She Said, She Said: Denise Rogers, Cait Johnston and Sarah Elisabeth Brown
NYWIFT members Denise Rogers, Cait Johnston and Sarah Elisabeth Brown discuss the NYWIFT New Works Lab affinity group, which brings together actors, writers and directors to collaborate on readings throughout the year. Hear how they developed their stories, and how their involvement in NYWIFT helped them take those stories to the next level.
READ MORENotes from a Screenreader: Bang a Gong
Photo via Go Into the Story. Theme is the beating heart of the screenplay, the proposition about the human condition that your story explores—the big issues. Love. Faith. Resilience. Trust. Power. Courage. All the goosebumpy things. The theme, that single, simple thesis that creates clarity and scope and resonance through the arcs of your story,...
READ MORENotes From a Screenreader: ’20 Feet From Stardom’
Photo via Go Into the Story. If you have not seen 20 Feet from Stardom, put it at the top of your to-do list. It won an Oscar, and it is the non plus ultra of setting your inner star loose on the world. A voice is a voice, whether it is raised in song or committed...
READ MORENotes from a Screenreader: Old News
Photo via Go Into the Story. How long ago did you write your script? Does it show? It is impossible to stay convincingly up to the minute with technology and pop culture in a script, but it is possible to blow the dust off by doing a careful read for obsolescence. There’s an app for that....
READ MORENotes From a Screenreader: The Likability Trap
Photo via Go Into the Story. Protagonists need a bigger than life personality. Most spec scripts have protagonists without one. The average protagonist is unobjectionable. They color inside the lines and find a way to get what they want without breaking any rules. That is the likability trap. In an effort to create a sympathetic protagonist,...
READ MORENotes from a Screenreader: Texas Hold ‘Em
Photo via Go Into the Story. The difference between a yes and a no in the first round of a screenplay competition can be summed up by a hand of Texas hold ‘em. You fold early, you didn’t post a blind, and your cards were bad enough to make you think, Why am I being punished...
READ MORENotes from a Screenreader: Start by Finishing
Photo via Go Into the Story. In the same way that a recipe is not a batch of warm cookies on a baking sheet, an unfinished draft is merely an intention — and like raw dough, a story won’t show its shape until it comes out of the oven. Most contest submissions suffer from a half-baking....
READ MORESubmit It! Winter & Spring Calls for Entries
We’ve rounded up the top film festivals, writing competitions, and grants with winter or spring deadlines. It’s time to polish that script, shoot that video, upload that film. We’ll be updating this list as more submission dates become available, so check back often. Film/Video/TV Festivals, Contests, Labs & ScreeningsNashville Film Festival (WAB 1/10)LA Film Festival (1/10,...
READ MORENotes from a Screenreader: Writing IKEA Style
Photo via Go Into the Story. A script, ideally, is one of those 300 square foot IKEA show apartments with every nook and cranny made useful two or three times over. Static placeholder scenes stick out like a farmhouse table. Written to clarify the writer’s thoughts on a single element, it sneaks through rewrites without ever...
READ MORENotes from a Screenreader: Your Tenth Idea
Photo via Go Into the Story. No amount of technique can make up for a weak story. Weak stories are bland and predictable; they treat familiar themes and conflicts in familiar ways. They feel recycled. A fresh and original take on your story does 75% of the work for you. Give or take. To put the...
READ MORENotes from a Screenreader: Meaningful Images
Photo via Go Into the Story. A script is a story that will be told with images. It feels like that goes without saying, but spec scripts are so often crushed under the weight of their own dialogue that it bears repeating. Meaningful images are revealing, memorable, interesting to read, and space saving. To rewrite for...
READ MORENotes from a Screenreader: The Deep Freeze Script
Photo via Go Into the Story. Scripts that feel rote turn readers off right away even though rote scripts are written by people who know exactly what they’re doing. The plot moves forward, the conflicts are in place, the beats come and go like clockwork. Scoring high marks for plot and structure, these scripts still feel...
READ MORENotes from a Screenreader: Lie to Me
Photo via Go Into the Story. Lie to me. Most spec scripts have an importance of being earnest problem. They tell the reader the truth, all of it, all the time. All the backstory, all the exposition, all of what everyone is doing and precisely why, before it even happens. Lying to the reader in your...
READ MORENotes from a Screenreader
photo via Go Into the Story Real conflict is critical to getting your script past the first round of readers in a competition. All competition specs have an idea and an intent. Few of them deliver an emotional experience of that intent because writers avoid the serious conflict it takes to build an inevitable crisis. Conflicts...
READ MORENotes From A Screenreader
photo via Go Into the Story Billy Wilder believed that “There are only two types of movies, one for the audience with a simple story, nicely decorated and ornate…or a complicated story that is simply put on film. If you put too many ornaments in there, people won’t be able to follow it.” Clarity is the quality in...
READ MORENotes From A Screenreader
photo via Go Into the Story You need a logline for your screenplay. It is your script’s calling card. You can’t submit to a competition, pitch or write a query without one. A logline reduces an entire screenplay to a single sentence that expresses its premise. It should include a sketch of the protag, what...
READ MORENotes from a Screenreader
photo via Go Into the Story It’s an open secret that you only have a few pages to convince experienced readers that your script is worth reading. What you might not know is that you can make mistakes on the very first page that prejudice readers, long before you establish the relationships and conflicts that...
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