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[Mercury Fred]

Right, so my four Blacklist evaluations came in and I'm actually quite pleased.

Project 1: New draft of a science fiction project that got trashed last time with bad reviews, now getting two quite good and glowing ones. They said some really lovely things like the screenplay having a "beautiful simplicity" and that it's an "engaging science fiction story" with a "beautifully poetic ending". I'm pleased because the feedback primarily focused on and praised all the major changes I made. Pretty much every modification received good feedback and both reviewers really liked the screenplay and story. They both also said it has good prospects of getting made.

Project 2: First draft of a new science fiction project. One good review saying the setting is "lovingly detailed" that heaped praise on the concept, premise and story saying it has tonnes of "potential". The review made it clear the screenplay still needs work however, but it looks like my efforts are promising. One quite negative review also said that the screenplay needs a "major overhaul" and much iteration and modification of the structure and story but it wasn't entirely negative - the review still featured praise and said some nice things. Looks like I might have a promising prototype or start with this one.

I'm pleased because Project 1 really, really got trashed last time with very low scores and this time the feedback is way, way better meaning the three months I spent working on it and iterating it paid off - and I therefore must be improving as a writer, which is a lovely and uplifting thought.

So I can't recommend The Blacklist enough. Even if your scores are not where you'd like them to be, the feedback itself is just invaluable.

It's also worthy of note that both projects have been entered in to the Tracking Board's Launch Pad competition and the top 75 and top 50 will be announced at the end of September, so the initial results are imminent.

I'll keep you guys updated on how both my projects perform.

Congrats!

And congrats to everyone here who's making progress in their writing and in their careers, whatever shape or speed that progress takes.

I'm waiting for results of Final Draft for a TV project I submitted there, first round of announcements are due by the end of the month. In the meantime, I decided to do a workshop here in LA to help me get this thriller I've had kicking around into shape. I've gotten used to writing TV but haven't done a new feature in a while. Looking forward to digging in.

Random thought: I wonder if LA Screenwriting GAF might want to do a meet up and/ or talk about doing a writing group.

 

[kai3345]

Anyone in here have any tips on writing while having a full time job?

I made the decision to focus more on writing recently. I want to have a finished script by the end of 2018, hopefully much earlier. The problem is that I've got a full time job as a video editor and I always feel so creatively drained when I come home from work and I rarely can bring myself to write. Do you guys have any tips for staying motivated after coming home from work and/or keeping to a consistent writing schedule?

 

[SCULLIBUNDO]

Anyone in here have any tips on writing while having a full time job?

I made the decision to focus more on writing recently. I want to have a finished script by the end of 2018, hopefully much earlier. The problem is that I've got a full time job as a video editor and I always feel so creatively drained when I come home from work and I rarely can bring myself to write. Do you guys have any tips for staying motivated after coming home from work and/or keeping to a consistent writing schedule?

Yes, because I've done this.

I set an alarm to go write for an hour every night at 7pm, whether I feel like writing or not.

 

[afternoon delight]

Yes, fortunately and unfortunately the simple trick is to make sure you write every single day.

 

[RumbleHumble]

I didn't even know we had a screen-writing GAF here! I'm stoked! I just picked this up as a hobby about a month ago and, for whatever reason, I'm really loving it.

So I've got three first draft screenplays I've written (80-90 pages or so each) and I'm working on a complete rehaul of the first that's about 1/3rd done at 32 pages. I know recent advice has been to keep screenplays on the shorter end, but how short is too short in your experience?

As to writing samples to submit to agents, how much should I include? One scene? 10 Pages? 20 pages? The whole damn thing? Should I submit to The Blacklist for review before submitting to agents or after?

EDIT:

Also anyone here willing to give feedback on any screenplays? It's cool if we're all too busy.

 

[SeanC]

Anyone in here have any tips on writing while having a full time job?

I made the decision to focus more on writing recently. I want to have a finished script by the end of 2018, hopefully much earlier. The problem is that I've got a full time job as a video editor and I always feel so creatively drained when I come home from work and I rarely can bring myself to write. Do you guys have any tips for staying motivated after coming home from work and/or keeping to a consistent writing schedule?

Wake up earlier or go to bed later, instead of going out on a weekend with friends, take a few weekends as "writing time" which is what I do. Get into a groove and it'll get to a point where you'll look forward to it.

I am able to do some work while at work, too. Usually proofreading/editing. Even during lunch.

So I've got three first draft screenplays I've written (80-90 pages or so each) and I'm working on a complete rehaul of the first that's about 1/3rd done at 32 pages. I know recent advice has been to keep screenplays on the shorter end, but how short is too short in your experience?

Depends on the genre, but for me it's not so much length as it is pace. I've read 90 page scripts that chugged along and took forever, and I've read 120 pages that flew by within an hour. But a rule of thumb is to look at what it is you're writing and if the length suits that genre. Horror and thrillers tend to be on the shorter side, dramas tend to be higher in page count. Action somewhere in the middle (though have been much, much longer lately).

As to writing samples to submit to agents, how much should I include? One scene? 10 Pages? 20 pages? The whole damn thing? Should I submit to The Blacklist for review before submitting to agents or after?

Agents don't care about writing samples and aren't going to read it if you just submit. More importantly is that most agents aren't going to accept unsolicited material. If you're a lucky, a boutique agency or manager will take a logline and a synopsis. (Most writers will get a manager first, they're more out there seeking new clients to develop and work with whereas agents are more business minded)

You can look in some past posts that can go over in more detail in this thread, but the best bit of advice is to get your script to a point where you're getting good reactions from peers (and, if you can, people in the industry already that aren't close friends) as you refine and rewrite, then either go to something like Blacklist for even more feedback or script competitions (Blacklist has that as well) to see how it stacks up. Be cautious on "script doctors" or "script reviewers," don't do pitchfests online or otherwise and try to network with other writers either online or as groups in your area (hard for 90% of the US but if you live in a major urban area, there's probably a writer's group somewhere)

EDIT:

Also anyone here willing to give feedback on any screenplays? It's cool if we're all too busy.

I've been wanting to offer to do that TBH. But I just haven't had the time. I've actually got a GAF writer's script and I still haven't gotten to it yet, keeps getting shoved down the pile.

 

[RumbleHumble]

Wake up earlier or go to bed later, instead of going out on a weekend with friends, take a few weekends as "writing time" which is what I do. Get into a groove and it'll get to a point where you'll look forward to it.

I am able to do some work while at work, too. Usually proofreading/editing. Even during lunch.



Depends on the genre, but for me it's not so much length as it is pace. I've read 90 page scripts that chugged along and took forever, and I've read 120 pages that flew by within an hour. But a rule of thumb is to look at what it is you're writing and if the length suits that genre. Horror and thrillers tend to be on the shorter side, dramas tend to be higher in page count. Action somewhere in the middle (though have been much, much longer lately).




Agents don't care about writing samples and aren't going to read it if you just submit. More importantly is that most agents aren't going to accept unsolicited material. If you're a lucky, a boutique agency or manager will take a logline and a synopsis. (Most writers will get a manager first, they're more out there seeking new clients to develop and work with whereas agents are more business minded)

You can look in some past posts that can go over in more detail in this thread, but the best bit of advice is to get your script to a point where you're getting good reactions from peers (and, if you can, people in the industry already that aren't close friends) as you refine and rewrite, then either go to something like Blacklist for even more feedback or script competitions (Blacklist has that as well) to see how it stacks up. Be cautious on "script doctors" or "script reviewers," don't do pitchfests online or otherwise and try to network with other writers either online or as groups in your area (hard for 90% of the US but if you live in a major urban area, there's probably a writer's group somewhere)


I've been wanting to offer to do that TBH. But I just haven't had the time. I've actually got a GAF writer's script and I still haven't gotten to it yet, keeps getting shoved down the pile.

Thanks for the feedback! I'm filing in the back of my head for future reference. In the meantime I look forward to hearing how things are going with everyone else as the thread goes on!

 

[Osahi]

Had some great feedback on my adventure movie script from the producer and director. I felt I was slumbing and writing myself empty, but the feedback was motivating and some notes cracked some problems open with great sugestions. Had a good pitch with the public broadcaster too, so hopes are they'll support with funding. Still long ways to go though...

Sunday I'll attent the Cinekid Lab in Amsterdam with my animation script. I'm very curious hearing feedback for the first time. Especially from people who have no relation to me or the project

 

[SeanC]

Had some great feedback on my adventure movie script from the producer and director. I felt I was slumbing and writing myself empty, but the feedback was motivating and some notes cracked some problems open with great sugestions. Had a good pitch with the public broadcaster too, so hopes are they'll support with funding. Still long ways to go though...

Sunday I'll attent the Cinekid Lab in Amsterdam with my animation script. I'm very curious hearing feedback for the first time. Especially from people who have no relation to me or the project

Great to hear. Sometimes a writer, myself included, can get stuck in a bubble and have self-doubts about the script they're working on. Then they have someone else read and you realize "Hey, not too bad...and probably more/better than what a lot of people can do." Even if it's a ton of notes and whatnot that you get back, the fact someone took the time to read it, had thoughts and gave notes means they were engaged and interested in the material at the very least.

In fact, the more feedback someone gives, the more they are liking what's in the script more than not liking it. If someone doesn't like a script, they'll give you a brief email at best and not quite explain why or get detailed on anything. It's brief and "good luck with your future endeavors."

 

[Osahi]

Great to hear. Sometimes a writer, myself included, can get stuck in a bubble and have self-doubts about the script they're working on. Then they have someone else read and you realize "Hey, not too bad...and probably more/better than what a lot of people can do." Even if it's a ton of notes and whatnot that you get back, the fact someone took the time to read it, had thoughts and gave notes means they were engaged and interested in the material at the very least.

In fact, the more feedback someone gives, the more they are liking what's in the script more than not liking it. If someone doesn't like a script, they'll give you a brief email at best and not quite explain why or get detailed on anything. It's brief and "good luck with your future endeavors."

Yeah, it’s a great feeling. Had enough of those very short replies too. Thing also is I’m at my best when I’m working from feedback. It helps me focus, and it often spuns new ideas.

But I have to add this screenplay is allready signed on with that particular producer (it’s based on an old Belgian tv-show he has the rights on), and he actually instigated the project after I worked with him before. (Just with the question: do you want to develop a pitch based on this show) We are actually in the proces of seeking funds at the moment, have a Dutch co-producer signed on and are going to file for film fund subsedies in March (allready got a writing and development fund in the past). I hope shooting can start in a years time. But it’s an expensive project for a Belgian movie, with a budget that would go north of 2 milion euro (that’s the catering budget of a Spielberg flick probably, but over here it’s quite a lot), so funding can always fall trough.

 

[RumbleHumble]

Yeah, it’s a great feeling. Had enough of those very short replies too. Thing also is I’m at my best when I’m working from feedback. It helps me focus, and it often spuns new ideas.

But I have to add this screenplay is allready signed on with that particular producer (it’s based on an old Belgian tv-show he has the rights on), and he actually instigated the project after I worked with him before. (Just with the question: do you want to develop a pitch based on this show) We are actually in the proces of seeking funds at the moment, have a Dutch co-producer signed on and are going to file for film fund subsedies in March (allready got a writing and development fund in the past). I hope shooting can start in a years time. But it’s an expensive project for a Belgian movie, with a budget that would go north of 2 milion euro (that’s the catering budget of a Spielberg flick probably, but over here it’s quite a lot), so funding can always fall trough.

Congrats! Glad to hear about the traction! Keep us updated on how things go with the funding!

 

[Random Human]

I know this thread is more focused on movies, but I’m curious, has anyone here written a pilot before? I’m thinking of giving one a shot instead of just adding more screenplays to the pile...

 

[SeanC]

I know this thread is more focused on movies, but I’m curious, has anyone here written a pilot before? I’m thinking of giving one a shot instead of just adding more screenplays to the pile...

Yes, and developed some with writers.

This thread is about screenwriting as a whole, pilots/tv/movies/internet shows even.

If you have a story to tell and think TV is the best route, then follow your instincts. Just make sure you have a "plan" (aka a treatment or outline) on what the entire series is as a whole.

 

[Osahi]

I know this thread is more focused on movies, but I’m curious, has anyone here written a pilot before? I’m thinking of giving one a shot instead of just adding more screenplays to the pile...

I haven't developped a series of my own, but I have worked for (Belgian) tv. I was on the writing team of a show that ran for 4 seasons (worked for them from season 1 to 3) and I have joined another team while in development of a miniseries (which eventually I quit on, as I wasn't the right man for the job)

As SeanC said above me, you'll need more then a pilot to convince a production company. You'll also need a 'Bible', where you describe the concept of the series, outline the rest of the season per episode (and maybe even have a short summary of where season 2, 3, ... might go), have character descriptions of your recuring cast, etc. This document is also important if you'll ever have to have a writing team, as every writer should use this to learn the 'rules' of the show, and needs it to fall back to when in doubt about certain things.

For the pilot I think it is important it actually allready shows what your show is about, and has to adhere to the format. It's tempting to use the first episode as set-up and have something similar to a 'act break 1' as a cliffhanger to your episode. It's not wrong to structure your series that way, but it might confuse your readers (and later your audience) about what the show is about. If your writing about the world of tricycle racing, make sure your main character is on a tricycle as soon as possible, and not have him discover his love for the sport only at the end.

I'm saying this because the two shows I worked on didn't do this and it bit us twice in the ass. The first one (that aired) was about a DA, but the whole pilot was about her being a lawyer who gets an alleged paedophile free, only to discover in the end he really did do it, and deciding to 'switch sides' and become a DA. This was an episode that was completely different from the procedural format we had from episode 2, and it confused the hell out of our audience after the premier. The series picked up after a slump, but the damage was done.
The other was a dramady about an amateur cycling group (Three totally different guys, united by chance and hubris). It took a 50 minute episode to get them together though, because we took our sweet time to set them all up, have the main conflicts introduced, etc. The result was a slumping first episode that I rewrote time and time again before I left the team...

Also, if you want to break into tv, it might just be better to write a spec episode of a show you really like and try to get a foot in the door with that.

 

[SeanC]

Also, if you want to break into tv, it might just be better to write a spec episode of a show you really like and try to get a foot in the door with that.

That's become less and less a thing these days, unfortunately. It's good for practice, but getting into a writer's room is less if you can write like the show and more who you know on the show and if you're a good collaborator as a whole. There's a lot of internal "promotion" going on with people who know people who read something a guy wrote via a fellowship and think he'd be good kind-of-thing happening. Getting into a writer's room on a show is one of the single, hardest things to do without representation or even with representation (that rep has to have clients that are already established that could get you in or have good relations with other reps that represent those people).

Or become a writer's assistant, but that's every bit as hard.

Also, to impress potential agents or managers, they really want to see something original and not based on previous media. I know if someone sends me a spec and it's based on Breaking Bad or Mad Men, my knee-jerk reaction is to not read it because it's not them using imagination or their own creativity and just practicing how to write so it feels a little half-assed. I'd rather them take that plot and write something new than base it on already established characters and worlds.

The good days of open-submissions on Star Trek are long gone... things were easier then.