERYBODY I have ever met... For example, I went to high school with a girl who literally started ever sentence with "Well, if you think that's bad\good\sad\fun\- insert emotion, I....." she turned EVERY conversation into a competition. I once saw her try and top a girl who was talking about her Grandma dying! She actually said... "Well, if you think your sad, I had a dog when I was young and..." I think she went on to weave a tale of woe about how it got hit by a car and died in her arms at the bottom of their driveway... but OMFG! Really... You think losing a dog trumps a Grandma? Anyway, I 'm straying off course here a little... The point is that we all know people who are characters. We all know a public nose picker, we all know a sweaty girl, and a shy beauty... They live in our lives and the lives of everyone around us. Those are the characters you need to bring to the script. Flesh them out. Bring them to life. Once I finish the pilot and register it with the WGA and WGC I will post the character desc., etc. on The-GreenLight.com along with the script for the pilot episode.

So I guess my tip for creating characters for the week is look to yourself, and write WHO you know. Another good step to take is to write out a little paragraph about the character. Here's a short one about the main character in my TV Pilot.

"Esprit Sparks grew up in a large home surrounded by several generations of her family in an almost communal existence. Privacy was and is a luxury. Esprit, named for her free “spirit”, longs for a normal life. Good luck! First, her pot smoking, tie dye wearing parents, David and Angela, gallivant around town in a Volkswagen Van that is older than they are. She’s their only child, and she shares a room with her Great Grandmother. Try to be a teenager in a house that smells of patchouli oil, Bengay Arthritis Cream and Weed. Normal isn’t a word that gets tossed around much over the bean curd and lentils at their vegan dinner table. Since attending a Birthday BBQ at Taylor Bowen’s house when she was 8 yrs old, Esprit has taken every opportunity to eat as much meat as she can, frequently ordering the double bacon burger at Gill’s for lunch."

Without going into detail and spoiling the plot and background info of the pilot you get a bit of a feel for Esprit's (Esspree) background and her rebelious nature. Accompanied by a character development sheet that describes her physical attributes, favourite things, close friends, biggest fears, etc. and you have a pretty idea of who she is and what she's about. Do this for your characters and they will suddenly come to life in your head and on your page. For me to be successful at finishing a script, I really have to be comfortabel with the people I'm writing about. I need to understand why the bad guy is a bad guy, and is he really a bad guy or are his motives just different than the main character. Why does the good guy or protagonist (not always a "good" guy\gal) want what they want? I don't think you can write good dialog and help the audience get to know the character and have them invest in them if YOU, the writer, don't know them. You know what I mean? But hey... I haven't sold a script yet and I'm certainly not a qualified Story Analyst (see my interview with Xandy Sussan). I'm just a guy who loves writing so take what you want from my advice, and go forth and write... and enjoy writing!!!

Peace

- G

Characters need a place to live!

2009-07-24T12:27:00.000-04:00

Ok... so, I jumped a little ahead of myself. I have some characters named, but before I get into sculpting them into people, they will need a place to live. It's one thing to develop a good universe, but what about the city, town or burg they live in. That's gotta be real too... And really, my life was shaped and altered by where I grew up, so BEFORE I start getting into character details, and delving into their personalities, I should probably know where they grew up, what school they went to, who did they hang out with and where? That kinda of thing...

So, after doing a bit of research I have found some wonderful Ghost Towns that used to exist, but are no more that plaques on rough stone markers in farmer's fields. Because these old towns lived and died they come with a bit of history, and with a bit of fidgeting, creative license, and complete fiction you have your very own small town to build upon.

I gave the description to my girlfriend and she had 2 reactions... 1st, she wondered why I was sending her tourist information for a small town in Ontario. The next thing, she asked if we could move there. So I guess I'm on the right track.

Along with setting the scene as far as the town goes, I think you really need to create it like another character. I mean, each city I've ever been to has its own personality, so why not approach this like you would any other character?

I wrote and re-wrote and wrote some more and I think I've come up with a pretty likable, believable place. NOW its time to start creating some characters and giving them a purpose.

Peace...

- G

Characters - Love 'em or Hate 'em

2009-07-22T11:35:00.000-04:00

Ok...

So, I've been wracking my brain to come up with some likable characters to populate my universe. Interesting individuals who will bring the world I've created to life with their exciting lives and interesting mannerisms. I have a chracter development sheet on the-GreenLight.com website in the download section that is kinda handy, but I want a little more detail for these characters since they will be living in the TV universe. Features require good characters with backstories and details, but they will not be scrutenized as much as a TV character that comes back week after week, season after season. TV charactaers have to have a deeper demension to them because the audience is going to spend more time with them, and if they are weak, or 2 demensional, they won't be appealing... Keep in mind that Giligan's Island ran for 3 yrs in the 60's and can still be seen on a couple of different TV channels... 40+ years of syndication! That's a lot of time for these characters to live... You know!? So, TV characters have to have a little more substance, depth, and consideration before making it to the page. Therefore... I have moved onto the 10pg. character outline sheet. Details like how would this characters freinds describe them, what is there relationship with their parents, what is their most embarassing momemnt. Those kinds of details. You have to know them intimately.

Another thing I have learned is that someone reading your script, without looking at the names of the characters should be able to say... Oh! That must be Jane speaking. Each character should be unique, and identifyable to the audience. I mean, if you're writing about a group of mindless automatons then I guess they should all sound alike and be identical, but other than that they should be individuals. That's not to say that groups of friends don say the same things, and do the same things. I mean, my friends are CONSTANTLY using my words and terms ;) in conversation. (Kiddin...) We learn from each other and use the same slang and turn of phrase because we are exposed to each other more. BUT we each have our own delivery and spin on the english language. We may use the same words, but we deliver them differently and individually... So that needs to happen with the characters.

I'm going to try and keep the number of characters in my story to a minimum. To many and following all the B-stories that you need to keep the characters alive for the audience start getting confuising. That's one of the reasons why Lost, lost me in season 2. That and the black smoke jungle creature that was never explained or seen again... wtf?

I think a small (5-6) collection of very well thought out characters that the audience can love or hate is perfect. There will be the episodic characters (like the crewman in Star Trek that dies on away missions) to support the stories and the main characters, but the overall arc will focus on just a few. i.e. House and his team, the Star Trek: TNG Bridge crew, Buffy and the Gang, and the Crew of the Serenity.

So... time to get to work... Lots to do!!!

Next... I'll need to give them all something to do, and give 'em a reason for doing it!

- G

Setting the scene...

2009-07-21T16:10:00.000-04:00

So...

I sat down last night and started creating the Sci-Fi\Fantasy TV world my characters are going to live in. From what I've been reading, and from my own personal TV viewing a solid, believable, SIMPLE, universe is a really good place to start. One pitfall for some shows I've been a fan of is a distinct lack of continuity. One minute pigs can fly, the next they can't. So my goal is to establish a good set of rules and a good solid SIMPLE backdrop so that I don't have to take time away from the stories to explain the world they are happening in. Seems like a good idea to me... And as a writer I need to know the universe my story is taking place in. I have to live in it as well, at least as far as the writing goes. So if in the universe I'm creating pigs happen to fly, I need to pack a helmet and a large umbrella. Check! In my opinion you should know the world you are writing about inside and out, and I also like to have my worlds grounded in some semblance of reality. I think you should be able to sit down for an interview and have the interviewer throw 1000 questions at you about the world you've created and you should either have an answer, or be able to fill in the blank from the existing mythology you've created. Keeping thing grounded in reality even when you're creating a fantasy realm, allows you to exploit the audiences familiarity with their own world by overlaying it onto your own... So if pigs fly, there has to be a reason, and a logic, and if pigs fly, what other mammals fly? That kind of thing....

Now, one of the reasons I love my girlfriend is that when she is eating something, looking at something, smelling something, reading something, she doesn't like she gets this sour look on her face. Kinda like the one our Cats make when they have smelled something particularly obnoxious. We call it the "shit" face around our house... So I gave her the first draft of my Universe outline, and as she read along there it was... the shit face! I guess in my excitement and eagerness to drive home a particular point about the world I was creating, I deviated from the first concept I wanted to stick too... Keep It Simple Stupid! I got all wound up in the point I was trying to make in the outline, and left her saying "WTF??" soooooo... re-write... remembering K.I.S.S... and it passed muster. Thank goodness... Next... Characters... Now that I have a world that is fantastical, simple, and still interesting... It needs to be populated. Soooo... off I go to figure out the characters and their archetypes and what their back stories should be... Who are they? What did they eat for breakfast? What was their 1st grade teacher's name? you know... gettin' to know them as well as I know myself.

Cheers...

More to come...

- G

Pilot project...

2009-07-21T09:44:00.000-04:00

Ok...

So, I have decided to try writing a pilot. The reason... and interview with Alex Epstein... and my need to write things that I would like to watch. Alex said during our conversation that he plays a game with friends from time to time called, "what else could I do for a living?" and that the answer is usually "Frakked if I know"... Well, I have a day job (Sys Admin), and I enjoy it, but to be honest at the end of the day, when I have time to relax and do what I want, I'm usually still in front of a computer typing away or reading an article on writing. I'm not a professional writer, but I am a writer. There is a need to create, and desire to improve what I've written... No matter how many times I've been told that I can't, I have turned around and showed people I can and will no matter what they say... I'm accomplished in my own mind. I've won contests, finished 2 feature scripts that have been well received outside my family and friends, I've had a play produced (by an amateur theatre company), I've written a novel, and some really bad poetry... and it's something that I love. So hey! Why not throw my hat into the TV ring? I know what I like! I know what turns my channels...

Sooooooooooo... rant complete...

I am working on a pilot. It's for a one hour Sci-Fi\Fantasy show to fill the gap in my TV viewing left by the cancellation of Buffy the Vampire Slayer, and Angel. There's a few really good shows on the air now. Fringe is excellent, Heroes is a little hit am miss lately, I'm enjoying Dollhouse, Terminator SCC has been good (although off the air now)... And there's a bunch of shows airing this fall that are going to be pretty interesting and I'm hoping will be good... The Vampire Diaries looks like it'll great fun! But now I want to contribute. I'd like to write something for the Buffy Audience, for the lovers of Angel, and good writing... You know? So here I go, off on my pilot project. Check back for updates on how it's going...

Cheers!

- G

Q&A with Alex Epstein - Award winning Writer of Bon Cop / Bad Cop and the Book Crafty TV Writing

2009-07-13T14:14:00.001-04:00

I'd like to welcome Alex Epstein and thank him for taking the time to speak with us. Alex Epstein is a writer for television and movies, and author of the books Crafty Screenwriting and Crafty TV Writing. He co-created the comic drama television series Naked Josh for the Oxygen Network (U.S.A.) and Showcase (in Canada); it ran for three seasons. He's been nominated twice for a Canadian Screenwriting Award for his work on the show and, he was Head Writer for a science fiction TV series, Charlie Jade. His insightful blog Complications Ensue: The Crafty TV and Screenwriting Blog can be found here.

TGL: Tell me a little about yourself? What is your background?

Alex: I started my career in L.A. as an assistant to an independent producer, co-dependent producer might be a better term, then moved up to vice-president of development, which meant that I read scripts and recommended which ones we should to try to option, and worked with agents, and tried to figure out how we could put together a pretty good script with an actor that would give us good foreign sales. We would then take the foreign sales to the bank and get the money for the movie that way. I did that for awhile for a series of producers and pretty much all of them were trying to make movies in Quebec. We were trying to take advantage of some pretty strong cultural support that the Canadian government gives to movies shot in Canada with Canadian scripts. I became aware of the warm fuzzy feeling you get writing in Canada opposed to the hostility you experience writing in L.A. So I moved up here and that turned out to be the best decision I have made, because I had been writing all along but it really took off at that point.

TGL: You went to school at UCLA?

Alex: Well oddly enough I was a Computer Science major at Yale, but have an MFA from UCLA.

TGL: What made you make the switch from Computer Science at Yale to UCLA?

Alex: Well, first of all, dating myself a bit, at the time computer games were nearly as much fun. I’m not saying Pong, but games did not have the AI’s that they have today, and the other things that you can do with computers were even less fun. So I won’t say I was bored, but it was not ringing my bell.

TGL: So you were more interested in Tron the movie than the game?

Alex: Well I always wrote. I wrote back in high school and just kept writing. Everyone always told me that I was a very visual writer so it seemed like a good thing to do. Also a pretty girl in Paris told me that I should go into film and when pretty girls tell you that you should do things, you should listen.

TGL: So writing and being a visual writer just kind of lent itself to writing for T.V. and movies?

Alex: I think so. It took quite a long time to turn that into reality. I would say the first 10 years of my career was less than spectacularly successful. I got paid to write some things, but I certainly wasn’t supporting myself.

TGL: Which medium do you prefer writing for? Do you enjoy writing for television or movies?

Alex: I prefer television. The comparison I like to make is writing a movie is like a one night stand. You put all of this work into it and then when it’s over, it’s done. Then you don’t see those characters again and you don’t revisit that world again. Maybe there’s a sequel, if you are very lucky, but very often you write the script and it doesn’t get made. With T.V., if you can get a T.V. show going, you get to play with those characters much more. If you get picked up for one season, say for an hour drama show, so that’s 40 minutes a show, for say 20 episodes, that’s 800 minutes instead of 120 minutes. So you are spending a lot more time with your characters, you’re learning a lot more about them, just a lot more time. So it’s like a marriage compared to a one night stand. It also doesn’t hurt that you get a whack more money.

TGL: So there is that difference as well?

Alex: When I was coming up, there was still this thing that T.V. writers all wanted to be movie writers, but they couldn’t afford it, because they couldn’t take the salary cut. T.V. writers no longer want to be movie writers because most of the interesting work is being done in TV these days.

TGL: Is that a global shift across the industry?

Alex: Yes. HBO really opened up story telling possibilities. So you can do a lot more things in T.V. now. Another thing about T.V. is the audience is older and more sophisticated. The movie audience, by large, are boys that want to see things go boomie. The pay cable audience is really quite sophisticated, and even the prime time audience is older and more demanding. So you can do much more interesting things with characters, and you can tell more interesting and rich, than you can with movies. It’s a bigger palate.

TGL: To go along with that, coming up with fresh ideas every week, and I have struggled with this, and I’m sure the people reading my blog have struggled with, writers block. I was watching an interview with Bob Moresco, who wrote Crash. He said that was absolute baloney, writers block is just an inability to sit down at a desk and write. What do you think about writer’s block?

Alex: I don’t believe in it. I don’t have it; I don’t know any professional writers that have it. If you’re a professional writer, you can always write. The writing may be crap, but you just don’t allow yourself to go “oh this is crap, I’m not going to write.” you just go “oh, this is crap, oh well, I’ll fix it later.” You know, a bricklayer can have a day when the bricks aren’t coming out right. But he doesn’t get to go, “oh, I’m just not going to work today because the bricks are coming out a little bit bad”. You know, show up for work, it’s a job. So you take that as seriously as any other job, you know, every other worker goes into the office, and you feel like crap and you feel like you’re not getting anything done, but you do the work and let other people decide if you are doing crappy work. They may even decide that, in fact, you are not doing crappy work. It is possible to be too critical of yourself. You may even write yourself out of your slump.

TGL: So you’re saying just sit down and get to work?

Alex: Yeah, you know, ass in chair, fingers on keyboard. ... But also, you develop tools for writing. You develop tools for looking at what you are writing and why does this suck? Or, how do I get an idea? Or, you have friends that you can bounce ideas off of. Because you have tools you can be a craftsman and you can respond if you are having a bad day, you’re not waiting for inspiration to strike. So a bricklayer isn’t just going into work hoping for inspiration, he has his level, and his trowel, and he knows the consistency that the mortar is supposed to be.

TGL: So if you have a good solid foundation and you know your plot outline and you know your characters, environment and things like that, and you invest time in those that the writing will just come?

Alex: Yeah. You develop ways to break down each problem until it’s small enough that you are not overwhelmed. What is the theme of this scene, what is the character working towards in this scene, why can’t he get it? If you answer those questions, you will be able to write the scene. So you don’t just go and write a movie, you write a 2-page pitch and then you write a 5-page pitch, then you write a beat sheet, then you turn that into a step outline, and then once it’s a step outline you only have to worry about the scene you are writing. You don’t have to worry about “what will I write.” You just have to worry about how do I get into this scene, how do I get out of this scene? Where do I want this scene to end up? You can start by figuring out where you want the scene to end up and then work back from there. Or you can place the scene that will get you into it. In my book, CRAFTY SCREENWRITING, I have a bunch of different things that you can do to start off to get into a scene.

TGL: CRAFTY SCREENWRITING that you wrote in 2002?

Alex: Yes. And also CRAFTY TV WRITING in 2006. So there are tools. So you develop your tools and they help you and you are not relying on talent to get you through the day. You’re relying on craft.

TGL: You offer a screenplay consultation service through your website craftyscreenwriting.com?

Alex: Why yes I do, thank you for mentioning it. It’s not cheap, but I think I get down to what’s really not working in a script, rather than just the symptoms of what’s not working, and I can often offer a way to fix what’s not working.

TGL: What are the most common problems that you see with a script?

Alex: Almost all the scripts that fail, fail with the elements of the story. The elements of story are, #1, you have the character that we care about. #2, that character has an opportunity, problem, or goal. #3, he or she faces obstacles and/or an antagonist. #4, he or she stands to win something they didn’t have before, which is what we call stakes. #5, stands to lose something they cherish, which is what we call jeopardy.

Almost all scripts that fail, fail because those elements are not strong enough. If I asked you what does the character want and you say you don’t know, then you don’t have a story. Or if you don’t know what the character is risking, or what he stands to gain, then you don’t have a story. A story is these five elements, and it fails if they’re not strong. I’m not saying that nothing is going on, I’m saying that there could be a whole screenplay full of things happening, but it still doesn’t have a story.

TGL: So what you are saying is the foundation of any real screenplay is going to be the story? If it doesn’t have those elements, then it won’t involve the reader or an audience?

Alex: You can have bad dialog, sure. But if you have a strong story, we can fix the dialog. And in fact, if the story is good, it almost forces you to have at least competent dialog. Whereas if you don’t have a story, it’s going to look like your dialog doesn’t work. And then you can spend a year working on the dialog and the dialog still won’t seem to work.

TGL: One of the other things that I have been told is also very important is that once you have a your screenplay, you’ve spent the money and got the coverage, worked with a story analyst and polished and, polished and, polished until you just don’t want to look at it anymore, you have to have a good query letter?

Alex: Now I go back and forth on this. I don’t know how many scripts have been picked up by querying something out of the blue. It’s a very high hurdle if you’re sending in a query letter from Kansas City. If you possibly can, try to find a friend in showbiz who can tell an agent or a producer, “Hey, this guy doesn’t suck, read him”. With this, I think, you’re going to have much better results then send out a whole bunch of queries. So when someone says you have to have a great query letter, I don’t know, does having a great query letter make it happen? I got my first few agents by querying them, and you may actually be in Kansas City, so you’re sort of stuck with sending query letters.

And by letters, these days, I really mean emails.

Certainly, though, a bad query letter dooms your query. And more importantly, if you’re having trouble coming up with a good query letter, then dollars to donuts your story isn’t working, either. Part of my evaluation service is a query letter evaluation service. I almost always wind up making more comments on what the hook actually is than how it’s phrased.

A great query should really spell out all the five elements of story. This kind of guy has this kind of opportunity, problem or goal, but he faces these obstacles or this antagonist. And if he succeeds he’ll win these stakes but he faces this jeopardy. Sometimes the stakes or jeopardy are implicit, but all the elements should be clear from the query.

TGL: So if a good query letter isn’t going to land you a job...

Alex: Now are you talking about T.V. or film now?

TGL: That’s a good question.

Alex: Because you don’t really get a job in features. You sell a script. If you can sell a pretty high profile script you might get on “the list” for rewriting other people’s features, but short of knowing a lot of people in the biz, you’re not going to just get a writing job in features.

TGL: Ok, let me rephrase it. If it’s not going to get you a job writing for a T.V. show...

Alex: What’s going to get you a job on a T.V. show is really awesome spec scripts and maybe a spec pilot. You get those to an agent, when they’re not too busy, they read you, they like you, and they start sending you out for staff jobs.

TGL: How important is an agent in this business?

Alex: You can’t do anything without an agent. Theoretically around the edges you can get a non-union gig, but only if you have a lot of contacts. And this would be a low-budget feature, maybe, but really not without an agent. It is extremely difficult to do anything without an agent. Why would a producer have anything to do with someone without an agent when they can get someone that has an agent? An agent means that someone is vouching for you, someone is depending on you to make money. There are plenty of people that are just as starving as everybody else who have agents, so why not start with them? Why hire people who can’t get an agent?

That’s why you don’t really query a TV spec in the way you query a feature spec. I mean a feature starts with a hook, to get someone to read your feature. With a T.V. spec it’s not going to be about the hook, it’s going to be about the...”I have a “HOUSE” spec in which House has a brain transplant, and a “CRIMINAL MINDS” about an evil clown, wanna read them?” If an agent is looking for clients, and the episodes sound reasonable at all, they want to read them. Because they aren’t looking for a great hook, they are looking for great writing.

With TV, they want to see great writing because they’re trying to sell you as a writer. With features, they want a great hook, because they’re trying to sell your script.

TGL: If you could travel back in time to the beginning of your career what would you tell yourself?

Alex: Don’t waste your time on features Alex, you’re a T.V. writer.

TGL: Is that because you have tried features? You co-wrote BON COP / BAD COP, which broke Canadian Box Office records.

Alex: I got the BON COP / BAD COP gig because the director and I had worked together on a TV show. I met Erik Canuel while we were both working on CHARLIE JADE down in Cape Town. So when he was looking for a quick re-write on BON COP / BAD COP, he told the producer, I want that guy from Charlie Jade, he can write fast and well.

TGL: So is that the key to T.V. writing, is writing really fast?

Alex: If you can’t write really fast you’re not a T.V. writer. You also want to be, you know, good. But if you’re good but slow, then you’re a feature writer.

TGL: What’s the turnaround on a T.V. script?

Alex: You have, at most, a week per draft. Say a week for the beat sheet, a week for the first draft, a week to rewrite it. There will be a writing staff, so you may have three weeks for the whole script, that’s multiple drafts that you’re dealing with. The fastest I’ve ever written a production script, from conception to FADE OUT, was 24 hours. There were three of us banging it out. I’m not saying it’s the best thing I ever wrote on, but they shot it.

TGL: Is there any advice you could give someone that is starting out?

Alex: I don’t think people need to go to film school, I think people need to work in the business. I think you learn more from working in the business than film school. I don’t think that you need to work on a set; I don’t think that is necessarily helpful. Working for a producer, working for an agent, that will get you the experience you need. The thing that I really recommend is working for an agency. Nothing makes you aware of what people are looking for and what they aren’t looking for. How precious they’re not being. How little time they take to look at the material. People who put all these precious things into their script, they’re just going to throw your stuff away. I don’t think people realize how little time they have to impress people or how much competition there is. Back when I was reading scripts, you had about five pages to convince me that I should read the rest of it. And I wasn’t being sloppy: in my experience scripts that failed to convince me in the first 5 pages never got good enough to pass along.

TGL: I heard ten pages.

Alex: Honestly, if it didn’t rock in five, it wouldn’t rock in ten, or twenty. I mean, why shouldn’t it grab you in three pages, or two pages. Or look at it this way: if the writer doesn’t know to create exciting drama, tension, mood, mystery, something, in three pages, then they don’t really know their craft.

TGL: Looking back over your career, are you excited where you have come from and where you are headed?

Alex: I have a lot of very good things in the works. Will they get picked up or not? I don’t know. So I am somewhere between excited and terrified.

TGL: Would you suggest screenwriting to anyone as a career?

Alex: No, because what I would say is, if you need to do it, you’ll do it. If I tell you not to do it, and you need to do it, then you’ll do it. If you need me to tell you to do it, you shouldn’t do it.

I mean, I have no idea what I would do if I couldn’t get paid to write. Every now and then my friends and I will play “What Else Could You Do for a Living?”, and the answer for most of us is, frakked if I know. It’s like acting, if you have to be an actor, if it’s as important to you as breathing, then you will find a way to be an actor. You may not be a rich actor, but you’ll work. If you don’t have to be an actor, for God’s sakes don’t be an actor, because it’s a really crappy life if you don’t absolutely need it. I mean it took me ten years to get to a point that I could support myself writing and that’s not at all uncommon.

Also, if you don’t have to do it, why not save room for the rest of us that do? If you need to do it, you’ll find a way to make it work. And if you don’t need to do it, that’s going to come across, and you’re not going to get the job. And if you do get the job, sooner or later someone who needs it more will kill you and eat you.

TGL: So it’s the passion and drive that makes it work.

Alex: Yeah, whatever I have to write, I’ll write. Whatever I have to do I’ll do. That’s what gets you through. When people reject you, if you don’t have to do it, you’re going to think, frak them, who needs the stress? But if you need to do it, you’ll think, oh my God I have to fix this, how how how?

TGL: Thank you very much for taking the time to talk to us.

Alex: You’re welcome.

An Interview with Writer\Script Coach\Story Analyst Xandy Sussan

2009-06-22T18:03:00.001-04:00

TGL - Today we have the pleasure of interviewing Xandy Sussan - Writer, producer, story analyst. Xandy tell us a little about yourself, how you got started and what has kept you working in the industry over the years?

XS - I’m Xandy Sussan, a produced writer and script coach / story analyst with CoverMyScript.com. I always knew I wanted to be a writer. When I was 10, I saw Woody Allen’s “Sleeper” and I was hooked! I grew up surrounded by movies (my parents are both huge movie buffs) and I was a self-confessed TV junkie by the time I could speak (I think that was my third word… eek), so there was really only the one direction to go in. I would say, if anything keeps me going it is that I continue to write movies and television I would want to see made. It’s really as simple as that.

TGL - As a professional reader I’m sure you’ve had the opportunity to read some really good material over the years (in between the nightmares I’ve sent your way). What makes a good story stick out? Can you identify a few commonalities between one good script and another?

XS - Well, a good story has compelling characters, solid structure and leaves you satisfied at the end, making sure to use everything. Most new writers think it’s okay to just have a notion “a single mom balances her job against her kids” and that’s enough to rest a whole project on. Well, it’s not. They say “God is in the details,” and never more so than in screenwriting. It’s not necessarily the freshness of the story (although that helps a ton) but it’s also the execution. If you can’t figure out how to craft this single mom so that she’s gripping, likable and worth rooting for, if your structure doesn’t flow, and if you mention details that don’t pay off, no matter how excellent your premise is, your script will never be a success.

TGL - There are a bunch of myths and legends about making it in Hollywood. Is it true that 98% of the scripts that make it to Hollywood end up in the trash before they even make it to a readers hands? What are some of the common pitfalls a newbie writer will make that will guarantee their material will end up being filed under “G” for garbage? Are all Studio Readers really Film School Interns unwilling to risk their reputations on a new writers work?

XS - This is really a two part question. It’s more like Studio Readers are frustrated writers who hate you and your work, just because it’s yet another script they have to read. They’re tired, they’re blind, they’re poverty stricken, and they’re having just as hard a time getting their agent on the phone as it took you to get your script past the door. It’s harsh to say, but mostly true. There are many production companies and talent agencies that use interns to do coverage. These kids are usually still in college or recent college grads and wouldn’t know a good story from their elbow, but they’re cheap labor and that’s what makes Hollywood go ‘round.

Part two: Okay, so how does someone with no connections get past the lions at the gate? I’ve just relearned this recently, it’s amazing what happens when you cold call. Most times, 97 times out of 100, you’ll get rejected and hung up on, but those other 3 times, someone might be interested in checking out your work.

Rule #1, don’t contact anyone about anything, until such time as you have the script perfect (I don’t mean that your mom liked it, I mean that there’s no typos, it’s in the correct font, it’s been checked out by an independent professional etc.) There’s nothing worse than getting someone on the phone willing to look at your work, but the script isn’t finished. Then you have to rush it through and it’s a waste of everyone’s time. Make sure the work is ready to go and you should have no problems.

Rule # 2 You should have a solid query to go along with your script already prepared before you call anyone. Same rules as above apply. You don’t want to get caught with your pants down. A friend told me there’s a simple rule to writing a query… short, short, short. Your logline should be no more than 2 sentences and 55 scintillating words making your story seem so sexy and exciting that how could they refuse. I know that sounds impossible, and trust me, it ain’t easy, but it’s doable. And you should keep at it until it’s perfect.

Rule #3 Always charm the assistant of whomever you’re trying to reach. The assistants are the gate keepers and they decide what gets through and what doesn’t. The first time you call, get their names and keep good records. If when you call, you say “Hi Jill, it’s Xandy Sussan, we spoke a few weeks ago about my script” you’ll get a better response than “Hi it’s Xandy Sussan, I’m calling about my script.” People love to be addressed by name, and it makes them think they should know you, since you know them. It puts you in the power position.

Rule #4 There is a fine line between stalking and following up. Stalking is calling every day. Following up is every 2 weeks. Don’t be a stalker. But that being said, you should always ask when would be convenient for them for you to follow up, then do as they say. Patient yet persistent, but don’t be a stalker.

And the rest is luck and tenacity. If you’re a quitter, don’t bother. Show your script to your friends and family and let them pat you on the back for being a genius. If you are a rabid dog, who never quits and always perseveres, keep at it. You’ll eventually make enough connections to get through to someone.

My one last pearl of wisdom for newbies, never get off the phone with someone who said “no” without asking them who else you should call. You never know what will happen. This is where being both pushy and charming comes into play. Best case scenario, you get another contact, worst case, they say, “bye” and you’re no worse off than when you started.

TGL - A lot of my readers probably don’t know the importance and usefulness of script coverage, so I thought this would be a great opportunity to get an EXPERT’S opinion of why getting coverage will benefit ANY writer, new or veteran, but also to get some clarity about some of the terminology.

XS - What is script coverage and why is it a good tool? Script coverage is, usually, a two page (or so) report about your script and is largely used by agents, managers, prodcos to manage and evaluate their script submissions. For screenwriters, it’s a tool to help you asses where you are with your work. It will contain the basic information, writer’s name, reader’s name, date, logline, a synopsis and comments.

The logline is a quick sentence that describes your script. For example the logline for “Tootsie” might be “When an unemployed actor needs to raise money, he poses as female in order to get a job on a soap.” It’s just the basic essence of your story. Don’t worry if the reader doesn’t address your multi-leveled pathos in the logline. It’s really just the gist of the story.

The synopsis can be helpful to new writers because often times they’re unable to see a better way to tell their story. They’re too close to it and can no longer see what’s really on the page. A synopsis will provide the chance for the writer to see how another person views their story, thusly illuminating a path to salvation.

The comments section is the bitter pill to swallow for most writers. Everyone is very sensitive about their work, even me, because it’s so personal. You spend 100’s of hours working on something, only to have someone shit all over it for what feels like no reason. Here’s the deal with comments, and I say this all the time when people have several opinions and they’re trying to reconcile them: take what feels right to you. You know in your gut if something’s not right with your script. You know it, even if you don’t want to admit it. So, when the reader suggests that there is a problem, listen to what they have to say and take the comments that feel organic to you. The others, you can ignore. But that’s why having a reader you can trust is so important. You want someone who sees scripts non-stop and knows their stuff. Your friends will tell you your script is great because they love you. And while that’s sweet, it doesn’t help you get your script sold. You want tough harsh critics who will push you to your limits.

So, while Script coverage is a useful tool, you also have to pick your story analyst very carefully. Anyone with $10 and an internet connection can set up a script coverage / story analysis website and claim to be a “professional.” Always check out your reader before you hire them. See what they’re charging. This isn’t one of those instances where cheaper is better (and I’m a bargain hunter through and through). What you’re looking for is someone who can inspire you, has inspired others, has a track record of success and someone with whom you feel simpatico. Your relationship with your reader is going to become, best case informative and speedy. Worst case, it’s gonna be co-dependant. You need someone who understands your goals, your script, and knows how to get you there. Think of your reader as a personal trainer for your writing muscles. If they don’t, or you don’t get a good vibe, or they seem slim shady, whatever, don’t go with them. Keep hunting until you find the right person for you. In most cases, your reader is going to become your confidant, teacher, and someone more emotionally intimate with you than your mate. You want someone you want to spend time with and someone who knows their stuff.

Also, try not to argue with your reader about their notes. I know it’s very personal but, if you’ve done your homework and you’ve found your reader soulmate, you should trust that they have your best interest at heart. I, personally, never lie and I never couch my words. It does my clients a disservice if I kiss their asses and tell them their scripts are great. It doesn’t help them and it doesn’t help me. However, when I’m brutally honest, and tell them it sucks, once they finally get it right and hear from me “I loved it!” they know they’ve really got something then. Honesty is what you want, even if you’re sensitive and have easily hurt feelings. Otherwise you’ll never grow or reach your writing goals.

Last thing you want to look for is someone willing to do a call with you after you’ve read the report. You’ll have questions and you’ll want access to the reader to discuss. Usually an hour is standard and included. If they don’t include a call, or they charge extra, beware. They’re just out to take your money. So choose wisely and you’ll go far.

TGL - Pass\Recommend\Consider... These words seem relatively self explanatory, but they hold a little more weight on a coverage report. Can you give us a little detail on their significance?

XS - Pass means it sucks and it shouldn’t be made or passed along to anyone until the corrections are made. Depending on the reader, and the situation, pass can mean two things. For me and my writer clients, when I “pass” I mean they need to work out their script issues before anyone else should ever see it. For a production company, when I say “pass” I mean “Throw out this piece of trash, I want my two hours back.”

Consider means that there are some positive elements. The story could have a good premise but fail to deliver in certain places. The characters could be great, but the story needs some work. It’s really a middle of the road sort of comment and normally just ends up being a pass, unless it was written by a celebrity, in which case, it’s a greenlight. But a consider could also mean they would be willing to see something else by you in the future, because you don’t totally suck.

Recommend, and that’s a rare one, means this script is so excellent, so wonderful, that if someone else higher up doesn’t read it, they’re missing out. I would say, in my 10 year career, I’ve recommended 7 scripts, 5 of which got made. The other two won at festivals. So, getting a recommend is a coup, to say the least.

TGL - Being a writer\producer and professional reader, what do you look for in a good coverage report?

XS - The comments mostly. If the comments are thoughtful, make sense and are helpful (offering suggestions or alternatives) that to me is the best sort of coverage. It differs between production companies and writers. Prodcos are just looking mostly for a “yes” or a “no”. Writers need more help and guidance. Indie producers are looking for a mixture of both. They often work with the writer and it becomes a team effort, in which each member has a say and they collaborate to make it great.

TGL - Loglines... What makes a good one great? What do you think the key to writing a great logline is?

XS - Quick and to the point. My example above is the perfect logline. It gives the gist of the plot without focusing in too much on the details of the script. The details come later in the synopsis and comments section.

TGL - Why is a coverage report a good idea? What can a professional reader offer that your best friend or mother haven’t already told you?

XS - The truth! Ha! Your best friend and mother love you. They’re so proud of you that you decided to do this creative thing, and while they might know all the lines to “Gone With The Wind” that doesn’t make them industry professionals. Now, if your mother or best friend is a story analyst, professional writer or development exec, (as mine are) then listen to them. They probably know what they’re talking about, but even then, take from their comments what feels right to you.

I don’t think my mother has ever said she loved anything I wrote. No, I take that back. I wrote a nighttime soap in college she liked a lot, but I didn’t care for it. It’s been downhill since then. She doesn’t even like the stuff I’ve had produced, so of course, she’s my go to gal for notes because she always tells the truth, harsh as it may seem. But again, I have to take what she says with a grain of salt. As a professional writer, she understands story, structure, and character development, but her taste is wildly different from mine, so that’s where we clash. I’m young and write with slang and a patois that makes her cranky. So, when she says she doesn’t like a line because the grammar is bad or the slang is incomprehensible to her, I always have to explain, that’s how that character speaks. But when she has a solid note about my end of act two dark moment, I have to listen because she’s right.

Most people don’t have so many writers in one family. My husband is a produced screenwriter and my mother is a novelist and magazine contributor. One of my best friends works in development at Warner Bros., so he’s my go to guy for notes as well. So, if this isn’t your story, seek out a professional if you want the truth about your writing. If you want hugs and cookies for writing a movie, regardless of its merit, go see your mom. She’ll kiss you and then post your script on the fridge and you’ll get the love you’re looking for. If you want to achieve your goals, seek out professional help from someone you trust.

TGL - Where do you see most new writers losing their way in a script? Is it the second act slump? Is it in the first ten pages? What can they do to avoid making those mistakes?

XS - As of today, I’ve read 1779 scripts. That includes the 300 rewrites I’ve read of the same script over and over… I kid, but you get the point. But no, really, 1779. I can tell by page 1 if the script is going to be worthwhile. That being said, I find that most writers lose their way with structure. They have good ideas but poor execution, and that is always their downfall. The three act structure is there because it works. I don’t want to hear “waa waa waa, three act structure is a formula and I’m so creative I’m doing alternative structure.” I don’t want to hear it because there’s one David Lynch and one Tarantino. When you become the third guy or gal in that group, do what you want. The thing about the three act structure is that, even in alternative structure stories, they’re still told using three acts. They’re just better writers and are able to disguise that so you can’t tell. And if you want to really look down the rabbit hole, each act should have three acts, but that’s another story for another day. Don’t be fooled by bells and whistles. All scripts have a flow and if you fail to use it or can’t get it right, you’re done. And any reader worth their fee will know it right off the bat.

TGL - Formatting? Is it as important as the internet makes it out to be? Will they burn you in effigy if you aren’t using ACCO 1 ¼” Brads?

XS - Uh, it’s the MOST important thing. I know that seems dumb and superficial, but it’s Hollywood. It’s all dumb and superficial. My first agent almost fired me when my partner and I sent over materials and all we had were the super long brads. I cut the brad down so it would be the right length. Well, she cut her finger on it and called me screaming. Her point was, imagine if she was not her but someone I was trying to sell to and my idiocy had maimed them. My career would be over before it began. I kissed her ass and apologized to her, but it was a lesson well learned.

Formatting is the most important thing you’ll never realize you’ve done wrong, until you fail and get called out for it. No clever fonts ever! Courier 12 or Courier Final Draft 12, and that’s it. No colored cover pages. 1 ¼ brads, always. 2, not 3, 2 brads. The center is left empty… why I don’t know, but that’s how it’s done.

The thing is, there’s a 100 reasons for them to say no before they even crack open the script. If you get as far as someone willing to read it, and they open it and find the whole script is in 30pt circus font, you know the person is an amateur and you’re done with them. My feeling has always been, if the writer has typos or weird fonts or other formatting faux pas on the first page, then they’re not worth my time. And their script could be the next “Citizen Kane” but I would never know, because I’d pass immediately. Don’t ever give anyone a stupid reason to pass on your script. There’s plenty of valid reasons coming down the pike.

TGL - Looking back over your career, knowing what you know now, what would you tell yourself if you could go back in time to when you first got the spark for the Movie Industry? What gems of insight would you give yourself?

XS - Well, huh, that’s a tough one. I’ve always marched to my own drummer. I’ve always done what I wanted. I’ve always been intrepid and adventurous with my life. I mean, seriously, choosing this as a career was deranged, but it’s worked out so far to some degree. Apart from not being a millionaire yet, I’ve hit my major goals. I made it into the WGA before I was 30. I’m sold, produced and continue to work as a paid screenwriter, so there’s that. I love my business and helping other writers achieve their goals.

But, I would tell myself not to take everything so seriously. I would tell myself to work out my issues with my parents 10 years ago, when normal people did it and not measure my success based on their yard stick. I would tell myself that being able to write a significant piece of material takes time, dedication and patience and that to rush because I have an opportunity never served me well in the long run.

Honestly, I would do most of it, my career stuff, the same way, only I would’ve been more tenacious and less afraid of repercussions. I would have written more and tried harder to get noticed (half the battle in Hollywood). It’s been my experience that story editors, prodcos and the like, are attracted to a healthy sense of moxie and determination. I would make better use of that, as my moxie and determination are my greatest skills.

And I would tell myself that no matter how much I fail, there’s no other life out there for me that would be nearly as satisfying or rewarding, no matter how much I have to starve or suffer to have it. It’s always worthwhile, the second someone says “yes.” And they do say “yes” sometimes. The trick is not allowing yourself to go nuts in between the yeses and doubt yourself and abilities.

TGL - Thank you so much for taking part in this interview... What can we look forward to from Xandy Sussan? What are you currently working on?

XS - Well, thanks for having me. This has been a challenging set of questions! I just finished a 30 minute dramedy pilot for cable that we’re shopping, I’m writing a feature film based on a Poe poem, and I’m writing my own passion project: a super secret comedy that I’ll talk all about once it’s done! Plus, I’m always available to help other writers achieve what they want out of their own writing. It helps, on the days when I’m blocked, to focus on somebody else’s story problems!

TGL - Cheers! And thank you again.

New Website is done...

2009-06-17T00:20:00.000-04:00

Well, I've been working away and working away at developing a new "cleaner" look for the GreenLight... And I think I've got it.

CHECK IT OUT

I just have a little tweaking to do... I have to create absolute references for ALL the images so I can use the URL masking for the-greenlight.com domain... Too much GEEK SPEAK! Yeah! That's my day job...

SCREENWRITING is my passion! ;)

So in the site, you'll find Screenwriting links, Screenwriting Info, Articles on Screenwriting, Interviews with Producers, Directors and Actors about Screenwriting and Screenwriters. Of course there's an entire section devoted to MY Screenplays. AND LETS NOT FORGET MY SCRIPT CONTEST!!!!

Hundreds of $$$ in cash and prizes. Coverage reports, script blast, ink tips listings... You want EXPOSURE! The-GreenLight.com 1st annual Screenplay Contest is the one for you!

So CHECK IT OUT!!! AND TELL YOUR FRIENDS!

Peace

- G

Long Time No Post - The problem with a day job

2009-06-11T16:06:00.000-04:00

Ok... So it's been well over a month since I've had the opportunity to do any kind of writing other than the Technical Documentation I am called upon to vomit forth on a daily basis at my Day job. Don't get me wrong... I love my job, and enjoy going to work most days, but much like most of you, I'd rather be writing the next great Oscar award winning screenplay!

Sooooo... this brings me back to the problems of having to work a day job in order to support the hobby...

Believe it or not, I was at a Primerica meeting and I found some fantastic advice. The theme of that meeting was time management. It was focused on finding the time to grow your Primerica Business but the logic was sound no matter how you look at it... So let's go ahead and apply it to writing.

The gentleman in the video put it this way... So you work 8hrs a day at your job. Lets give you an hour and a half to commute (more than plenty for me to get abck and forth). so that's 9 1/2 hrs. lets give you 8hrs of sleep (about 2 hrs more than I get usually) so that's 17 1/2 hours. Lets take another 2 1/2 hours of quality time with your family... Solid - just you and me time. Not half ass you're in the same room watching TV... That's about 2 hrs more than I usually get... that's 20hrs... Lets say you get another hour for working out or doing your own thing... so 21hrs... that leaves you 3 hrs a day... 3 hrs a day X 5 days is 15hrs a week. That's a part time job... That's 15hrs of writing time... I average about 5-10 pages an hour... so that's 75 - 150 pages a week... And let's just look at that... They might not be top quality pages, they might be absolute crap... but you need shit to fertilize the prettiest gardens right!? Sooooo... What my excuse? I don't have one, really... If I worked out, slept, and spent as much time with my girlfriend and friends as I outlined above, and still had weekends free... WOW! What a life I would have... And if on top of all of that I had 3 hours a day to focus on my writing... Man... You'd be hearing "I'd like to thank the academy" out of my lips before you know it... So where's the script? Where's the porduct... No idea...

What's your excuse? Writers' Block... nope... Oscar Award Winner Bob Moresco has a good video on why writers' block doesn't exist... and how to take care of it - click here "it's all bologna".

I guess what it boils down to is how serious are we? How much time and effort are we willing to put into our writing...

I need to work full time to support myself... Ok... I just showed you how to work full time and commute 1 1/2 hours a day back and forth every day and still have time to write.

I need to spend time with my family... Ok... I just showed you how to spend 12 1/2 high quality hours with your family during the week. Without even dipping into the weekend!

I have to workout and keep fit... Ok... We've addressed that too and given you an hour a day for that...

Everyone needs to sleep... 8 hrs a night... Check!

So even after having a more fullfilling, exciting, and restfull life than most of us normally have... There's still time to write... How serious are you? Sit down and write about it.

- G

An Interview with Writer\Actor Adam Kenneth Wilson

2009-04-09T20:12:00.000-04:00

Adam Kenneth Wilson is a talented Actor and Writer based out of Toronto, Ontario Canada. Adam has had a number of roles over the years, working his way up playing a Pizza boy in a Domino’s commercial, a Microwave Thief in a Subway Ad, but more recently he has been gracing us with his talents in the TV Series "Flashpoint" in the episode “The Fortress”. After bringing the tormented Vampire Samuel Gradius to un-life in the Short Film "Ending the Eternal", his likeness and writing talents have made it to the pages of a Graphic Novel. The Short film is the prequel to the Graphic Novel entitled “The Eternal: Final Dawn” details about the novel and the short can be found here.

More notably, Adam will blow our minds playing the Title Role and bringing the most ruthless and psychotic killer in American history to the screen in "Manson" - Produced in association with The History Channel (US), Canwest Media (Canada), Five (UK) and Canal D (Canada). Airing Soon!

Adam is repped by Mary Swinton at 3SG Talent Management.

TGL - Adam, as both a writer and an actor you have a unique perspective on the life of a script. What is your favourite part of the journey? Which hat do you prefer wearing?

AKW - I love both of these things equally, and for entirely different reasons. While writing affords me a degree of control over some miniature imaginary universe, there’s something really rewarding about the surrender involved in molding yourself to someone else’s vision.
I suppose I’m more confident as an actor, but that makes the challenges of writing somehow more appealing. Each facet serves the other, as long as you remember to tone down whichever operation is uncalled for. That last thought was also a delivered note-to-self.

Wait, no; I have better answers!

While acting, I love late-stage rehearsal, when I can feel the definition of the character really solidifying, but still have room to play with it a little.

While writing, I love creating and polishing dialogue. I’m not an incompetent story editor, I just envy those with a real gift for it, and revel in dialogue, where I’m truly comfortable.

TGL - When developing a character for the page what are the top three things you consider? Are these the same things you use to bring a character to life on the stage?

AKW - When writing a character, I always have a stern chat with myself about how that character must neither sound like me nor too much like the other characters. Then, I focus on what that character’s primary objective and obstacle are. Then I write and decimate all of that character’s dialogue, rewriting it so that they aren’t directly saying what they think or feel, but rather implying it in the tones of conversation or the juxtaposition of action and speech. That’s my process, and I’m only just beginning to get anywhere near good at it.

When performing in a character, there’s oddly more room for him to sound like me. I enjoy experimenting with the surface details of a character, but the more I do this the more I find that the essence of the character can usually be found closer to home.
I could never give up either hat.

TGL - What are your 2 favourite movies? What makes them have more of an impact on you than others?

AKW - I don’t know that I can isolate my two favourite movies, as I love almost all movies, even the terrible ones. What I can do is name my guaranteed laugh and guaranteed cry movies. Those are The Big Lebowski and Wit, respectively. I watch both, often. I’m a huge fan of brilliantly written dialogue. These inspire me to develop my skills to a much higher level than where they now sit.

TGL - If you could work with any actor, director or writer who would it be? And what draws you to their work?

AKW - There are too many brilliant souls out there that I’d kill or at least maim to work with. But this year I’ve gotten to share scenes with Malcolm McDowell and Enrico Colantoni, both of whom are brilliantly talented, and serve as positive role models for any actor who’s trying to establish him- or her-self. Both are generous with their fellow actors, and neither buys into their own reputation. Either could behave entirely differently than they do, and most likely get away with it. Working with people like that makes me want to be exponentially better than I am.

I’ve had great luck with directors as well, working with Steven Surjik, Eric Canuel and a host of other wonderful people. Directors are wonderful for different reasons. Some projects call for tyrrany and others an unusual amount of freedom. Neither of the aforementioned were tyrants, by the way.

I’m also hesitant to name directors I’d like to work with, since that tends to beg the names of known directors, and while I adore almost everyone who has made themselves known in the field, I have to remind myself that many of the best directors are people whose names we don’t yet know.

TGL - The film industry is incredibly difficult to get into, and the Canadian market seems even more impenetrable. What challenges have you faced along the way? And how have you overcome them?

AKW - As an actor, I have two challenges more prominent than the others. One, I’m largely unknown at present, so occasionally my agent has to be persistent in order to be seen for the right parts. Two, I’m not the prettiest fish in the tank, so I have to make up for it (or feel that I do) by committing an intense amount of research and preparation for a role that some of the handsomer specimens might skip.

I also recommend that actors starting out find collaborative and/or do-it-yourself situations in which to participate, as it’s much easier to show people you can do something than ask them to believe it otherwise.

As a writer, my biggest challenge is focus. I have this conversation often with other writers. Too many good ideas, not enough time to develop them all. It’s not uncommon to feel like you might be working on the wrong project. Which leads us to the next question.

TGL - What suggestions for new writers can you offer to make their project more appealing to the industry?

AKW - I think rather than trying to make a passion project fit into the industry, it makes sense to find the holes in the industry first, and create the projects to fill them. I’ve been getting meetings lately on a few television projects, and that seems to have much more to do with the room for each respectively than my personal level of passion or interest. I think the best advice for new writers is this: Ask yourself
which piece people are most interested in, and make that your favourite. If none of your ideas fit into the category of things people will actually want to watch, it’s time for a whole new set of ideas.

TGL - Finding an agent and getting them to read your work is almost impossible. Do you have any advice for novices on getting noticed? And have you found that having an agent has been helpful to you and your career?

AKW - Having an agent has definitely been helpful to me, but a lot of the projects I have on the go right now hinge on relationships established earlier. It would be easy for an impatient person to ignore beginner-level colleagues or collaborators, but some of my working relationships are such that we’ve watched each other growing as artists and people, and have opted to reunite to create something wonderful.

I’ve been involved in a couple of short films as an actor, to which I’ve contributed dialogue (having first gained the trust of the directors responsible)and had those efforts blossom into bigger and freer collaborations recently.

TGL - Something we all struggle with as writers is writers block. What tools have you developed to deal with this showstopper?

AKW - Write crap. Tonnes and tonnes of crap. It serves no one to throw out the bad pages. There’s almost always gold somewhere in the poop. Write all the poop you can, and skim the gold off the top like a panhandler. Save it up. Soon you have a pile of gold. I’m not having a strong analogy day; I hope you’ll forgive me. I mean that writing begets writing, and obsessive perfectionism does not. The whole experience is really just rewriting.

TGL - Writing is such a personal thing, you put pieces of yourself on every page, into every scene and, bit of dialog, the same can be said of acting in that there is a piece of the actor in every character. When you're creating a script or a character how much of you goes into it, and where do you pull the rest of your inspiration?

AKW - For me, inspiration comes from absolutely everywhere. When I think about the word “research” my mental picture is immediately that of a library, or at least a search engine. In reality, a writer’s research, like an actor’s, takes place everywhere and at all times. I never, ever travel anywhere without something to write with and something to write in or on. When playing a fictitious character, you can draw from any crazy idea you have, as long as it’s congruous with the script. Playing an actual person just requires finding everything you can on the subject, and then avoiding every other portrayal of the individual.

As far as writing inspiration, I have more trouble avoiding it than finding it. Or perhaps more accurately, trouble narrowing it down to useful creative notions, that could make it to the ever-crucial third phase of art; reception on the part of a viewer.

TGL - Everyone is always looking for free advice... it's actually the
foundation of the-Greenlight.com's mission... What free advice would you give to someone who is just starting out?

AKW - Make friends. Write crap. Act badly. Often. Keep doing these things until you’re good. Once you’re good, force the friends you made to help you make the climb. If you truly love it, you won’t notice the time passing.

Something else I really found helpful was taking a break from the creative side and exploring the other workings of a set. Once you’ve catered, built sets, wrangled background, locked up a perimeter for sound and made time-code notes, you really get a much better idea of the workings of film and television as a whole. Developing a first-hand respect for varied critical on-set jobs has made me more appreciative of my small part in it, and keenly determined to waste no one else’s time as either an actor or a writer. That might not be for everyone, but it was crucial in my development.

TGL - What can we expect from Adam K. Wilson in the future? What projects are you working on? Where can we see you perform?

AKW - I will be seen in a principle role in an upcoming episode of the CTV/NBC program The Listener, a small part in the soon-to-be-released feature film SUCK by Rob Stefaniuk, and a major role in the History Channel’s forthcoming project MANSON, as the titular notorious madman.

When I have the time available, I perform with the sketch comedy troupe Press, Release Repeat, with MTV’s/Last Comic Standing’s Derek Forgie, and Tessie Burton.

As far as writing goes, I’m currently in great meetings concerning a children’s television series, and a comedy series. I’ve recently been commissioned to write a web-series by Fifth Season Media, and am a collaborator in the comic series The Eternal: Final Dawn, as well as a character likeness therein. I haven’t co-written a produced feature film since 2002, but should have some good news on that front soon as well.

TGL - Thank you again for taking valuable time to speak with us about your success. We look forward to hearing and seeing much more from you in the future!

Understanding Script Coverage - Why do I need it?

2009-04-08T10:13:00.000-04:00

Ok, so you keep hearing this word being tossed around and you have no idea what it is or why it has everybody losing their minds. Well, to be honest I haven’t quite understood why the industry puts such a heavy weight to Script Coverage because it’s a subjective process to some extent and depending on the weather, how your reader slept the night before or if they had the time to, you may get differing results.

Coverage is a written report, kind of like Cole’s Notes, design to give agents, producers, and execs a feel for your script without having to read the entire manuscript. Most of the honchos don’t have time to sit and read all day. They are busy making things happen (which is where you want them to be). A coverage report breaks your script down for them and presents it in a concise and skilful way that they can, at a glance, decide if they’ll have someone else read it for them... ;)

Seriously, a good coverage is what opens doors and gets everything moving for you.
In a coverage report you’ll have a few basic sections. First they will summary the script particulars, title, genre, # pages, the writer, who is doing the coverage etc. This is fairly standard.

Next, some give a logline for the script. It’s a good one liner that gets the point of the story across and creates some interest. (Writing a good one is a masterful skill that takes time to develop!).

Now Coverage Reports vary from one reader to the next and each company has their own specifics and order they want the info presented in, but at the end of the day they all have the same stuff in ‘em.

You will have a grading section. In this section you will be given a “Pass”, “Consider”, or “Recommend” rating in several categories.

Pass means that the work is not up to par or not desirable now (there are many reasons why this can be so, not all of them related to the quality of the source material). Usually, the work doesn’t receive further attention within the industry.

Consider means that the work as written has merit or shows promise and should be further assessed. A Consider evaluation can lead to the source material itself actually being read by a producer, executive or agent (between incessant parties, galas and exciting film opening events, of course), and/or more of the writer’s work being solicited for review by those in the industry.

Recommend is the highest acclaim, and not often conferred. The script, story, etc. is good enough in its current manifestation to warrant a read, and usually it will be read, often by a producer or someone in an industry decision-maker’s chain of command.

Some categories you may be graded on are, Premise, Plot\Storyline, Structure, Dialogue, Production Value, Project (as a whole) and, You the Writer. They may use a different rating system for these finer point of the analysis and give poor, fair, good and excellent ratings, but you will almost always get a Pass, Consider or Recommend for the Project and you as a Writer.

There is always a synopsis of the script. Some are a page but not usually more than three. This is a good tool for you because it will highlight the areas that caught the readers attention, and if you feel they missed important parts of the script. That likely means you missed too… Re-write them and punch them up and bring the reader’s attention to them!

The next common section is the Reader’s comments and opinions. Here you have 1 -3 pages of notes the reader feels are important. If you are paying someone for Coverage, this section is extremely important to you because this is where they will offer their ideas on missed opportunities and where you can make improvements. This is the section you are actually paying for! If you have a good reader (And I do – Thank god!), they will be to the point. They will not sugar coat their comments and they will offer suggestions and constructive criticism on how you can improve your project and make it Silver Screen worthy. Don’t argue! Fix it! They are right. Think of it like this. You are paying them to review your work. You are paying them for their opinion. So don’t call ‘em out ‘cause you don’t like what they have to say. My reader once told me she was going to spank me because she had to read a 105 page Romantic Comedy that didn’t have a kiss at the end. Even after I argued the “Sleepless in Seattle” point, I was put back into my place. She also told me that she told all her writing friends and they all had a good laugh at my expense. She is the best thing that has ever happened to my writing!

Now, this doesn’t mean you need to blindly obey your Reader's every whim. YOU are the writer! And YOU know your story! Or at least you should!!! So take what you’re given and put your spin on the ideas. Think of the comments as a recipe. It may call for Chocolate chips, but caramel or peanut butter chips might be just as good… So play around with the THEME of the suggestions. AND… RE-WRITE!!!! RE-WRITE, RE-WRITE!

I keep stressing this point, but its true… Writing and story development is an ever evolving process. You will never have a perfect script, and you’ll never be done with it. You WILL however get to the point when you are DONE with a script! That’s the point when you can’t look at it or read it without your jaw tightening and your mouth filling with that tangy pre-vom juice. Set it aside and work on something else… ANYWAY! Back on Topic!

After the summary or somewhere within the report there may be budget suggestions. I have no idea how accurate these estimates are… Usually they are vague enough to fall within your own idea of the Blockbuster production you’ve submitted.

WHY IS COVERAGE IMPORTANT?

Coverage is a tool! It is a great tool for you to gauge the preparedness of your script for Contest Submission, Queries to Agents, Prod Cos, and Producers. Unless you are getting a consider or recommend, forget it. Each year millions of scripts are sent to Hollywood for the Industry to peruse. Of those Millions, 98% of them end up in shredders and recycle bins. Of the remaining 2% you find such masterful creations as Waterworld, Eight Legged Freaks, and the Hills have Eyes 2. You also find the brilliance of Get Shorty, The Matrix trilogy, and Letters from Iwo Jima. I know, you’ve probably done the same thing I’ve done which is sit down in front of a movie for the night and spent 2 hours saying… How does shit like this get made when I’m not even getting optioned? I’ll let you know when I figure it out.

One of the benefits of having your script read professionally is the spell checking! Don’t give the industry a easy out as far as your script is concerned. Spelling is just as important as the plot. If a Studio Reader finds a typo in the first 10 pages, you’re done. Next, if you’re lucky, your service will send you a copy of your script with the notes the reader was making in the margins as they read. GREAT TOOL! You can see what they thought of scenes, page by page, sequence by sequence. They will frequently write rhetorical questions which is a clue that you need to answer them!

At the end of the day, Coverage is simply a tool in your arsenal that you can use to make your script a polished, presentable product ready to be marketed to Contests, Agents, and Producers alike.

Now get writing!!!

- G

1st Annual the-GreenLight.com Script Contest!

2009-04-07T22:00:00.001-04:00

Hey...

So I just announced the 1st Annual the-GreenLight.com Script Contest! Here's the Details!

The-GreenLight.com 1st Annual Script Contest.

Winners & their Scripts will be posted on the-GreenLight.com website.

Grand Prize
- Certificate of Achievement
- Cash - 10% of entry pool (calculated by # of entrants and entry fees – Full disclosure of # entrants will be provided)
- ScriptBlaster eQuery Blaster Pack service
Your query letter will be emailed to over 900 Producers, Agents & Managers.
A comprehensive query campaign that combines the Producers Blast and the Agents Blast.
A great way to get connected.
- 6 Months InkTip Executive Index Script Listing
Get exposure and gain access to entertainment pros looking for good scripts. List your scripts in InkTip's searchable index accessed 24/7 by qualified producers, representatives, directors and more.
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage
- Interview with the-GreenLight.com

2nd Prize
- Certificate of Achievement
- Cash - 5% of entry pool (calculated by # of entrants and entry fees – Full disclosure of # entrants will be provided)
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage

Runner Up
- Certificate of Achievement
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage

Top 10 (not including Grand, 2nd or Runner Up – so Top 13)
- Certificate of Achievement
- Feedback from Contest Judges

Rules & Submission Guidelines
· Open to all writers 18 and over.
· Limited to first 500 entries
· Screenplays must not have been previously optioned, produced, or purchased prior to submission.
· Screenplays must be original work of applicant(s).
· Winning screenplay submissions written by 2 or more writers require all awards to be divided equally among the writers.
· Screenplays must be in English.
· Entrants must submit a completed entry form containing a Synopsis and Logline, and the First 10 pages of the screenplay ONLY! In addition to the appropriate fee according to the posted deadlines.
· Multiple submissions are accepted but each submission requires a separate entry form and fee.
· Finalists must then submit the entire screenplay within 7 days of the posted Finals Annoucement\Notification.
· Finalists’ screenplays must be between 85 - 120 pages.
· The-GreenLight.com is not responsible for screenplays lost in cyber space, or stolen. (but if you have paid, and your submission is lost we’ll work it out if you can provide the payment details.)
· Judges decisions are final.
· Electronic submissions only.
· Cash awards will be determined by the final deadline or when submission limit has been reached. Final Cash award amounts will be posted on the-GreenLight.com prior to announcing the winners.
· Prizes may not be substituted unless agreed upon by the writer(s) and the-GreenLight.com.
· The-GreenLight.com reserves the right to cancel the contest due to lack of interest. Any fees collected will be refunded promptly to the Writer(s). Notification of contest cancellation will be made on the day following the Final Deadline.

Fees
Early Deadline: $35 USD
Regular Deadline: $45 USD
Late Deadline: $60 USD

- G

Writing Contests

2009-04-06T14:32:00.000-04:00

Hey...

So today (now that my rant about skinny jeans is done), I wanted to talk a bit about writing contests.

Some people say that writing contests are just a way for some people to make money. And I guess for some of the sponsors that is true, BUT I think even those contests can offer you a little insight into your writing.

I never enter a contest unless it offers feedback. Feedback is the most important thing you can get your hands on as a writer. If you let your family and friends read what you write, GREAT! but don't expect impartial feedback from them. They will either be overly hard on you, or far too easy on you. Feedback is what will help you develop your story in subsequent re-writes... and there will be many re-writes. I joke on the main the-greenlight.com webpage that I have re-written my script Losing Faith 150 times. Well, I'm currently working through 151. Why? Well because of some feedback I received and some new ideas to punch up the humour. As you grow as a writer go back to your previous work and take a look at it with fresher more experienced eyes. You'll see holes and rough patches that you hadn't noticed before.

My suggestion is that you find yourself a pro. Before I start shipping my scripts off to contests I like to feel that they are as close to perfect as I can get them at the time. (I know I just said I've re-written them 150 times). Find someone who will work with you, and offer you ways out of problem areas. A good reader will point out the weak parts but show you what you've done well because it can act as an example of how you have been clear in your writing and created some strong scenes. They will help you learn from your own success and their experience. Once the two of you have reached the point of exhaustion with a certain project and you both agree that material you have in your hand is really good... Send it out into the world of contests. See what other people, who aren't intimately involved in the creative process have to say. Chances are they will come back with some useful tips and ideas for improvement.

Writing contests are good tools, but they can be quite costly. AND THE WAITING WILL DRIVE YOU MAD!!!!

A few good ideas to make sure you are working with a reputable contest are:

Submit only to contests that are recommeneded by other people in the industry. I like to use a website called Movie Bytes to find and research contests. But the WGC has posts occasionally for these types of events.
Follow the submission guidelines to the letter. It sucks to have your script disqualified for a minor issue.
Try using a service like Without a Box when possible. They will qualify your project and make sure its not missing anything and track your submission for you to make sure it has been received by the contest officials.
Look for the annoucement in the periodicals they say they will be announcing in or have announced in previously. Some\Most contest say they will annouce the winners in a magazine, or post the results on their website for 6 months etc. Check! See if the previous winners are listed.
Make sure the cost justifies the return. If they are asking for $75 and all you get is email notification that you've made it to the finals... No good. There are plenty of economy contests that offer feedback, software and publicity to their winners.

If everything checks out, the next thing to do is submit... and wait... and wait...

Waiting for the deadlines to arrive is grueling. I always try to make the early submission deadline because there is usually a break in the cost of the entry fee. But it makes waiting for results (sometimes up to 8 months) a living nightmare! Because, if you are like me, you are constantly re-writing your work and making it better so by the time the contest roles around you've found 20 funnier jokes, 3 typos, and taken out 2 scenes that made the script lag in the 2nd act. The way I have overcome my writers anxiety for situations like this is to simply forget about them. I put an entry in my calendar that reminds me that I have a deadline coming up and I check the website or keep a more vigilant eye on my email for about a week before the announcement date. AND you do have to watch! I read a review of a contest by its winner who said he had no idea he had won until he received his prize pack in the mail. The contest people had not otherwise contacted him, but when he went to the homepage there was his name in lights! Sooooo... don't completely forget, but put them out of your mind. You know?

Writing Contests are good tools. Look for contests with feedback, and low entry costs. If you go for the high end contests with big entry fees, make sure the return on your investment is good. Feedback, and interview with a few agents, a live reading of your script... You know... Make sure to do your homework, both in researching the contest, and in evaluating your work. Rarely do contests accept corrected pages so if you send them a script with 100 typos, you'll likely be kicked out in the first round.

Good luck!

- G

Skinny Jeans

2009-04-06T13:37:00.001-04:00

Ok... so this is a little off topic... Ok, it's really off topic but I have to say it. Guys... STEP AWAY FROM THE SKINNY JEANS! You look like an idiot! They weren't a good look 20 years ago when I was cramming myself into them, and they certainly aren't now hanging halfway off your ass with a sparkly belt and high top converse. You look like you can't dress yourself! It looks like you picked your girlfriends jeans up off the floor 'cause you pissed yourself at the party the night before and tried to cram your skinny ass into them. Or maybe you raided your little sister laundry hamper... I don't know! BAD! BAD! BAD! Unless you are a founding member of an 80's hair metal band you have no business even looking at a rack full of "skinny" jeans! Enough! Get some pants that fit, and pull them up for Christ Sake, I don't want to see your skid filled drawers hangin' out of your pants. What kind of a tool are you that you can't pull your damn pants up? Really? What is the sense in wearing pants with an ass in them if the ASS IS AT YOUR F'ING KNEES? Why don't you just buy some leg warmers? That's it! Just wear your leg warmers so they won't cover your ass and everyone will be able to see you can afford name brand undies. So that would be the leg warmers, your stank ass "name brand" gitch... match that up with your uniform issue Emo belt with or without studs and you're good to go. This shouldn't be a big fashion issue for you all, leg warmers were cool 20 yrs ago too! AND FYI LADIES! TIGHTS ARE NOT PANTS!!!!!!! (visions of Flashdance - leg warmer nightmare) THEY JUST AREN'T!!!!! AND DON'T EVEN THINK OF PAIRING THEM WITH A PAIR OF UGG BOOTS... (Ugh! is Aussie slang for Ugly... Oh! And when you wear 'em with your over sized track pants tucked in with the waist band rolled down because they're too big... Your ass looks about the size of a small farm house!). Don't even get me started on the new Rubber Boot thing! WTF????

I saw a guy trying to get onto the bus one day and his skinny jeans were so low and tight that he had to flick his one leg up onto the stair like a lame penguin, then pull himself onto the platform using the railing! I felt like I was watching the National Geographic Channel. Like March of the Penguins when the babies kept falling over 'cause they hadn't quite got the idea behind walking... The funny part of the entire scene was the elderly lady with the walker, he stepped in front of, had less trouble mounting the bus than this kid in the pseudo Emo Rocker-chain wallet wearin' outfit. OMFG!

I know, I know, I'm showing my age, and I'm ignoring the fact that it is fashionable to look like an idiot. But come on... Really? THEY DON'T FIT!!! I speak from experience, my daily uniform used to be painted on black jeans (pulled up so my ass was in the ass of the pants), an over sized white dress shirt, my desert boots, and if it was cold, my black p-coat. Let's not forget my shaved head with bangs that went down past my chin! I was über familiar with Manic Panic and its many wonderful colours! I F-ing know what a tool I looked like! I had kids throw walnuts at me one day for looking like such an ass... Man... But I sure was cool strutting down the street listening to "Boys Don't Cry" by The Cure on my casset playing Walkman. (cassettes are magnetic tapes they used to record music on before CDs and MP3 players sort of like VHS tapes... ok, nevermind... this could snowball quickly!)

The thing that makes me laugh so hard about this trend in fashion is that I did it to: a) get women and b) to get away from the norm and be my own person. The people wearing this style now don't realise, they all look the same and are conforming to a new fashion standard. Instead of stepping out of the norm, they are reinforcing it and redefining what "normal" is. All the emo bullshit about how they live for anarchy is nothing but the new standard and gives them a new way to fit in.

Hate to break it to you guys... Emo's been done, and done better! It's run its course as an alternative lifestyle and if you wanna dress like your parents did, by all means... But I always found it much more interesting to be my own person, and plot my own course. Be who you need to be, because that's cool shit, but for the love of the Gods! GET YOUR SORRY ASS INTO SOME PANTS THAT FIT! AND PULL THEM UP SO YOU DON'T LOOK LIKE A CHALLENGED PENGUIN!

Peace!

- G

Don't get discouraged...

2009-03-20T10:59:00.000-04:00

Hello all...

I was just sitting here thinking back over the last few years and all the contests that I've entered. MANY! I've had some success, but mostly its a lot of waiting, checking the web page, crossing my fingers, and going over the script I submitted with a finer tooth comb groaning at jokes that could have been funnier, and not seeing the difference between Hairy and Harry... Yup... "two harry feet..." I wrote that gem, and it was caught by a contest judge. But missed, by a dozen others... Just goes to show you that no matter how polished you think your script is, check it again! Anyway, I just wanted to say something about rejection...

Ok, so you know how you go to a movie and absolutely love it, while the other two people you went with hated it! Same thing happens when you're submitting to a contest. You'll find a reader in the first round that loves it! And get one that hates it in the next. It's so subjective. There's a painter named Mark Rothko. I HATE his work. I think its absolutely pointless. Despite a 4 yr argument with my Art History teacher about the importance of his work and a trip to the Albright-Knox museum in Buffalo, she still could not convince me it was good. The Jackson Pollock paintings in the next room mezmerized me... but Rothko... I painted a Rothko like picture one day when I accidentally knocked over my water colour pallette and wipe it up with a paper towel. ANYWAY... the point I'm getting at is this. For every Jerk who thinks he can write a better screenplay than you by simply mashing his hands on the keyboard, there are two people who appreciate the effort you put in, and enjoy the story you have brought to them. Got it? Don't get discouraged by the silence you hear from Contests, or the harsh remarks from a judge. Here's some comments I received from one Judge.

"...You're a good enough writer to really run with the theme, especially since the plot and characters are so good. What is the essential theme of the script? Every single scene in the film should be, at its heart, about that. It raises the stakes and increases the cohesion even more. I hate to turn this piece back, but it's mostly because I know you can be even better."

Same contest different Judge...

"...This script doesn’t have enough action to keep the audience in their seat. The dialogue is straight out of the 80’s except for the mention of modern electronic devices. The reader was left wondering if this was written years ago, then updated by changing the words 8 track player for Ipod. “Work it! Hit it like you own it!” Please."

Ouch! Right?

Well no... It was written about 5 years ago... So no, I'm not using the current slang for things, but I'm using dialog appropriate to the age of the characters. My AGE! And yes, I'm a little bit of a dino (I'm over 30! - I'm straight out of the 80's).

You just need to take it in stride, and keep on writing. AND RE-WRITING!!!!

At the end of the day, if you're doing something that you love... Keep doing it.

Now go write something!

Cheers

- G

Screenwriting Software?

2009-03-18T11:22:00.000-04:00

Hey...

So the other day a co-worker popped into my office to tell me that the printer in his Department wasn't working. No big deal... I pressed the "online" button and presto! My work was done. However, on our way out the door he said "Oh, I meant to tell you that my son likes to screenwrite plays...". I guess he had seen the Website the-greenlight.com but had no idea I was a hobby writer. I always have time to chat about writing, so I asked the question "What does he like to write?"... I had a moment, I saw Bill Engvall in my minds eye, and the words Here's your sign" echoed through my head... "Movies!?!?" he replied.

He went on to tell me that his son had just finished writing a script for a feature length film, about 53 pages he said. "It's really good!" He exclaimed. Excited, I asked what it was about, and he said Pirates. Ask any of my friends... I LOVE PIRATES! I enquired about the plot, and how long it took him. That's when things got interesting. He said it took him a little over a year to get it all done. I wasn't going to comment about how long it takes to write a script since I'm still working on one I started nearly a year ago... But I did say it sounded a little short for a feature. Lowering his head, my coworker said. "Well, he got pretty frustrated because he was doing it in a word processor and was struggling with it". OMG! I couldn't imagine trying to write a script without some sort of program specifically for formatting and editing. What a nightmare! Now, don't get me wrong, it can be done. I'm sure it was in the days before Final Draft and Movie Magic Screenwriter, but geeze! Why would you do that to yourself????!?!?!?!?!?!?

Go and buy some software! Buy it right away! Don't spend hours bashing your face on your keyboard because "for your convenience" your word processor is guessing what you are trying to do and changing all you tab stops and options. Don't do it! Just go... If you can't go directly to a store, eStore, or other retailer... Look on eBay for a used license... BUT buy the software. As an indicator of how prolific the use of these programs are, I would say that 95% of the contests I've entered accept .fdr documents. For that matter... So does the Writer Guild online script registry!

No wonder the poor guy got frustrated. Probably cut his script short to get away from it. Anyway, I suggested to my Co-worker that if he wanted to encourage his son, he should invest in some of the software for him. I gave him a list of the products and websites he could visit for some demo software. To be honest though... it's what you're comfortable with. If you are comfortable bumbling around in a word processor then by all means, do what you do, and don't give me a second thought. My experience has been that I spend more time being anal about the formatting of a script when I'm not using a particular package that the writing suffers. And it doesn't always need help to suck! So, I'll take one less headache, and a ounce of additional focus any day.

I also sent him back to the-greenlight.com for a look at the download section where I have posted my story outline worksheets, character development sheets, and a few other things that could help.

You should check them out too!!!!

Peace

- G

Writers Block - Setting the stage

2009-03-17T16:35:00.000-04:00

Ok...

So I've been sitting on my hands for the past month. My excuse... HUGE PROJECT at work that is sucking the life out of me, and draining me of any urge to sit in front of my laptop for another second at the end of the day... Good excuse? Yep... A famous poet once said "If poetry comes not as naturally as leaves to a tree, it had better not come at all". Now some of the big writing books will SCREAM from the mountain tops - Writers write... so write something everyday. OK! I have written 36 emails, 3 sets of descriptive instructions on how to open a particular file type, and a grocery list... I'm done.

BUT at the same time, I haven't won any Oscars yet... and I'm dragging my ass through my 3rd script in 7 years...

Bob Moresco on Writers Block

Soooo where's the middle ground? Is there any? Can you write something you wouldn't send to school with your 6 year old and re-write it later? Absolutely. Can you write something you would be embarassed to show your mother it's so bad... Yup! Is that the answer... Write something shitty and clean it up later... Maybe...

I would suggest sticking to the plan. Lay out your script. Plan it from FADE IN: to FADE OUT:. Use the sheets on the-greenlight.com downloads section. Blake Snyder also has some good tools on his page. Including a software program called Save The Cat! Blake Snyder - Homepage

Ok... so you've got the story outlined... you're at your desk (as Mr. Moresco encourages) Now what?

Well, write something...

INT. OFFICE - DAY

A young man in his thirties sits at his keyboard. Time seems to be moving in slow motion and every glance at the clock causes his eye to twitch.

Just as the digital number flips to 5:00pm on the wall clock he launches himself to his feet. PENS and PAPER fly into the air as he dashes from the room.

GORDON
Oh, thank God. It's over! I
can go home and get away from
my laptop!

Maybe not... But here's a thought. If you're really stuck. Your brain is far away from the world you've created. Take a few minutes to think about what type of music you see playing in the background of your movie. Build a playlist in your favourite media player and just listen. Set the stage for yourself, and as the music relaxes you, and brings you back into the environment and mood of your script, I'm sure something will start stirring. Words will magicaly flow from your finger tips and out over the keyboard and soon you'll discover that those 5 pages you wanted to write today were written 20 pages ago and you're on a roll. Just give yourself the tools you need to get it done. My thing is music. Yours might be something else, but the key to beating writers block is to find a way to submerge yourself back into the world you're creating. Find your key to that door and you are set.

Anyway, the clocks a ticking and I am out of here...

Peace & good writing...

- G

No time...

2009-03-10T08:59:00.000-04:00

I think one of the most difficult things to do is find time to write. Sure, I say to friends and anyone who asks that I write to unwind and relax... BUT to be honest sometimes its a real chore.

After eight to nine hours in front of a computer screen at work, twenty minutes in a car staring blanky at the road and the buttholes in front of me who got their licenses out of a Cracker Jack Box, and another 20 minutes of feeding animals and general tidying. There's really no motivation to sit down and be witty and creative. Even less after you throw in a forty five minute workout.

So that leaves your weekend... Does it? Does it really? For me the only time I have any time to do anything is on the weekend... Soooo, I get up at nine am, feed the herd, clean the litter boxes, feed myself, run out for some groceries, do any other shopping I need to do, go home, CLEAN the apartment 'cause the tornado has left her stuff all over the house, and then go and pick her up at work... Don't get me wrong, I enjoy all of those things for the most part, but it’s another full day. Then it time to cook dinner, clean the litters again, and spend an hour with my girlfriend AKA Tornado before curling up on the couch with a DVD (One of the four hundred or so in the collection). Throw in another workout and I'm sitting on the couch doing the head bob by ten thirty.

So when do you find time to write. Anytime... Anytime you have a minute and a moment of inspiration. I wrote an entire scene from a screenplay, I haven't officially started writing, in my head on the way into the office last week. I took some quick notes when I got in and punched it into Final Draft when I had a second.

Don't pressure yourself to consistently turn out pages. Chances are the pages your turning out won't be your best, and certainly won't make you feel like you've accomplished anything other than putting pen to paper, finger tip to keyboard. I found myself typing away in the quietness of my sleepy home one Saturday night. Not a soul was awake, the dull drone of the TV flickering the in background. The sound of Claudia (my 16 year old Maine Coon) snoring beside me on the couch. It was a good moment, and some good writing.

Cheers

- G

Welcome

2009-02-27T13:11:00.000-05:00

Welcome to The Greenlight Blog. I'm not entirely sure what will go in here. I'm actually thinking that this will be a good place to put the articles about screenwriting, the interviews, and any other ramblings and advice I find along the way. My logic is that by nature this Blog format will allow the interviews and articles to be as long as needed without compromising the look and feel of the overall site. After all we're here to learn and discuss a visual medium. Right?

What can you expect from The Greenlight Blog? Well I'm hoping it will be a good place for you to find information about screenwriting, upcoming script contests (also to be listed in the "News Page"), software evaluation which is something I'm pretty accustom to being a professional computer geek by day, interviews The Greenlight has done with Film Industry professionals and insiders. I will post my personal Movie reviews... Likely to be mostly Sci-Fi because that's what I'm into, but my friends cohorts and fellow writers are welcome to submit a review to me by email. Just contact me through the Greenlight website with an idea or just let me know if you have something to post. I'll email you back and we can go from there.

So... for now be patient. I'm in the middle of a HUGE project at work and haven't had a second to breath for a few weeks so new content has been slow to come, BUT I promise this will be an exciting site for all... Subscribe, bookmark, or do whatever but come back often.