Write, write, write: March 2011

26 March 2011

Is the infamous "we see" really such a huge don't?

The question's come up in different places recently. Fact is, it's used a lot and yet screenwriters are always told not to use "we see" in scripts. The way I see it the issue isn't whether you use or or not use "we see" - the issue is whether you're a known or unknown quantity.

It's not what we see, it's what they see.

Fact is, if you do ANYTHING that gives ANYONE in the business the slightest chance of thinking of you as being an amateur, they will use that chance. These signs are format, spelling, script length and yes, also things like the famous "we see".

If you're fresh to the game you'll want to do everything you possibly can to avoid looking like an amateur.

Now - I'm not saying at all that the use of "we see" IS the sign of an amateur. It's simply something that makes it harder for you as a newcomer to get through the door - and it's something that makes it easier for the producer/agent/reader to toss your script. You know this to be true - they all have piles of stuff they're supposed to read and they use the above mentioned signs to lower their pile of scripts.

The reason why you see so many "we see"s in scripts is because, once you're a known quantity, anything goes. It really doesn't matter anymore.

So then - there's really nothing wrong with "we see" - some people hate it, some people couldn't care less (I personally use it sparingly as I also consider it to be a weak choice when it comes to telling a story) - but if you're a newbie, you should stay clear of it.

17 March 2011

Why screenwriting competitions may work for you

The very knowledgeable Alex Epstein is right on the money when he argues that screenwriting competitions are like lotteries. Yes, it's a shameless exaggeration to call the chances of winning even minimal. And the chances of your script getting made are far smaller still ... and yet, from my experience there can be value in screenwriting competitions.

Good competition results may not get you the 007 kind,
but you may just find your lit agent that way.

The goal of any screenwriter should be to see his/her story on the silver screen. If you want your screenplays to be bought, your stories to be produced - then tackle the people that make movies, production companies, networks, studios.

I'll tell you why screenwriting competitions were highly valuable for me when I started out ... they charged me, they pushed me - and, when I qualified for quarters and semis and finalist places - they made me feel good. So is that worth spending entry fee upon entry fee? To get a bit of a feel good vibe? Nope - of course not.

I entered several different competitions with my first four spec scripts. As a beginner I had no way of knowing whether those scripts were any good - and I had no access to anyone in the film industry. Friends liked my writing - but I craved professional input. When I received the first qualifying letters from competitions - they were like beacons to me. They signaled that I really was onto something. That, all by itself, made me push myself all the harder. On to the next script, the next deadline, write, write, write.

However, the far more tangible benefit was a different one. My semi-finalist letter from the Nicholl Fellowships got me my first agent. I copied that letter and walked it to dozens of New York lit agencies. The letter opened quite a few doors, the semi-finalist mention raised enough interest for agents to want to read my scripts - and a highly reputable agency ended up signing me exclusively shortly thereafter.

There you have it - if you think screenwriting competitions will lead to your brilliant script getting made - forget it. Ain't gonna happen. But if you're just starting out, if you want to gauge what others think of your writing (whoever they may be behind those contests), if you're looking for an agent ... well then a few of the most respected screenwriting competitions just may be worth your time.

08 March 2011

Getting a bit of the raw truth

Months ago I've joined reddit and there a subreddit on screenwriting. I've come across a whack of great posts and have interacted with many writers ranging from pros to beginners and from positively nurturing to brutally honest. All of it - even the most ripping comment - is useful.

Bruno says: "If it don't kill you,
it just makes you stronger."

First off, in case you're interested - the link to the screenwriting subreddit.

Most of what's going on there is all around positive - lots of very relevant link sharing, lots of good discussions. You'll also find beginners sharing concerns, looking for insights ... and that's where it gets really interesting. Most subreddit members will offer positive, constructive feedback on questions, loglines, scenes, etc. But some will also be more, shall we say, acerbic.

Personally, I'm more the constructive kind. I've provided feedbacks on a lot of scripts and yes, I've always been brutally honest - but at the same time have always tried to also highlight the positive elements, the potential of a story and I've also always offered ways to improve those scripts... but as a beginning writer - you'll come across all sorts and you better learn to get used to it.

So if you get negative, cynical, downright mean feedback... take a deep breath and don't get defensive. You're just wasting your time and energy. What you should do, instead, is look at what you'll probably perceive as "abuse", as steeling yourself. Ideally you'll learn from it, too, but some feedback's only value is to hopefully make you stronger and better at handling rejection. As a beginning writer you're on a rocky path that may or may not lead to making a living as a screenwriter. Rejections will bruise and cut along the way but if you take them, you'll learn how to take them.

If you don't, you might as well turn around and go back home.

Now then... if you're up for a bit of frankness, join this subreddit, join the great scriptchat or any other online writer's community. I believe those a great places to learn and yes, to steel your persistence muscles... and sometimes it's just nice to know that you're not alone out there, isn't it?

What do you think?

02 March 2011

Brother Grimm / Wolfsfährte

My most recent commission was the adaptation of Craig Russell's thriller "Brother Grimm". I've come across an atmospheric trailer for it and thought I'd share it here.

On the hunt for Brother Grimm

If you like dark thrillers you should definitely acquaint yourself with Craig Russell and Jan Fabel, the iconic Hamburg cop he's created. Fabel's half-Scottish, half-German - a quiet man, a good man, a man of conscience - and he's considered the number one expert when it comes to hunting serial killers.

At this stage, Craig's already published five Jan Fabel novels (with number six, "A Fear of Dark Water", out this summer). All of them are packing powerful serial killing punches wrapped in gripping mythological elements. "Brother Grimm", for example, sees Fabel on the hunt for a serial killer who uses the Brother Grimm fairytales to chose his victims, dress them - and leave cryptic notes. I had great fun adapting the novel and we were rewarded, at the end of October last year, with top ratings when the film premiered.

So here's the trailer ... and while you watch it, I'm opening "Blood Eagle" to start with the next Craig Russell adaptation. Time to dive into more Jan Fabel, more darkness, more mythology, more serial killing, more gruesome twists and turns ... ah, life's good!

And here another clip with Craig visiting the set and meeting his creation Jan Fabel.

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