Category: Revisions

June 20th, 2010

Cover My Script goes to The Great American Pitchfest

June is a very exciting month! It marks two very important occasions: The Great American Pitchfest and Screenwriter Karaoke’s 1st Anniversary!

CoverMyScript.com is so proud and honored to be participating in the 7th Annual Great American Pitchfest. For those of you unfamiliar with The Great American Pitchfest, it is a yearly event at the Burbank Marriott where hundreds of writers pitch en masse to hundreds of production companies. It’s an exciting, frenzied, energy-packed event and we at CoverMyScript.com are so proud to be a part of it in two ways.

Saturday, June 26th, CoverMyScript.com will be on site with a team of talented, speedy story analysts from 9am until 5 pm to help you meet your Sunday pitch time crunch. We will be offering a variety of on-the-spot services from one-sheet construction, query writing, as well as last-minute pitch prep consults to help you hone your skills. With prices starting at $20, there’s a service to fit any budget.  We will be accepting credit cards through paypal as well as cash for easy transactions.

There are many seminars to check out from 9 am until 5 pm with something for every writer. Then stick around for Screenwriter Karaoke! A fun networking event for screenwriters that doesn’t take itself too seriously. Have a couple of drinks and sing your heart out. We promise we won’t judge. We can’t sing either. ;-p

Not sure what to sing? Here’s the Screenwriter Karaoke Song List for PitchFest.

Saturday, June 26th @ 6 PM
Marriott Burbank Hotel & Convention Center
Room “Academy Two”
2500 N. Hollywood Way, Burbank, CA 91505

AND LATER COME OUT TO OUR REGULAR SPOT SARDO’S AFTER 10 PM. Just a short ride in town.
Sardo’s Grill and Lounge
259 N. PASS AVE.
BURBANK, CA 91505

What are the rules?
* NO COVER CHARGE.
* CASH Bar only.
* Hotel parking has been made available at a discounted rate of $14 to attendees.
* 21 and over only. Please bring ID and be prepared to show it.
* Have fun, drink , sing and connect!

Come out, make some new friends and meet #scriptchat peeps Jeanne Veillette Bowerman and Zac Sanford who will both be in attendance. It’s a very exciting time and CoverMyScript.com couldn’t be more honored to be apart of this. Hope to see you there!

June 9th, 2010

Deus Ex Machina is a good thing?

My first day of Screenwriting 101 at Tisch, my teacher stood before us, a motley collection of wannabes, wearing mostly black. He gave us his non-negotiable screenwriting rules:

  1. Courier 12 point.
  2. Always have an active protagonist.
  3. No Deus Ex Machina. A Deus Ex Machina literally means “God from the Machine” or rather “a plot device whereby a seemingly inextricable problem is suddenly and abruptly solved with the contrived and unexpected intervention of some new character, ability, or object.” (Thanks Wikipedia!)
  4. There are only two types of stories and they’ve already been written: “I’m going on a journey” and some version of “boy meets girl.” Every story falls into one of those two categories, metaphorically they can fall into both; it’s the details that will set your story apart.
  5. Know your three-act structure, so you can most succinctly and satisfyingly tell a story.

And for whatever reason, those five tips resonated with me. To my credit, I’ve never pulled a Deus Ex Machina because I knew it was a cheap punch, lazy writing. When you use one, you’re, in essence, screwing your audience out of seeing the protagonist have to struggle; which is really the best part. You throw a life raft to help your character, and then he doesn’t have to try and swim. He’s succeeded simply because you, an unseen “hand of god,” helped him. It’s one of those cop outs that always makes me angry.

Rising from the footlights of the ancient Greek stage, Dues Ex Machnia was never acceptable or enjoyed even during its inception. It was so maligned, in fact, as a storytelling device, even on opening night in ancient Greece, literary critics complained about its use, saying that it ruined the story for them.

For example: your protagonist is about to drown, he’s in a small box that’s quickly filling with water. He is going to die. That is, until a tsunami comes from out of nowhere, breaking open the container and freeing our hero into a sun-shiny tomorrow. He didn’t have to try to get out of the box. The box opened on its own, due to circumstances outside of his control. To borrow a phrase from the Bluth family, “That’s a freebie.”

I mostly never think about Dues Ex Machina as a device because I refuse to acknowledge it as a screenwriting tool. That was until yesterday when I re-watched the 1981 “Clash of the Titans.” For some reason, I saw this beloved movie in a new light.

The perfectly cheesy Perseus, played by Harry Hamlin, is LITERALLY moved around throughout the story by ACTUAL GODS. In this instance, Deus Ex Machina wasn’t a lazy go-to, it was an integral and literal story point. So, it got me thinking, in a world where there are few absolutes, is a Deus Ex Machina device always a bad thing?

(more…)

May 18th, 2010

Six Deadly Script Sins Part 2 – Writing Edition

An old article of mine “The Six Deadly Script Sins” has recently resurfaced,  and some of the comments were that writers wanted less about the do’s and don’ts of “presenting” your script to agents / prod co’s  for consideration, but rather they wanted to know about the do’s and don’ts of writing. So, here are my newest Six Deadly Script Sins, only these are about the craft of screenwriting, not the submission process.

1) Have one endingJaws ends beautifully.

The end. There’s no more, just one end. There is no need for a tag, and then a tag’s tag, and then a button on the end of the final tag. Just decide what the end of your movie is and commit to it. It’s exhausting trying to navigate more than one proper conclusion. It also makes you seem indecisive and amateurish as a writer.

2) Have an active protagonist – You character should always be doing something. They have to be the catalyst that propels the story forward. Allowing supplemental characters to cause havoc surrounding the main character is good story development and excellent to add plot complications, but you can’t rest on that alone. Set up your protagonist with a singular goal from the outset and have him work towards achieving it the whole script. It will give your protagonist interesting depth as well as create a built in plot device. Also try a MacGuffin if that better suits your needs.

3) If you don’t outline you’ll die. Well not really, but it is serious. Always. Always. Even if by the end of your first draft you’ve completely gone another direction, write the outline anyway. It’s good homework for you to know what the story is. It’s important that you, the writer, understand the full breadth of your characters and the over arching story. An outline is a horrible, tedious thing, but it’s good for you. It’s the brussel sprouts of writing. Just eat them and shut up.

4) Stop worrying about the writing and start worrying about the content. Yes your script should be well written. It should be properly formatted and in the correct font. But that isn’t the end. Your script needs to be concise, visual and above all convey a complete story. Spend less time worrying about how beautifully your action passages read, and think more about the content. You’ll find that you’ll feel less stressed when you realize pretty prose is for novels.

5) Don’t be vanilla. Yes, 90% of movies have the same beats and structure. I know you’re all “But my script…” yeah yeah, no. Your script is the same basic structure as everyone else’s whether you choose to believe it or not. It’s not that your story isn’t special, it’s just that there’s everyone else in the world with a story in their heart that probably touches on some similar beats. What will make you stand out are the details. A utilitarian scene is often necessary to give information or move the story along. That is the perfect time to add weird, quirky details if it’s a comedy. Throw in extra layers to your joke by building in visual references to complement your dialogue. That way you’re effectively hiding the fact that you need this scene to move from A-B, but at least it was interesting and unexpected. That way you’re getting more bang for your buck. I love when you get more for your money. Add the details. It’s worth your time.

6) You’re not Tarantino. You’re not Diablo Cody. You’re not either Gilmore Girl. I don’t care how cool your friends think you are. I don’t care that you once waited on Jane Lynch while you were a cashier  at a Bookstar. You are you and as such you are special. Quit trying to write preciously clever dialogue that is pervasive throughout your whole script. If you have one mouthy teenager who says the coolest, hippest street ever. Awesome. Give her her own voice. She deserves it. But if mouthy teen’s mom, the green grocer, and an alien from Neptune all have the same patois, it grows immediately tiresome. Find a voice unique to each character. Allow each character to be rich and full. Don’t make them spew semi-cool dialogue out of every pore just so you, as a writer, can seem relevant. It’s just totes, lame peeps.

There’s tons more. As I think of them or as people comment I can certainly write more and expand on this as requested.

May 3rd, 2010

So, now what?

5 days ago, I finished my 108 page feature that I wrote in approximately 20-ish days, for Script Frenzy. As soon as I typed “FADE OUT.  THE END.” I wasn’t sure what to do with myself. The last month was jam-packed with stress and thinking and typing, and worst part was, I neglected everything else in my life just to finish.

Finally after typing until my fingers bled, I got to have mermaid time (that’s fancy talk for taking a bath),  get my toes done, have a facial to peel off all the layers of blood, sweat and exhaustion. And now, I am back to feeling alive.

But now that I’m alive again and have my first draft completed, where do I start to try and make my “vomit pass” a viable script? It’s so overwhelming that it seems insurmountable. So, now what?! Well, that’s when it’s time to call your story analyst.

Upon re-reading my script, while I got the basic structure down (thank god!), I recognize it’s not nearly good enough. There is so much that I wanted to accomplish and so much more I want still to do. It is in no way ready to be seen by an agent, a prod co, most of my friends. The only person who is going to get to see it, is my story analyst. Hey, all therapists need a therapist of their own.

So, I called my story analyst and booked a consultation. I needed someone to tell me what to keep, what to junk and what to donate. And it turned out to be great. Most of what I had I could keep. Some of it was actually funny. But a lot of it was utilitarian place-holders that needed to be replaced with sparkling dialogue and clever character quips.

My friend Janelle was on a mission from God, yesterday. She showed up, like Moses to shepherd me across the Red Sea of cookbooks that was drowning me in my living room. It was a bad scene. Janelle came in, opened my basically empty and cavernous hall closet  and said, “We can start here.”

She was right. We did the linen closet and realized I wasn’t lacking space, I was lacking organization. I needed someone to say to me “Take manageable bites.” Someone to help me sort through all my amazing things, help me take stock of what’s important and what’s donatable and what’s garbage. I basically needed a story analyst for my closet.

Thankfully, my story analyst was able to help me with my first draft. He really put things in perspective for me and is actively helping me reach my goals. It’s so important too, for you to have someone like that for your writing. You need someone you can confide in and trust, someone who is non-biased and most importantly someone to help you move forward after your first draft is complete. Because there’s always going to be revisions.

My story analyst allowed me climb out from under the massive stack of  mis-matched towels, and show me what my story really looked like. And you know what? It’s really cute in here!!

April 27th, 2010

The 5-Hour 1-Mile Marathon, Scriptfrenzy Day 27

Okay, so I’m now 27 days in and I have written 91 pages. That puts me 1.1 pages over my target. I should be happy, but I’m not… this script is still not finished. Why is the end so hard to reach?

When I started this script almost a month ago, I was ready. Well, sort of. After three or four false starts, I was ready.

I had my outline, Final Draft, I had snacks… it seemed like a winning combination. I would stare for endless hours at my screen and then I would type diligently for 20 pages. I would procrastinate and then I would write 3 really tough pages for 9 hours. I never seemed to find my rhythm like in other projects.

This whole writing process, this writing to a self-imposed deadline with no promised paycheck at the end, reminds me every minute of every day of a 1-mile marathon I ran when I was a kid.

My step-mother, Eileen, and I trained for weeks to participate in Millbrook, NY’s fun summer festival activities with the hopes that I would do great. I always have loved the idea of being a runner; the light on your feet pounding, the swift feeling of power as you raced your body hard like a steam engine. I always could see the deliberate turning of the body’s gears, as I watched other runners passing me by on the NYC reservoir’s track and I longed to be poetry on my feet.

My family had a weekend house there, so we practiced running the course religiously. We also ran in the city. I never could keep up. Even as a 13-year-old, I was no runner. (Author’s note: at 13 I had a D-cup. Now that I’ve put that inappropriate image in your head, here’s a picture of your mother.)

Well, the day of the race came. I woke up, I was ready to go. I was running the course in my mind. I laced up my sneakers. I was bouncing around like Rocky. That’s what runners do, right? They warm up and stuff?

My parents took me down to the starting line a bit early. I was one of those busy-body kids. The kind of kid you tell to stay someplace, and they don’t listen. They go off in a fog, thinking their weird kid thoughts and then wind up sleuthing mysteries that no one knew existed. Well, yeah, that was me. So on that day, I wound up next to the awards table and discovered they were giving trophies for the various races. There was one for the 1st girl and 1st boy of the 1-mile race. Hmm… I liked my odds for a trophy. I looked around at the other kids who were taking their place, and so far, it was only boys and me. I also liked my odds for having a soda with a boy at the diner afterward. But that’s another story.

I silently prayed that no other girls would show, just so I could trophy, and that’s when they gathered us around. The gun was fired. We were off and running. Haha! I was the only girl in the race, and provided I didn’t die and I crossed the finish line, I would win a trophy! I was so getting that trophy, I was so getting it, if it killed me.

At first, surrounded by a bunch of very cute boys I was running and bouncing and being a pony-tail flipping moron. For about six feet I kept this up, until I couldn’t breathe. The cute boys all ran very ahead of me, very quickly, leaving me with my plodding feet, beating mercilessly down on the cruel hard pavement, my gasping breath that no amount of well-intentioned training could’ve prevented, it was just me and the road. I had to run or quit. It was up to me.

So, like a quarter mile in I’m thinking, how far is a mile? That’s like 20 NYC blocks right? I can run 20 blocks. So like that’s from my house to 73rd Street. I can totally do that. Then maybe two NYC blocks later I start complaining to myself “The reason why NYC is so much better than the stupid country is that there’s stuff to look at while you’re running the mile. God!” This carried on for maybe six more NYC blocks, until I was too tired to silently complain anymore. I was now just groaning on a loop inside my mind.

I had run this course before. I knew how much farther it was going to be, and it was indeed far. I couldn’t breathe. My legs were burning as they always did every time I tried to run. I wondered how it was that people were able to run 26 miles. I didn’t think at this point I could evade a serial killer if I had to. I would be the first person killed in a horror movie. I just knew it.

But I kept on running. So, like NYC block 17, I’m basically blind, sort of delirious, definitely deranged. I can’t breathe. I am drenched with sweat. I feel pretty low, but I’m still moving. Barely. That’s when the ambulance showed up. I wondered who they were there for. I hoped they were alright who ever they were. The paramedic, sitting  in the open back door of the ambulance spoke to me. “Are you, Xandy?”

The ambulance pulled up and around me, so that they were in front of me, pacing me while I ran. One of the paramedics sat in the back, the doors open, his legs dangling. His partner tooted the horn at me. I was startled. I shivered, I was roused, like a demon was released from my body. And there before me was the smiling paramedic. He told me all about the mayor and how he was worried that I was dead. He told me to get in the ambulance and they would drive me the rest of the way.

I had been gone so long that the mayor thought I was dead? How long had I been running this mile? Going on 3 hours. No wonder I was so tired. I was dehydrated, I was exhausted. I was basically brain dead. The paramedic tried to hand me some water, but I refused. The mayor thought I was dead?! Oh, crap! There would be no trophy for me now. All of this for nothing. I slowed to a stumble. The paramedic told me to hop in. They would take me the rest of the way.

I was done. I was done 8 NYC blocks back. I was dead on my feet. But I was no quitter. As soon as I realized the mayor thought I was dead, and sent the ambulance to resuscitate me I got a second wind.  I don’t know from where or how, but I roused and I ran. I wiped the sweat from my beet red face, I fixed my pony tail and I ran.

I refused to let the ambulance take me the rest of the way. I had come so far and only my determination would carry me across the finish line. And, something like 20 more minutes later, about another quarter of a NYC block,  I finished. The whole town was there, to cheer me across the refastened finish line.

Everyone came out to see the girl who took nearly four hours to run a mile. It was humiliating. Everyone in our town now knew us. The search for me, or really the town-wide caucus to decide if they should send the ambulance to go find me, had really brought everyone together. It would’ve been sweet if not at my expense.

I made it three inches on the other side of the finish line, and that’s where I collapsed. My parents were there. My dad had many stories about the nice people concerned about me, about all of the people who volunteered to uncover my dead body. Eileen was proud of me that I finished on my own. So was I. In fact I was so glad to no longer be moving, that I forgot that I didn’t win a trophy.

I was finally able to stand. Eileen said I could order whatever I wanted from the diner to celebrate my victory. That’s when the mayor came over. He was thrilled to discover that while I was indeed a wreck, I wasn’t dead and a girl found alive during the town festivities is a weight off of his shoulders. The race had been over for the better part of 5 hours for everyone else, even though it was only really minutes for me. But, he handed me my trophy anyway, and said that I deserved to win just for having the strength to finish. I felt renewed. I accepted it and walked with my parents to the diner and ate probably the best BLT that ever existed.

I’m sure that as soon as I type “The End” on my script, I’ll feel as accomplished as I did after finishing the 5-hour 1-mile marathon that cost the city $17,000 in man hours and service from the dedicated paramedics. How does this relate to my #Scriptfrenzy script? Well, I’m right now at NYC block 17 and I’m really looking forward to my BLT.