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Friday, April 13, 2007 |
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Tuesday, February 13, 2007 |
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Thursday, January 25, 2007 |
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50 Things About You? |
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Scott The Reader posted his "50 Things About Me", which was inspired by a post as Borderline Inappropriate. His are below. Hers are here.
Where are yours?
Mine are coming...
- E.
50 Things
Inspired by a post over at Borderline Inappropriate, here are 50 things about me --
50. I once almost ran over Ed Asner on the Warner Brothers lot.
49. I used to part my hair in the middle, but sometime in my 20s I was talked out of it.
48. My wife and I play board games almost every night.
47. I don’t like olives.
46. I used to cry while getting my hair cut. I’m not sure when this ended, but it went on for far too long.
45. I once had a mad crush on Winona Ryder, but I never stalked her.
44. I have been to hundreds of baseball games in my life, but never caught a ball, though I was with two people who did.
43. I don’t really enjoy “2001: A Space Odyssey”.
42. My first screenplay was about vampires on a college campus. It wasn’t very good. I later reworked it into a script about werewolves on a college campus. It was only slightly better.
41. I once scored a perfect 800 on the math section of the SATs, and I knew it when I did it. It's largely a wasted skill now, though.
40. I have ridden horses twice in my life. One was in Quebec, the other was in Las Vegas.
39. Cats, not dogs.
38. I never ate sushi until I moved out to Los Angeles. Now I eat it a lot.
37. Supposedly, when my brother was about 16, he made out with Mariah Carey, who lived only a few blocks away. She was a few years younger.
36. I only have one cup of coffee a day. But it’s a really huge cup.
35. My second semester of college, my GPA was 0.79. I made the dean’s list the next three semesters.
34. I have a lot of awards, but they were all for Mathletes. Again, wasted skill.
33. While working as a movie theater manager in Manhattan, I once checked Adrian Lyne’s ID. It was him.
32. Billy Crystal makes me laugh.
31. I met my wife on Valentine’s Day. I married her on Valentine’s Day one year later. I have very few anniversaries to remember.
30. I have absolutely no skill at music or art at all. And don't ask me to sing.
29. My first memory is running in the waves with my father, with my pants on. It felt like we were doing a forbidden thing.
28. My mother-in-law makes great tamales.
27. Little House On The Prairie molded my moral sensibility, for good or bad.
26. In high school, me and my friends used to go to the roller rink every Friday night. I was a geek full of yearning.
25. I believe that the movie “200 Cigarettes” is more amusing than most people give it credit for.
24. Despite not being a churchgoer, one summer I worked as a counselor at a YMCA sleepaway camp. The next summer I worked at a Jewish camp.
23. My parents had only a black-and-white TV for most of my youth.
22. When I lived in Manhattan, I shared an apartment with the guy who builds the Phillie Phanatic and other mascots. His workshop made up 90% of the apartment.
21. I have finally broken my addiction to “Desperate Housewives”.
20. In high school, me and a few friends took an embroidery class. We were the only guys in it. We played poker most of the time. I embroidered a slice of cherry pie onto a t-shirt.
19. I like playing golf, but I’m really not very good at it. Ditto pool.
18. There was one point, not too long ago, when I had read everything that Stephen King had ever written.
17. I once broke my hand punching a bully in the face. He never flinched.
16. The first two albums I ever owned were Queen’s “A Night At The Opera” and Gary Wright’s “Dream Weaver”.
15. The original “House on Haunted Hill” is the only movie that gave my nightmares as a kid.
14. In Atlantic City, I once bet $100 on a hand of blackjack, and was dealt an ace and a jack.
13. I wrote a puppet show, which was performed in Manhattan.
12. Hot foods make my nose run.
11. “King of the Hill” is one of my favorite movies. No, not the cartoon.
10. In high school, I wore corduroy pants every day. I have no explanation for this. I haven’t worn corduroy pants since.
9. When I’m tired, I will occasionally cry during movies.
8. I once took a 3 1/2 day bus trip across the U.S., from Long Island to Seattle. My seatmates included at least one ex-con.
7. I don’t really like roller coasters, but a good flume is cool.
6. I know several people who have sold scripts for big bucks. Neither have writing skills I don’t possess.
5. I am not sure I’ve ever done anything that could be considered truly crazy. Though it might be time.
4. At age 14, I thought “1941” was the best movie ever. I grew out of it.
3. One of my ancestors might have invented saccharine.
2. I have had facial hair ever since I could.
1. I wish I could cook better.Labels: Alligators in a Helicopter, Borderline Inappropriate, chat, general, scribosphere
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Wednesday, January 24, 2007 |
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Try Something New: Make A Plan. |
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Posting from Mead Kerr via Danny Stack's website on, "Why haven't I made it yet?"
Great reading.
Enjoy.
- E.
WHY HAVEN'T I MADE IT YET?
There it is. That question.
Of course everyone will have their own particular response and I don't profess to have all the answers...but I do have a few theories and a personal mantra.
"If you keep on doing what you're doing, you'll keep on getting what you're getting."
This is best illustrated by an encounter I had recently. An aspiring screenwriter, let's call him WRITER X approached me seeking advice for the year ahead. He was fed up and complained how no one is willing to give new talent a chance. "It's a closed shop...they should give more support to new writers...I've been sending stuff out for years and getting nowhere..." etc, etc. When I mentioned a couple of new opportunities for TV drama writers he stated he was only interested in writing for film. My reply? “In that case the brutal truth is you’ve almost no chance of becoming a full time professional screenwriter.”
This was just one example of how so many aspiring writers make it impossible to achieve the success they dream of. The British film Industry is tiny, poorly funded and with very few PAID opportunities for writers. Ask a cross section of professional drama writers and producers and they will confirm that the numbers of people making a good, full time living from working ONLY in film is minute. By ignoring TV our doleful friend WRITER X was massively reducing the opportunities available to him. TV is where the money is in the UK.
Of course you have every right to ignore TV and specialise in film…..as long as you are happy to dress like a student for the rest of your life and only ever dine out at the local “£5 eat all you can Chinese buffet.” Or you can also learn how get a job in TV drama.
Most UK screenwriters including myself write for both but earn the vast majority of their income from TV drama. You can make a very good living by following this strategy. Go and check out the credits of most established British or American screenwriters and you’ll find they either started out in TV or still do a mix of both.
But of course many of you will know all this stuff already and you will have been attacking both markets with a highly organised strategy. I hope you have, because there's plenty of competition out there.
Last year roughly 20,000 people graduated from Media and Screenwriting courses. That’s another 20,000 aspiring screenwriters chasing the same opportunities as you. Add the English literature graduates, journalists, copywriters, starving novelists and weekend writers all trying their hand at screenwriting and you start to see just what you are up against. Oh, I forgot to mention the army of highly experienced and established professional screenwriters who already have agents and lots of connections.
Statisticians would tell you the odds against you getting your break and becoming a professional screenwriter are massively stacked against you. So, is it nigh on impossible? Should you give up?
Well the truth is that the numbers only tell you part of the story.
The following isn't bragging...I'm just trying to illustrate a point. When I decided to become a professional screenwriter I had no training, no connections with the industry and I was living in Scotland with no desire to move to London. Two years later I had an agent at ICM, was a paid, full time professional writer of film and TV scripts and my first TV episode was watched by 7 million viewers.
To be honest the next couple of years was weird. I couldn't understand why people kept telling me that I was incredibly lucky and how tough it was to get a break. I'd simply done it by planning a CAREER STRATEGY for myself and making sure I took advantage of every opportunity available. Once I started meeting other professional writers I discovered that almost all of them had done the same thing.
Okay, of course you need talent but the following are also just a few of the other things that everyone agrees you also need -
a) FOCUS. Focus your efforts where they will be most effective and likely to reap the greatest reward - most writers are chasing the same few widely advertised opportunities in the UK. They are unaware of how to access Europe, Canada and the USA.
b) INDUSTRY KNOWLEDGE. Establish contacts and links with full time
professionals in the industry, in order to understand how the film and TV industry REALLY works and what type of projects producers and broadcasters are seeking.
c) PITCH DOCS. Understanding what documents you need to sell your ideas and how to write them well is essential. - Overworked execs want to read a brilliant one page doc before they will even consider your treatment or script.
d) A GOOD AGENT. This is HUGELY important now. A free handout How To Get An Agent is available on request CONTACT info@meadkerr.com
e) A CAREER STRATEGY. In order to get your break you need to have planned EVERY aspect of how you are going to get there. By failing to make a financial plan for how are you going to make the transition from your present job to a full time writing career you are sabotaging any chance of success.
I absolutely believe and know you can achieve your goal of becoming a professional screenwriter, it's what I've done and lots of others I know have done the same. However, it will only happen IF you are willing to do what it takes.
Remember: "If you keep on doing what you're doing, you'll keep on getting what you're getting."Labels: Danny Stack, general, screenwriting, scribosphere
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scribosphere @
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Monday, January 22, 2007 |
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Where's Oscar Going? |
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It's about that time to place your bets, folks. Vegas will be weighing in shortly. Care to wager whether Babel will beat out The Departed?
AJ Schnack's got his predictions in. I'll post mine soon. I need to see a few more films first...
- E.
Oscar Guessing 2007
While many of the Oscar prognosticators have already written off this year's nominees as a done deal (it's gonna be some combination of Babel, Departed, Dreamgirls, Little Miss Sunshine and The Queen), the picks for this year's documentary feature remain a solid mystery. Even the presumed winner, Davis Guggenheim's An Inconvenient Truth, started to look a little wobbly after being passed over by both the Writers and Directors Guilds (even though it nearly swept the critics prizes).
But if I were forced to guess (and there's something in the blogger's contract of having to talk about the future as if you know what it is and then to trumpet your correct guesses and run from your wild pitches), I'd say that An Inconvenient Truth will still make tomorrow's list of five, and I think that it will most likely be joined by Amy Berg's Deliver Us From Evil and James Longley's Iraq in Fragments, both of which received nominations from the guilds, the IDA and the Gothams (Iraq in Fragments won the latter two).
I usually argue that the committee that chooses the nominees tends to breakdown their choices as follows: 3 big theatrical films, 1 political film and 1 international film. If they stick to this pattern, that mean that the 3 theatrical releases will include Truth, Deliver Us (which while sputtering at the box office has been a critical slamdunk) and either Jesus Camp or Shut Up and Sing. Early on, I was predicting Jesus Camp as the 3rd choice (and at the time it was the 2nd highest grossing nominee behind Truth), but after some of the critics prizes and considering two-time Oscar winner Barbara Kopple's reputation, I'm going to wager that they give a nod to the Dixie Chicks film instead.
MoreLabels: oscar, screenwriting, scribosphere
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scribosphere @
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Friday, January 19, 2007 |
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Crazy Talk |
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Scott the Reader posts on some "techniques" that writers use that drive him crazy.
Enjoy. I did.
- E.
I've Said It Before, But I'll Say It Again...
I actually have posted on this before, but since they keep popping up in things I read, I feel that I need to rant about these bad screenwriting habits again.
Things that drive me crazy in your script:
CHARACTERS TALKING TO THEMSELVES. There are times when a character might logically talk to themselves -- hell, there are times when I talk out loud to myself -- but it needs to be done very judiciously and sparingly, if at all.
Instead, I read script after script, where the writer, desperate to make us understand what is going on in a character's head, will have them just blurt it out, even if there is no one else in the room.
I read one script the other day that had about 15 different incidences where this happened, with about a half-dozen different characters. And in most of the cases what they were saying was really very obvious anyway.
Trust your readers/audience to understand things, and if you think they need a push, figure out how to do it visually or more inventively. There's always a better way than the random I'm-alone-but-I'm-chatty blurt out.
MENTIONING THE MOVIE IN THE SCRIPT THAT YOUR SCRIPT IS SIMILAR TO. I've read two scripts in the last week that did this, part of an odd habit that is shockingly widespread and endlessly reoccurring.
It seems to be driven by guilt. Writers who find themselves penning scenes (or storylines) that are derivative of something that came before feel driven to namecheck this film, as if acknowledging it makes it okay.
But there are few really-original moments any more, and pointing out the ones your script is borrowing is counter-productive; it just makes the reader even more-aware that even you know that you haven't put forth the effort to make your tale truly original.
Best-case scenario? You make your script as original as possible. But if it does hew close to something that came before (because that's the best way to tell the story), don't feel you have to point it out. If you are doing a story about some kids going on an adventure, you really don't need a scene in which "The Goonies" plays on a TV in the background, or one of the kids mentions that in "Stand By Me" the kids found a body.
CRIMINAL MISUSE OF APOSTROPHES. "It's" is ONLY to be used to represent "it is", not when something is possessive.
"Let's" is short for "Let us", so you shouldn't write "Lets go".
Apostrophes are used as possessives, or to replace letters. If you are talking about the Kennedy clan, they are the Kennedys, not the Kennedy's.
It's The 1960s, not The 1960's. Shortening years, it should be The '60s, not The 60's.
Characters are in their 30s, not their 30's.
VARYING THE NAME OF THE SAME CHARACTOR IN THE SCENE DESCRIPTION. If a guy's name is John Brown, you shouldn't be calling him John sometimes, and Brown others. In the dialogue, fine, but not in the scene description.
And after you intro characters, we should never see their whole name again. It shouldn't say JOHN BROWN as the name over all the dialogue (much less something like ASSISTANT DA CHARLES KINCAID). Pick the first name or the last and stick with that, and make sure it's what you are calling him in the scene description.
EXCLAMATION POINTS IN SCENE DESCRIPTION. These look really amateurish. If you are writing an exciting scene well, you really don't need them.
posted by Scott the ReaderLabels: Alligators in a Helicopter, characters, craft, market, scribosphere, structure
Posted by
scribosphere @
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Hart Hanson: Writing Down the "Bones" |
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Will Dixon has an interview up with Hart Hanson, the Executive Producer of "Bones" which I think is a relatively under-rated show.
I'll admit, I do quite like most things the Deschanel sisters are in, but I really enjoy this procedural drama, as it has an interesting twist: who knew anthropologists could be so sexy? :-)
Plus, Hart's a big Led Zeppelin fan. Nice!
In any event, an excerpt from Part 1 is below. You can read the rest of it here.
- E.
Will: You have and have had an overall deal with Fox for a number of years now. How did you get it and can you explain how such a deal works exactly? How much they ‘own’ you as it were (as in, what can or can’t you work on)?
Hart: An overall deal means that the studio owns all my television development. They buy you out of the market for two or three years with an option for a third or fourth. I wrote five pilots for 20th Century Fox, two of which were produced, one of which became the series "Bones". I also ran "Judging Amy" for them. They were very, very kind to loan me out to Sony for "Joan of Arcadia" for 13 episodes.
Will: Here you are pictured with the cast of Bones (and getting a smooch from David Boreanaz...the ladies are swooning) along with Barry Josephson (glasses/ballcap). Who is Barry and what is his relationship to you and the show? Do y'all get along?
Hart: Barry Josephson is an Executive Producer on 'Bones'. He has a production deal with the studio, 20th, with which I have an overall deal. He owned the rights to a documentary on Kathy Reichs which was the genesis of 'Bones'. The studio put me and him together and we made the pilot. His office is across the parking lot from mine. He is still involved in the show in the same way Bruckheimer is involved in HIS shows. Barry is producing movies and other tv shows as well. The studio owns the show and the network "rents" it for a production fee which is a large part of the budget. The studio makes profits on other platforms: ie, DVD. There are always different opinions and attitudes from the studio and the network. It's just part of the minefield the showrunner has to navigate.
Will: Talk a little bit about making that Toronto to L.A. transition when you're not 23. You went down not as a fresh young thing in a business where you're old at 30. And you were Canadian. How did you do it? Was it like starting all over again? Did your Canadian "mystery credits" mean anything at all? How did you make the leap?
Hart: I was old when I came down here. I was 38 and approaching 39 fast. My Canadian credits meant nothing. Luckily for me, Rob Thomas at "Cupid" liked a spec script I wrote for "Ally McBeal". The interview went great and I suspect he liked the idea of having someone on his staff who'd run a show but who didn't look like he intended to take his show away from him. It was a hard decision to leave Canada -- I was ensconced, working with people I really liked, we had a nice house in the Beaches part of Toronto (Toronto's not my favourite place to live, I'm from Vancouver Island, but it was literally the kindest place I've ever been. People really accepted me and my family.) But, when I asked Brigitte if she'd consider moving to LA to try to get work from scrap, she said, "I think we have at least one more adventure in us." The biggest worry was whether LA was a good place to raise kids. It's still our biggest worry and they are almost grown.
Will: Shifting gears, any favourite actors you can’t wait to give your dialogue to because they always take it to another level?
Hart: Tons! Right now, aside from my series regulars who I really, really like (I'm not blowing smoke ... they're good...), I LOVE writing for Stephen Fry. Ryan O'Neal is also a blast. Tyne Daly was a gift. Joe Mantegna was great. Mary Steenburgen. Back on Traders, I loved writing for Patrick McKenna.Labels: characters, industry, scribosphere, Will Dixon
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scribosphere @
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Wednesday, January 17, 2007 |
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BlueCat Interview! |
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Interview with the founder of BlueCat - Gordy Hoffman
A lot of writers, like you, enter competitions all the time. There are plenty of them, I don't know how many, but a huge amount. Some better than others.
If a competition provides you with something really valuable when you win, that's great. By valuable I mean like a good shot at getting your script produced. Or a lot of money, enough for you to produce it yourself.
Some competitions even give you feedback without winning. Your script can be awful and loose hard, but still get notes on how to improve it. That's not bad, considering it's almost a win-win situation.
One of these competitions is BlueCat. BlueCat began 1998 and is very successful by now. It has a grand prize of $10 000, actually the most of all similar competitions so far. Also, the four finalists get $1500 each, which still is a nice amount of money considering you didn't win.
But enough talking, let's let the man himself, Gordy Hoffman, tell us about it and then some more:
1. What are you looking for in a screenplay?
A compelling story. What makes a story compelling is how deeply personal the writer invests in the work. If you don’t care, we won’t. If you open yourself, we will feel safe and sit down.
2. Is there any particular genre that does better than others, from what you’ve seen so far?
Not our contest. Our 2005 winner was a comedy that made me laugh out loud more than once and our 2006 winner was a drama that I bawled over all the way through. Basically, refer to answer #1.
3. What do you think makes the difference between a good movie and a bad movie?
The lack of audience identification with the experiences of people on screen.
4. What fatal mistakes can a writer do in his/hers script?
Settle for the first idea or choice that comes to their head, whether it’s a line of dialogue or the last scene of the screenplay.
5. How did you get started on writing?
It was a writing assignment in 2nd grade. A very short story. I remember it to this day, the feeling of creative writing.
6. What do you love most about filmmaking. Writing, directing, producing…?
I love collaborating with other people, working with brilliant actors, meeting the audience. It’s so much fun.
7. Why did you start BlueCat and was it hard getting it “out there”?
I guess I thought it would be fun to start a screenplay contest. Little did I know! But eventually I figured out how to handle the circus, and people have discovered us.
8. You think competitions are a good way to get inside the industry walls, and if yes, are all as good?
Some are better than others, and they definitely help with the struggle for attention from Hollywood. I know we have. Our 2005 Winner has recently wrapped production and stars Seann William Scott.
9. Will you consider having your brother sign to act in the winning script as the grand prize sometime?
The day will come, I’m sure! But he’s a bit busy right now.
10. Any projects coming up soon?
The thing I’m writing at 5:30 in the morning.
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Big thanks to Gordy!
//Scribosphere
Categories: [general_] [ideas_] [industry_] [market_]Labels: general, ideas, industry, interview, market, scribosphere
Posted by
scribosphere @
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Tuesday, January 16, 2007 |
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Saturday, January 13, 2007 |
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Monday, January 08, 2007 |
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Thursday, December 28, 2006 |
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Monday, December 25, 2006 |
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Thursday, November 30, 2006 |
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Gumball 3000 Competition |
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Gumball 3000 Script Competition
Danny Stack over at Scriptwriting & Script Reading in the UK noticed about the Gumball 3000 competition. Here's what it's all about:
“The Gumball rally inspires rebelliousness, reckless abandon, exhibitionism, ferocious competitiveness, and a shameless desire to win: all things I cannot condone, but sure as hell are fun!”
Adrien Brody
“With glamorous playboys and supermodels, rock and film stars, and the most eccentric mix of Dr Evil style billionaires and eccentrics all racing 3000 miles in 8 days, ‘what a perfect cover up for what is really taking
place behind the scenes!’”
Maximillion Cooper
Dear Writers
Have you dreamt of writing the next Usual Suspects or Ocean’s Eleven?
Gumball 3000 Films is looking to make that dream a reality. After having successfully produced and released four documentary feature films of our past Gumball 3000 Rallies – the latest 3000 Miles featuring Bam Margera and Tony Hawk on an epic 3000 mile adventure across the globe from London to Los Angeles, we’re now looking to produce a fiction film based on the Gumball 3000 Rally. Think Pulp Fiction crossed with the Thomas Crown Affair rather than Cannonball Run, but fast cars should definitely play an integral role.
Two executive producers already attached include Oscar winning actor Adrien Brody and Gumball 3000 founder Maximillion Cooper. Through our previous films we have also established lasting relationships with independent financiers, all we need now is a script…and that’s where you come in!
We will select 100 writers based on your CV and one page of your work. This can be anything from a short story or synopsis to an excerpt from a treatment or script. You’ve simply got show us you’ve got the skills and passion to be the perfect writer for this project.
These 100 writers will then be asked to write a treatment of their idea for a Gumball feature, the best 3 treatments will be optioned and the writers commissioned to write a first draft of their screenplay. The writer of the best screenplay will then go into development with our production team.
Please email your application, with the attached CV and 1 page example of your work (word or pdf files only please) to scriptwriter@gumball3000.com.
The deadline for submission is the 10th December 2006.
Good luck!
Julie Brangstrup and Patrick Fischer
Gumball 3000 Films Sounds interesting indeed. This should be fun, so pick your best script-page ever (probably a fun one), and send it in. Now.
Thanks to Danny for the heads up.
//Scribosphere
Categories: [events_] [general_]Labels: Danny Stack, events, general, scribosphere
Posted by
scribosphere @
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Gumball 3000 Competition |
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Gumball 3000 Script Competition
Danny Stack over at Scriptwriting & Script Reading in the UK noticed about the Gumball 3000 competition. Here's what it's all about:
“The Gumball rally inspires rebelliousness, reckless abandon, exhibitionism, ferocious competitiveness, and a shameless desire to win: all things I cannot condone, but sure as hell are fun!”
Adrien Brody
“With glamorous playboys and supermodels, rock and film stars, and the most eccentric mix of Dr Evil style billionaires and eccentrics all racing 3000 miles in 8 days, ‘what a perfect cover up for what is really taking
place behind the scenes!’”
Maximillion Cooper
Dear Writers
Have you dreamt of writing the next Usual Suspects or Ocean’s Eleven?
Gumball 3000 Films is looking to make that dream a reality. After having successfully produced and released four documentary feature films of our past Gumball 3000 Rallies – the latest 3000 Miles featuring Bam Margera and Tony Hawk on an epic 3000 mile adventure across the globe from London to Los Angeles, we’re now looking to produce a fiction film based on the Gumball 3000 Rally. Think Pulp Fiction crossed with the Thomas Crown Affair rather than Cannonball Run, but fast cars should definitely play an integral role.
Two executive producers already attached include Oscar winning actor Adrien Brody and Gumball 3000 founder Maximillion Cooper. Through our previous films we have also established lasting relationships with independent financiers, all we need now is a script…and that’s where you come in!
We will select 100 writers based on your CV and one page of your work. This can be anything from a short story or synopsis to an excerpt from a treatment or script. You’ve simply got show us you’ve got the skills and passion to be the perfect writer for this project.
These 100 writers will then be asked to write a treatment of their idea for a Gumball feature, the best 3 treatments will be optioned and the writers commissioned to write a first draft of their screenplay. The writer of the best screenplay will then go into development with our production team.
Please email your application, with the attached CV and 1 page example of your work (word or pdf files only please) to scriptwriter@gumball3000.com.
The deadline for submission is the 10th December 2006.
Good luck!
Julie Brangstrup and Patrick Fischer
Gumball 3000 Films Sounds interesting indeed. This should be fun, so pick your best script-page ever (probably a fun one), and send it in. Now.
Thanks to Danny for the heads up.
//Scribosphere
Categories: [events_] [general_]Labels: Danny Stack, events, general, scribosphere
Posted by
scribosphere @
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Monday, November 27, 2006 |
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Saturday, November 25, 2006 |
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One Slack Martian - A great scribosphere chat last night |
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A great scribosphere chat last night.POSTED BY ADAM RENFRO OVER AT One Slack Martian's Screenwriting Blog.
Chris Soth and the Unknown Screenwriter schooled us on high concept. And while most of us had the lingo and the concept down, those two FUCKING UNDERSTAND MOVIES . . . from the screenwriter to the prodco to the marketing, it was great to listen to. Thanks guys. And a special hat tip to Scribo for organizing the whole affair. I have two hopes: 1) there are more Scribosphere chats in the future
2) pro scribes continue to visit and do pro bono work
If you missed Friday's chat, be sure to catch the next one.
Okay, I’m about to do a Forrest Gump/Kangaroo Dundee style walkabout to burn off some of the turkey and hops. Or maybe I’ll just sleep ‘til Monday.
//Adam Renfro
Read/Post Comments
Scribosphere: We're always happy when we get such good feedback! And there will certainly be another chat, where hopefully even more helpful pros will join us and show us the right path. Soon Scribosphere will post a summary/conclusion of the chat on High Concept, so stay tuned!
Categories: [ideas_] [general_]Labels: chat, general, ideas, One Slack Martian, scribosphere
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Tuesday, November 21, 2006 |
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Time To Chat! Info About the Chat-Session |
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Time To Chat! Info About the Chat-Session
So! The time has come, and we will now officially announce more details about the scheduled chat-session.
We've decided to make it on Friday. This Friday, November 24. Hopefully most of you will be available then. Two chats will take place that day, in order to give the chance to all time zones.
The first one will be at 08:00 PST. Make sure you convert the time to your time zone correctly if PST doesn't apply to you.
The second chat will be at 19:00 PST. Same here, make sure you convert correctly to other time zones.
Of course you're invited to join both chats, and actually it would be appreciated if you did. There will hopefully be different people in them, so you'll learn different stuff each time.
There's also going to be a topic for this chat, in order for you to get your thoughts together and share all the knowledge you sit on. The topic this time will be High Concept. - What's high concept?
- How do you create high concept?
- What movies are good examples of high concept?
- Why should you write high concept?
- How does high concept help you in the market?
- Any general thoughts on high concept?
Since high concept as many would say, is one of the most important things when it comes to screenwriting, you will hopefully gather new thoughts through this and improve yourself as an writer.
So, to sum it up:
Topic: High Concept
When: Friday 24 November - 08:00 PST & 19:00 PST
Who: YOU.
The chat can be found here.
It's a great opportunity for all to get together and learn about each other, so see you there! Btw, write it down so you won't forget.
//Scribosphere
Categories: [events_] [ideas_] [general_] Labels: events, general, ideas, scribosphere
Posted by
scribosphere @
12:13 PM |
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