Screenplay: The Frenzy – Always Start with an Exercise

Even when I’m in the middle of a screenplay I’m excited about, when I start out writing for the day, I still find myself procrastinating to the page.

I have found that by far the best way to work on a screenplay each day is to start with warm-up exercises. It makes sense, right? It’s like stretching before running.

It’s tough to just start working on the script where you left off. Warm-up exercises not only get your brain cells moving, they can inspire that next scene, help you discover something about your characters that you didn’t know before, and help you to find deeper meaning in your story.

The most exciting thing about warm-up exercises is when they surprise you. When that AHA seems to come out of thin air. It’s magical.

I was introduced to timed writing as far back as junior high school (although I admit I didn’t appreciate it as much back then). I’ve used them for years when teaching poetry. Jack Remick and Bob Ray (of Weekend Novelist fame) are timed writing fanatics. They’ve got some great tips, start lines, and exercises on their website as well.

A really simple timed writing exercise to start your day is this:

Set your timer for 5 minutes. At the top of your page, write The scene that needs to be written is . . . and see where it takes you. Don’t stop and certainly don’t edit, just write and write and write. Don’t try to make it into anything, especially not a scene. Don’t try to control it. Even if it sounds like complete nonsense, just ride it out!

EXAMPLE:

The scene that needs to be written is the one where Tibby witnesses the murder only I’m not sure if the murderer IS her father or her father gets murdered. Which is worse? To watch your father kill someone or be killed. Tibby’s dad is involved in the water controversy, whatever it is it has to be big, unethical, taking of water from the people who can’t afford it like Ben and Bruce and Danny. The densers are being ripped off but why can’t they unite and complain and who would do anything about it and how is Danny’s mother involved? I know that water matters. I know that clean water matters in this. I know there were water wars… ETC

When that 5 minutes is over, go to the MIDDLE of that piece of writing and pull out a sentence. Use THAT sentence to start your next timed writing and this time make it for 7 minutes.

Repeat this again, drawing a line from the middle of your 7 minute writing, and setting your timer for 10 minutes.

After you have completed the 10 minute one, write the next scene of your script.

You’ll be amazed what can happen when you just let yourself go like that with no commitment, no inhibition, nothing to prove. It it not only a great tool to warm up for the day, it’s a great tool when you feel mentally blocked. Just go on your gut.

If you are short on time, try it in 3, 5, and 7 minute increments.

Jack and Bob would sometimes alter the STYLE of the writing. Such as:

-write in short sentences (no complex/compound sentences)
-write in one looooong sentence (no punctuation, every thought connected by “and” or another conjunction)
-use a technique called “chaining.”

Chaining is a great way for your mind to be tricked into going in unexpected directions. Chaining means the the last word of one sentence becomes the first word in the next sentence.

EXAMPLE: Carole didn’t know what to do about her daughter. Daughter who now mocked her because she was weak. Weak for men, weak for love, never standing up for herself. Herself now an empty shell of the passionate artist she once was. Was not long ago when she could wake up feeling strong and confident. . . etc.

Hope your Script Frenzy week is going well!

Danika’s script page count: 10 out of 100 pages.

Screenplay: The Frenzy – Preparing Part 2: The Outline (Sequence and Beat Approach)

Many screenwriters I know hate writing outlines (and loglines and summaries and treatments). I’ve approached each feature I’ve written in a different manner, trying to find the ultimate way of getting the story outlined. By far, the most successful technique I’ve found (the one that made the story flow from my fingers) was the “sequence” approach. I have my own adaptation of this that I call my “Sequence and Beats Sheet.”

I think each writer has to find what works for them. I studied the 3-act, the hero’s journey, Sid Field’s & Michael Hague’s approaches, which you can easily find on line. But I never connected with anything as much as the sequence approach, which is taught in the USC screenwriting program.

The sequence approach was developed by Frank Daniel while head of the graduate screenwriting program at USC. It breaks the story up into 8 10-15 minute “mini movies,” each with their own 3-act structures. The theory is that this approach is more like the early movies in which film reels were only 10-minutes long, so back then writers were forced to divide their stories up into smaller sequences.

For me, this method breaks the story into manageable bites and serves to move the story forward, even for character-driven drama. I find it particularly useful during the middle of the story (that dreaded 2nd Act), which often feels like being lost in a jungle.

This approach is explained by Paul Gulino in his book Screenwriting: The Sequence Approach (he also analyzes 11 films based on this approach)  and Chris Soth (USC grad and “Million Dollar Screenwriter“) uses this “mini movie method” in his very successful screenwriting workshops. (btw – Chris was a participant at PitchMarket 2010 and is a wonderful supportive resource. I highly recommend working with him).

If you are interested in finding out more about the sequence approach, I suggest getting Gulino’s book or doing a google search, as it is discussed on several blogs and forums. The blog A Good Story Well Told gives a great overview of his book.

Gulino names each sequence and what is meant to happen inside it (set up, development, special world, game, grace, intensification, sprint, resolution). If you are new to screenwriting, following these more closely and carefully will get you through that draft.

I have several screenplays under my belt, so I took a much looser approach, focusing mainly on the idea of “status quo” change.

(btw – before I plotted this, I nailed my logline down, which really helped)

1) I numbered some pages from 1 – 8, leaving ample room for the “beats” in each sequence. Beats are basically whole scenes that have their own beginning, middle, end. You can think of beats as the “steps” of the story. (Carry and Bob get married, their limousine crashes on the way to the airport, Bob gets his legs amputated, etc.)

2) I decided what the “status quo” was at the beginning of each sequence, and how the status quo would be changed by the END of that sequence. During this process I also thought about what the goals were for the characters in that sequence.

Here’s a hint – if the status quo never changes from the beginning to the end of your sequence, your story probably isn’t very dynamic and is most definitely missing conflict.

For example, my story was based on the relationship between a mother and son. Events happen to them (both as individuals and together) to create conflict between them. At the beginning of the first sequence, their life together is set up and we understand that they have a pretty good relationship. But, mom actually has a secret she’s been keeping from him his whole life. She’s never told him who his real father is. By the END of the first sequence (about 15 pages later), her son has found out this secret and wants to go meet his father. The son is furious with the mom. New status quo.

At the beginning of the next sequence, they go to see his father, who is in the hospital. The son decides he wants to stay. Mom wants to leave. Mom gives in to son to keep him happy. New status quo.

And so on until the end, by which time their major conflict would be resolved (I wanted a happy ending, what can I say).

3) I reviewed the beginning status quos for each sequence to make sure they significantly changed. I drew an up arrow (good terms) or down arrow (bad terms) to indicate the state of the mom/son relationship at the beginning of each sequence. Up, Down, Double Down, Up, Down, Tripple Down (the worst point for them), Neutral, Up.

Great. Story is dymamic.

4) I added as many beats in each sequence that I could think of that would complete each sequence. In the first sequence they start off camping, drive to Uncle Bears, Reunite with their hippie commune family, Mom finds out son’s father is in hospital, son catches her smoking pot and gets mad, Mom tries to sneak off to hospital, Son catches her and confronts her, she confesses her secret. Okay, so 7 main beats to that sequence. If I can divide them up even smaller, I go for it. If I already have particular scenes I know I want to write, I note them in the proper sequence.

And that’s basically how I outlined the plot for the script. It was MUCH easier than thinking of it in larger sections. The sequence approach lends itself to moving the story forward. And when I wrote the script, it flowed better than any other I had written.

Okay – the FRENZY starts on THURSDAY (egad!). By tomorrow morning, I have to decide which story I’m going to tell and sequence it out. I suggest you do the same! Good luck!

Screenplay: The Frenzy – Preparing for the Challenge

Wow, I noticed it’s been over a YEAR since I posted my last Screenplay: The Exercise entry. Guess I’ve been busy. And I’ve been working on the accidental novel launch, which is in two months. Woo-hoo!

But now it’s time to dust off my DIY Screenplay Kit because
April is SCRIPT FRENZY MONTH!

What’s that? you ask. Why Script Frenzy is a writing event in which participants take on the challenge of writing 100 pages of scripted material during the month of April. Feature film, play, TV show, graphic novels all count for the challenge.

People who know me know how much I love a good screenwriting challenge. A feature in 30 days? Piece of cake! (famous last words) I challenge you to finish in 21 days and spend the rest of the time editing.

The hardest thing right now is simply deciding which story to tell.

Exciting, isn’t it?

If you’re on board for the FRENZY, I’ll be posting writing exercises, advice, support, encouragement on my blog as I participate in the event. If you sign up at the frenzy website and become part of your local frenzy scene, there will be meetups happening all month. (Unfortunately I’ll be out of town for Vancouver’s kick-off event on Sunday, March 28 at Blenz at Pacific Centre in downtown Vancouver.)

Having been a screenwriting teacher for several years, I’ve developed (okay, stolen and personalized) several writing exercises as well as created a writing program called “From Start to Finish” – which takes students through a screenplay in 12 weeks. At T.A.N.’s former home over at blogspot, I also hosted several challenges and presented my “Super Scene Writing Formula.”

Since we don’t have 12 weeks, I’ll be taking some of the highlights of that program and reposting them here under my Screenplay: The Exercise series. That will make it happy, since I’ve been neglecting it for so long.

ONWARD!

The FIRST thing you need to do is PREPARE to write your screenplay!

Okay, actually, before you do that you need to PICK AN IDEA. Just pick one, pick one, pick one and stick to it the entire month, even when things get crunchy.

If you’re totally stuck, try the PLOT MACHINE on Script Frenzy’s homepage. After a few random pulls I came up with these:

After the Third World War, a group of Star Wars collectors is catapulted into the limelight.

In a post-apocalyptic world, an out of work lion tamer falls head over heels in love with a zombie.

Next, there are many things you can do before you even sit down to do your OUTLINE (which I will discuss in my next post (oh, goodie!) when I share my not-so-secret path towards screenplay outline success).

(CLICK on links for further help/explanation)

1) TALK your story ideas out loud.

2) Work on your LOGLINE.

3) Work on your protagonist’s DILEMMA.

4) Try some PREWRITING exercises.

OTHER PRE-WRITING IDEAS:

1) Find a support system, a team of people who’ve got your back. You meet on a regular basis. They can be individuals, a small group, a paid professional.They hold you to your commitments and keep you on purpose.

2) Take a long walk alone. Let your mind wander. Allow all your ideas and stories and characters and images float around in your brain. If you haven’t already, decide on your next project before you get home. Make a mental commitment that when everything else seems more interesting and easier, you will stick with that project. Tell everyone on your team what you’re working on.

3) Buy a notebook and a bunch of your favoutie pens. This notebook is your brainstorming and exercise book for your story. Write the name of your story on the cover. Carry it with you everywhere. Any time you have 5 minutes (on the bus, waiting for a friend, etc), write your ideas down in it (I’ve suggested some start lines below). Do not edit, do not cross out, just write without stopping. DID YOU HEAR THAT?? WRITE, WRITE, WRITE – do not edit.

You can use the startlines below, write character lists (names, ages, descriptions, etc.), or write down what I call “moments.” That’s when a scene hits me and I’m not sure when it goes in the story, but I want to write it down. Scene when Chelle overhears Max getting a girl’s cell phone number and she feels like a bad mom because she can’t afford to get the family a cell phone.

START LINES FOR STORY JOURNAL

If you find yourself stuck in front of a blank page, here are a few start lines you can try. Remember, write quickly without stopping and without editing. If you run out of things to say, write blah, blah, blah, i can’t think of anything to write about my character Susie because I’ve never known anyone like her… etc.

Also, I use conjunctions to connect ideas and use very little punctuation… keeps things flowing.

This is a story about… (forgiveness, forbidden love, jealousy, revenge…)

Before this story began, my protagonist…

When this story begins, my protagonist…

More than anything, my protagonist wants…

By the end of the story, my protagonist has learned…

What if… (always a good one, just lists when you get stuck on an answer… what if the twins find a kitten? what if Max wants a job? what if her father dies? and then when you strike something that resonates, riff on that for a while… Oh, yeah, Max not only wants a job, he wants to be emancipated and move in with this girlfriend…)

Feel free to mention the project you’ll be working on in the comments. Saying it out loud keeps you more committed to it.

And remember, there are ALL KINDS of writing tips and resources over on the Script Frenzy site.

Can I get a hey? a hip-hip-hooray? a WHEW! (Brigitta is on the loose)

At long last… no seriously…loooooong laaaaaast… I just handed (okay, I e-mailed) the FINAL DRAFT of my accidental novel Brigitta of the White Forest to my copy editor. It’s officially out of my hands.

Do you even know how unreal it was to let it go?

This story began in late 2002 when I was visiting my brother’s partner in her most-awesome store EARTH CENTRAL. A cavern of magical items, books, tarot cards, and piles of faerie-like clothing. I was tending her store and pondering something my EX-screenwriting agent had said to me after reading my 3rd dark, dysfunctional, indie dramedy.

Danika, could you please write something BIGGER?

Bigger I thought… something more mainstream… something with merchandising potential, perhaps… all of this stewing in my brain while being surrounded by FAERIES!

Lady Luna on her Doorstep

You can say inspired, kissed by a muse, or downloaded – but the idea for the story was simply suddenly there. I could picture the two faerie sisters in my mind. So, I let the story percolate, my usual mode of development for a new idea. My mind just plays with it, tosses it around, pokes at it, and asks it a few what if questions.

And then, fortune of fortunes, the next summer I was hired to work on set on the magnificent Sunshine Coast. If faeries live anywhere, they live near skookumchuck narrows on the Sunshine Coast. I knew it was the perfect opportunity to write the story. I made my goal to finish it by the end of the gig… four weeks.

Skookumchuck Narrows Park (from M/V Just Playing)

I did just that and even met some fabulous hippies with an old VW van (painted with faeries, of course) and told them the whole story. My first audience.

That was when the screenplay Brigitta of the White Forest was born. Since I had created an entire world with its own rules, magic, flora, and fauna I decided before I wrote another draft I had to figure out how this world worked. I wrote a 25 page world book and glossary for my own reference and 4 more drafts of the screenplay over the next two years.

In 2005 I got a call from an agent in Vancouver who loved Brigitta and wanted to market the script. I was thrilled, of course.

But it was still not a novel. It wasn’t even an idea for a novel. It was a mainstream, big-budget, family film with merchandising potential. It was a SO THERE to my EX-agents who complained that i didn’t write BIG enough…

(TO BE CONTINUED)

Hit n Strum Wraps… on to PitchMarket 2010!

Last week we wrapped on Hit n Strum… for the most part. There are still a few minor scenes that need picking up, but for the majority of our team, it’s time to move on. Other gigs are calling, our spouses and loved ones want to see us, and the volunteer members of the crew are down to their last boxes of cereal.

I have to say this was one of the best things I have ever done in my life and I can’t wait to see how it all comes together in the editing room. Half scripted, half spontaneous guerrilla shoot, and all magic.

Stunt Day Crew Photo

See the older couple on the far left? Those are the director’s parents. His Dad drove the cast and crew around. And his mom (in the sunglasses) made the crew breakfast every morning during the shoot. I’m gonna miss her.

Oh, and that’s their CAR… the one we used in our stunt. They were pretty good sports.

Reporter Glen Schaefer from the Vancouver Province was there on Stunt Day. CLICK HERE for the great article he wrote about our shoot. Very nice spread.

AND NOW…

In addition to getting back to editing my latest feature script, I’m the Program Director for PitchMarket 2010, a professional networking and pitching event happening here in Vancouver on March 6th and 7th. CHECK IT OUT! It’s going to be great. Register now, cuz the first 50 registrants get extra special bonuses you won’t want to miss.

The Inside Story from the Inside Passage

It’s almost 11 pm and I still haven’t finished packing. I’ll be out the door at 6:45 AM to drive down to Seattle to catch the Celebrity Infinity cruise to Alaska.

photo of Alaska's Inside Passage from shipshoretravel.org

I’ve never taken a cruise before, and frankly I’d never wanted to until I found out about Dara Mark’s class Engaging the Feminine Heroic, which takes place on the ship. It’s billed as a “7-Day Women Writers’ Retreat at Sea” and it’s going to be a blast.

Dara Marks is the author of The Inside Story: the Power of the Transformational Arc. I highly recommend it for those who’d like to develop authentic, character-driven stories.

A dozen women, mostly over 40, hanging out for a week at sea and taking a class with Dara Marks. How cool is that.

I will be posting every day along the trip about the cruise and the class.

Training for the CyberSpace Open: A script per day!

When I started my 10 day screenwriting challenge the other day, little did I realize how this might get me in shape for one of the most interesting screenwriting contests I’ve seen:  Screenwriting Expo’s CyberSpace Open.

The contest is set up in round-robin (elimination) style. Each round the participants must write a five page short script around a specific premise. You can write from anywhere. To win you need to survive 3 rounds, each with a tighter deadline than the last.

In the final round, the top 10 writers have only 90 minutes to write a 5-page script. Whew!

I’ve been writing a short script per day for the past 7 days. I missed one day, so I only have 6 scripts. I was hoping to write 2 today, but I don’t think that’s going to happen.

I may actually keep doing it for 2 weeks. We’ll see if I run out of steam.

I will post my favourite script of the 10 (or 14) right on this site. 🙂

Script Creative Launched

I’ve been over at the OTHER wordpress (.org) for the past few days — the one that allows you to keep your own url and has more bells and whistles. What fun. (You can also screw up your site easier because it gives you access to the code — whoops!)

I JUST launched Script Creative, my new story editing / script development services, and I’ve got a hot summer deal. So hot I’m sweating.

It’s fun to procrastinate productively!

Now… back to that rewrite… 🙂

Pitching Tips from Pamela Jaye Smith

A great article on INKTIP (a great resource for screenwriters):

7 Pitching Tips from Ancient Myth to Modern Media

G.A. Pitchfest Pt. 3 – So What Happens at a PitchFest?

The pitchfests I have been to were a cross between pitching and speed dating.

You line up for the company you want to pitch to and when you get into the room, a bell goes off, giving you 5 minutes to find your table and make your pitch. When the five minute bell goes off, you leave so the next person can sit down.

Some of the newbies at The G.A. PitchFest were concerned about those five minutes. The thing is, if you have your pitch down tight, it shouldn’t take you more than a minute or two (genres are usually faster/easier to pitch, drama takes a bit more time). That means you can take 30 seconds to introduce yourself at the beginning and get comfortable, and take some questions at the end.

Tell what your story is about… not everything that happens in it (that takes too long). You can’t tell the story as well as your script can. The key is to get them intrigued enough to read it and find out for themselves.

When you’re done they’ll either want to see it or they won’t. If they don’t, let it go and move on. So what if you thought your story was perfect for them, they didn’t.

If they do want to see it you generally leave a one sheet, not the actual script, and contact them later. If you think about it, it makes sense. If they take 60 pitches that day and want 10-15 scripts, well, that’s a lot of scripts to be lugging around. I never print off scripts for pitchfests, only one-sheets.

There are some pitchfests where you pay PER appointment/pitch. I don’t recommend these. For instance, I paid $250 for G.A. and got to pitch to 12 companies, my friend pitched to 14. So let’s say $250 / 13 pitches = less than $20 per pitch. You’d pay more than twice that amount if you paid per individual pitch.

CONCERNS GOING INTO A PITCHFEST:

Make sure the people taking the pitches are actual DECISION MAKERS, not assistants of decisions makers, but people who are actually a step along the way to getting the film made. One of my complaints about G.A. was that I pitched to two assistants. One looked so uncomfortable I felt sorry for him. It seemed like he’d been in the industry for 2 weeks. I had absolutely no confidence in his ability to pitch my story to his higher ups.

This doesn’t mean that assistants aren’t valuable or able to suss out good stories. It really depends upon the assistant. If an executive has had an assistant working with her for 5 years and this person has been involved in development, that’s great. But it’s really hard to tell that from a profile. So just be aware.

If you read the profiles, it SHOULD tell you what the person’s position is. Look for terms like President, Director of Development, Development Executive.

Make sure the festival will give you a PRINTED BOOK of all the company/DM profiles. This year at G.A. they decided to cut corners and give out CD’s with the information and you could pay for a book if you wanted them. I’m sure they meant well, but it was not a good move. Having a printed book with you is VITAL because you can make notes in the margins and can do some quick changing if a line is too long or a company doesn’t show.

The Great American Pitchfest in Los Angeles last month had about 115 companies available to take pitches for one day. Supposedly the Hollywood Pitchfest has 200 over 2 days. The Hollywood Pitchfest is more expensive and they claim to ONLY have DM’s, no assistants. Perhaps next year I’ll try them.

The thing is, you can only pitch so many times whether there are 50, 100, or 200 DM’s. I pitched 12 times in 6.5 hours and there were usually 3 or 4 people ahead of me in line. That means the there was a good ratio or participants to DM’s.

PitchMarket West (happening this November in Vancouver, BC) will have far fewer DM’s, but the same ratio, meaning you’ll never have to stand in line for more than 15-20 mins (unless it’s a HUGELY popular company like Dimension or Miramax Films, which happens). I decided not to stand in long lines, but go for the numbers.

BTW – I am co-producing PitchMarket West, so if you have any questions, let me know.

More pitching DO’s:

RESEARCH the company you are pitching. Sometimes at pitchfests you don’t get all the information regarding a company until the last minute. Even so, do the best you can to look up the company on-line so you can learn something about them (i.e. tone, audience, budget). Then make sure you READ the profile they turned in for the pitchfest. They may have just completed 5 action films but are now looking for comedy.You’ll look pretty dumb if you don’t know this and it’s right there in their profile.

PRACTICE your pitch. I hate doing this. Most writers do. But it helps, it really does. Over the days before we pitched, my friend and I would take turns pitching to each other and asking helpful questions.

The most difficult question I got at G.A. was “So how is this story different than all the others?” (I was pitching a fantasy adventure). It sounds like an easy question to answer, but it’s not. Practice.

And have fun.