Archive for the ‘Q&A Series’ Category

Friday Q&A: Release Forms

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Q: What is a release form and do I need to sign it?

A: Thanks for your question. If a production company, studio, or producer is interested in reading your script and you do not have an agent, they will often ask you to sign a release form, which protects them against claims of idea theft. The release form states that you own the material and have the right to sell it. It also states that in the event the company releases a film with a similar premise, you don’t have the right to sue them.

If you choose not to sign the release form, the company will most likely choose not to read your script. Release forms are a standard industry necessity. If the producer, studio, or production company requesting the form is an unknown entity, or if you have any concerns, be sure to confer with an entertainment lawyer prior to signing any document. Better yet, get an agent, and forgo having to sign unsolicited submission agreements.

For more on release forms, check out this post from Matt Galsor and Jesse Saivar: By Signing This Agreement Am I Giving Up All My Rights?

Friday Q&A: Finding An Agent

Q: How do I find and select an agent to query?

A: Thanks for your question. Here are three ways to find agents to pitch:

1. The Hollywood Representation Directory lists agents and managers. You can research agents who represent writers in your genre.

2. Read trade publications (such as The Hollywood Reporter, Variety, Script Magazine, and Done Deal Pro) to learn about screenplay sales and the agents representing the projects and writers.

3. Attend industry conferences, film events, and pitch festivals where agents are speaking for the chance to connect with agents in-person.

Friday Q&A: The Correct Use of an Ellipsis

Q: What is the correct use of an ellipsis? – Lauri Clark

A: Thanks for your question Lauri. There are only two correct uses for an ellipsis in screenwriting:

1. To indicate that a character’s dialogue has trailed off
“Before you leave, I just want to say… “

2. To indicate that a character’s dialogue is mid-speech.
“… In other news, Mayor McDonald was re-elected today.”

The correct formatting for an ellipsis is three periods followed by a single space.

Friday Q&A: Tracking Boards

Q: I keep hearing about “tracking boards”. What is a tracking board and should I care?

A: Thanks for your question. Tracking Boards are online sites used by film executives and script readers to track spec scripts, and share and discuss information. Tracking boards may help screenwriters by providing more exposure for their work however, a screenplay that receives negative feedback may hurt the writer and the script’s chances for sale. Access to tracking boards was once exclusive to the industry, but today screenwriters have the opportunity to follow boards, such as TrackingB ($79/year) and The Tracking Board ($49/year).

Friday Q&A: International Screenwriters Submitting to American Studios and Agents

Q: Is it really ever worth a UK writer submitting a screenplay to an American studio or agent? I know you guys have all the money to get films made but that’s not my point. What I refer to is subject matter. In my mind, it is more than the Atlantic that separates us. Our cultures seem miles apart. In other words, are there American studios willing to read stuff without a car chase or explosions every five minutes? – Ian Harris

A: Thanks for your question Ian. To answer “Are there American studios willing to read stuff without a car chase or explosion?” I don’t recall seeing any car chases or explosions in The Blind Side, Precious, Crazy Heart, A Single Man, Up In The Air, or dozens of other successful films that were released this year. It’s apparent that not everything that comes out of Hollywood is an action-adventure film. Yes, plenty of those types of films are produced because they sell tickets, but that’s not the only genre being released.

In my opinion, the bigger challenge for a UK writer (or any screenwriter) is not living in Los Angeles. If you’re serious about being a screenwriter (and you’re not already established) get thee to L.A. Can you sell a screenplay to Hollywood from afar? Absolutely. However, you increase your odds as a first-time screenwriter if you make your home in the City of Angels. Check out Ashley Scott Meyer’s insightful posts on his experiences as a screenwriter relocating to L.A.: Do You Have to Live in Los Angeles to be a Screenwriter? and Moving to Los Angeles and Preparing for the Long Haul.

Friday Q&A: The Correct Use Of Dashes

Q: I have a question about punctuation in scripts, specifically the dash. I understand it is used in dialogue for interruptions, and also when a thought changes suddenly. I have even seen it used in action and description as well. It always seems to consist of two hyphen marks with a space before and after. From what I’ve read it should be used for emphasis or when several related items need to stand apart from one another. But I’m still a bit confused. Can you identify and show examples of how the dash is most commonly used in dialogue, action, and description? – Robert Hosking

A: Thanks for your question Robert. Generally, punctuation rules are the same for any type of writing (you may see a few variations based on which manual an editor uses, for example the Associated Press or The Chicago Manual of Style).

When it comes to the dash, there are two types of dashes, the em-dash and the en-dash. The en-dash is the width of the letter “n” and the em-dash is the width of the letter “m”. The em-dash can be written as one long extended dash (–) or two single dashes (–), always with a space before and after.

The en-dash is used to designate a range or when one part of an open compound is made up of two words, such as:
“I work from 8-5 every day.”
“The score was 3-1 at halftime.”
“Robert is an Academy Award-winning screenwriter.” (Note that the en-dash signifies the inclusion of Academy in the open compound, whereas a hyphen only includes the joined words.)

The em-dash is used most often to indicate emphasis or interruption. Commas and parenthesis are also used to enclose parenthetical elements. The difference is em-dashes mark a sharper disruption than commas and parenthesis indicate a still sharper one than em-dashes. The em-dash is also used for attribution (such as the usage above attributing Robert Hosking to today’s question) and as part of each slugline. Writing a well-structured, compelling script is the goal – so don’t get too hung up on em-dashes.

Some screenwriters use em-dashes more than others. Shane Black (Lethal Weapon) may be the king of em-dashes when it comes to using them in description and action lines.

EXT. SIMI VALLEY – MORNING
The scorched landscape stretches out beneath a latticework of high-tension power lines. Only scrub grass grows here. Rusted railroad tracks wander into the distance, and nestled beside them, like the last stop before death — sits a lonely trailer home. Battered TV antenna. A dirt yard, which houses a beat-up pickup truck. Dead garden sprouting weeds. The ground begins to tremble … like an earthquake, RATTLING the POWER POLES, as, without warning — An express TRAIN BLASTS BY and streaks past the trailer at seventy miles an hour.

INT. HIGH-RISE APARTMENT – NIGHT
Through billowing curtains, into the inner sanctum of a penthouse apartment, and here, boys and girls, is where we lose our breath, because — spread-eagled on a sumptuous designer sofa lies the single most beautiful GIRL in the city.

She stands, stumbles across the room, pausing to glance at a photograph on the wall: Two men. Soldiers. Young, rough-hewn, arms around each other.

The Girl throws open the glass doors … steps out onto a balcony, and there, beneath her, lies all of nighttime L.A. Panoramic splendor. Her hair flies, her expression rapt, as she stands against this sea of technology. She is beautiful.

On the balcony railing beside her stand three potted plants. The Girl sees them, picks one up. Looks over the balcony railing … It is ten stories down to the parking lot. She squints, holds the plant over the edge.

GIRL
Red car.

Drops the plant. Down it goes, spiraling end over end — until, finally … BAM — ! SHATTERS. Dirt flies. A red Chevy is now minus a WINDSHIELD. The Girl takes another plant.

GIRL
Green car.

She drops it. Green Dodge. Ten stories below, BAM. Impact city. Scratch one paint job. Grabs the final plant and holds it out

GIRL
Blue car.

POW. GLASS SHATTERS. Dirt sprays. A blue BMW this time. The Girl loves this game … her expression is slightly crazed. She reaches for another plant — There aren’t any. Her smile fades — And for a moment, just a moment, the dullness leaves her eyes and she is suddenly, incredibly sober. And tears fill her eyes as she looks over the edge –

GIRL
Yellow car.

EXT. BENEATH THE PIER – NIGHT
FOUR TOUGH-LOOKING DOCK WORKERS are camped out under the pier, warming themselves around a small bonfire, laughing loudly. Christmas decorations dangle above them from the pier, and empty beer cans litter the sand around them. An old collie is tied to one of the pilings. The dog is being tormented by the dock workers. They flick lighted matches at him. Shake their beers and spray him in the face.

These guys are not rocket scientists. The dog cowers, tugging on the rope. Tries to get away. All to the great amusement of its tormentors. One of them turns, laughing –

As a shadowy FIGURE strides calmly up to the fire:
Long hair.
Cigarette dangling from-lower lip.
Shirt-tails hanging loose below the waist.
Nothing threatening in his manner as he plops down beside the men, smiling.
They are immediately on their guard.

RIGGS (FIGURE)
Happy holidays. Mind if I join you?

PUNK #1
Yes.

PUNK #2
Fuck off.

Riggs smiles at him innocently. Strokes the collie’s fur with one hand. With the other, he reaches into a paper sack and produces, a spanking new bottle of Jack Daniels, possibly the finest drink mankind has yet produced.

RIGGS
I need help drinking this. Cool?

The dock workers exchange glances. There seems to be no harm in this. One of them frowns:

PUNK #1
You a homo?

RIGGS
Do I look like a homo?

PUNK #1
You got long hair. Homos got long hair.

PUNK #3
I hate homos. Arrggh.

Riggs shakes his head, laughs.

RIGGS
Boy, you guys are terrific. You make me laugh, you just do.

At which point, appropriately enough, Punk #4 shakes a beer and sprays it in the old collie’s face.
The DOG pulls away, WHINING.
Riggs leans forward.

RIGGS
This your dog? Nice dog.

And then, he proceeds to do a peculiar thing: He starts to talk to the dog — in what seems to be the dog’s own language. Very weird, folks… He coos, snuffles, barks softly, then withdraws, listening, his ear to the dog’s muzzle. Riggs nods. Frowns. The others look on, puzzled. Then Riggs looks at each of the four dock workers.

RIGGS
Huh – You know what? He says he doesn’t want you to spray beer in his face. He says he just hates that.

A pause. Uncomfortable. Then –

PUNK #1
Oh, he does … ?

Screenwriter David Marconi also likes the em-dash, as noted in this scene from Enemy of the State

INT. CRYSTAL CITY, VIRGINIA, TALL OFFICE BLDG. – DAY
A well-appointed big-city law office filled with citations of merit and pictures of a wife and child. ROBERT DEAN, a likable young lawyer, sits behind his desk with his back to an OLDER MAN. He stares at a commanding view of Washington, D.C. as he listens to a tired, smoke and whiskey voice.

OLDER MAN (L.T.)
I don’t know how much longer we can hold out, Mr. Dean.

DEAN
I don’t know, either, L.T. Maybe you guys should get yourself a labor lawyer.

L.T.
Well that’s why I’m here, Mr. Dean. ‘Cause you’re a labor lawyer.

DEAN
Good point.

L.T.
Last night, Larry Spinks, he works the Steel Press, he goes to a bar with his wife Rosalie to have a glass of chianti ’cause it’s his birthday, and these two guys, these Guido mother-fuckers, they jump him when he goes to the bathroom.

DEAN
L.T., in this office I’d prefer you say Italian-Americans.

L.T.
I’m sorry, Mr. Dean. But Larry’s in St. Lukes now, so I’m a little — I’m not myself. The Union bosses say unless we take Bellmoth’s offer, it’ll only get worse.

DEAN
That’s because your Union bosses are those Guido mother-fuckers.

L.T.
I don’t under –

DEAN
The Union’s trying to railroad you into accepting terms worse than what you have now.

L.T.
Why would the Union –

DEAN swivels around in his chair and faces L.T.

DEAN
Because they’ve been paid off by Bellmoth.

L.T.
Mr. Dean –

DEAN
My name’s Bobby. I’m your lawyer. Don’t do anything ’till I talk to you.

DEAN gets up and walks a grateful L.T. to the door, calling to his secretary as they go –

DEAN (CONT’D)
(calling)
Martha! Larry Spinks, St. Lukes. Send him a case of chianti from the firm. And send his wife Rosalie some flowers.

Friday Q&A: Joining the WGA

Q: What does the WGA do and who can join?

A: Thanks for your question. The Writers Guild of America (WGA) is a labor union that represents writers. The WGA has created a collective bargaining agreement that signatories adhere to when working with and contracting writers. The WGA allows writers to register intellectual properties, enforces credits, compensation, and creative rights, hosts special events (including the annual Writers Guild Awards), and publishes Written By, a magazine on the art, craft, and business of writing in Hollywood. Among other things, the WGA also archives scripts through the Writers Guild Foundation’s Library.

Membership is open to writers who have sold material to, or have been employed by, a signatory (a company that has signed the collective bargaining agreement). Writers living east of the Mississippi belong to the WGA East and writers residing west of the Mississippi belong to the WGA West. The WGA allows non-members to register their work, attend certain events, peruse the Guild Agency Signatory List, and subscribe to Written By (or view it online).

Friday Q&A: Screenwriting Revenue

Q: How do screenwriters determine their selling price for a script? – Regulo “Reggie” Zapata, Jr.

A: Thanks for your question Reggie. Usually a studio, production company, or producer will make a financial offer, either to option or purchase a script, and it is up to the screenwriter to decide if he or she will accept the amount offered. If the screenwriter is a member of the WGA or the production company is a signatory, then the screenwriter must be paid at least the minimum fees as outlined by the WGA Schedule of Minimums. A screenwriter’s rate may depend on the last script he/she sold, the producer and actors attached to a project, and the budget for the film. According to the WGA, the “average” working screenwriter makes between $40,000 and $100,000 per year (a long and winding road from the $3 million Joe Eszterhas received for Basic Instinct). A first-time writer can “expect” to receive between mid five-figures and low six-figures for a script sale.

Friday Q&A: How To Protect Your Script

Q: How can I protect my screenplay when I send it out?

A: Thanks for your question. Creativity theft is not as common as many new writers may believe, but it’s important to always safeguard your script. Remember, ideas cannot be protected – only the unique way the story is presented (the form it takes in your screenplay). The first thing you should do to protect your script is to register it with the WGA Registry. Also consider registering the copyright with the U.S. Copyright Office (the current fee for filing online is $35). Keep a paper trail of your drafts and submissions. When revising a draft always create a new file and number each new version of the script (instead of just rewriting over the previous version). When submitting your screenplay, be sure to sign your script – include your name on the cover page and in the header of every subsequent page – and only send out secured files that can’t be altered.

Friday Q&A: Screenwriting Competitions

Q: Can screenwriting competitions help a writer’s career?

A: Thank you for your question. Screenwriting competitions won’t harm a writer’s career (unless you’re spending more time and money entering competitions than working on your writing or trying to sell your script and get it made), but don’t expect winning a competition to launch you as the next Hollywood “it” screenwriter. If you win or “place” in a well-respected competition you can always mention it in your marketing efforts – it’s one more credit to include in your query letter. And if you’re lucky, you may garner a few industry contacts. If you decide to enter screenplay competitions, consider the well-known contests, such as The Nicholls Fellowship, Scriptapalooza, and the Austin Film Festival.

YOUR TURN: Has entering screenwriting contests helped your writing career? Do you have any screenplay competitions you recommend?

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