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Rewriting Your Screenplay

After all the revising and editing, something might be gnawing at your mind and spirit – does this screenplay work for my vision. This thought can pop into your head after reshaping and editing your screenplay. In today’s blog, I’ll on rewriting your spec script to match your true vision.

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Rewriting can be a daunting task when you try to rework what you’ve spent months even years working on your passion project. This allows you to escape the creative box you’ve painted yourself into. It’s important to have your work for whatever occasion arises.

During the revising and editing process of my screenplay, I found that the format and structure I used in my screenplay wasn’t working for me or my vision. I was trying to make a half-hour dramedy to an hour-long drama. It lacked the intensity and hilarity I originally envisioned for my first project. I needed to reclaim my original premise and characters I planned all those years ago.

Now, as I begin to think about my concept, reshaping my script is going to affect every aspect of my overall package. When the time is right I will be prepared.n-screenplay-628x314

 

The goal of rewriting your work is to help prepare you for the endgame – optioning your idea for film, television or the web. Just remember to keep your eyes on the prize.

In reading this post, I hope you will feel better about the rewriting process. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

As I end my run with The Screenwriting Forum, it has been a pleasure writing this blog. The amount of information and advice I shared in this experience helped me to grow as much as it did my readers. I loved the community that has formed from this blog. And I hope to continue this positive and encouraging environment as I moved on to my new blog.

Come back within the next few days for my new venture.

Submitting Your Screenplay

After registering your screenplay, the next task is to submit your screenplay to different outlets.  In today’s blog, I’ll speak on how and where to submit your work.

Submissions are instrumental in getting your work acknowledged by the entertainment industry.  It’s important to let people outside of your family and friends see and read your screenplay.

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Remember to register with the WGA East, WGA West or international here to register your script. Don’t forget about your logline and treatment because most of contests and competitions will want them before seeing your script.

For any screenwriter worth their weight, entering your screenplay into various contests and competitions is a must. It signifies your script is ready to be seen by individuals in the industry. Getting veterans to see your script is key to making gains into the industry.

Here are some fellowships, contests, and competitions for you to consider:

Academy Nicholl Fellowships in Screenwriting

Big Break Screenwriting Contest

CAPE New Writers Fellowship

The CBS Writers Mentoring Program

Disney│ABC Writing Program

Film Independent Episodic Lab

Film Independent Project Involve

Film Independent Screen Writers Lab

FOX Writers Lab

Nickelodeon Writing Program

NBC Writers on the Verge

ScreenCraft’s Screenwriting Fellowship

Sundance Episodic Story Lab

Sundance Feature Film Program

Sundance YouTube New Voices Lab

Tribeca All Access

Universal Writers Program

Warner Bros. Television Writers’ Workshop

With my own screenplays, I have submitted my work to various contests and competitions. It’s too early to tell what feedback I’ll get, but the fact that I submitted is a great start.

As I rewrite my spec script, I keep the idea of submitting to different outlets in the back of my mind. Now, my rewrite will be representative of my true vision as a creative. So submitting to contests and competitions will be more rewarding.

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The goal of submitting your work is to help prepare you for the endgame – optioning your idea for film, television or the web. Like last week, keep your eyes on the prize.

Hopefully, reading this post will submission process less anxiety-filled. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back next week for a surprise.

Registering Your Screenplay

After reshaping your story bible, the next task is to register your screenplay and all its assets. Registration is key in creating a viable property in your screenwriting future. In today’s blog, I’ll speak on how important registration is.

Registration is instrumental in solidifying your finished script as an intellectual property for your creative gain. This comes into play when submitting your screenplay to contests or optioning for a film/television deal. It’s important to have ownership of your work for whatever occasion arises.

With that said, let’s talk about how to register your screenplay.

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For any screenwriter worth their weight, the Writers Guild is the destination for copyright and trademark of your work. It signifies that you have an intellectual property worthy of being something one day. You have to have your own back as a creative when it comes to your script.

Here are the links to the WGA East and WGA West for my U.S. readers. For my international readers, here is another link to find what guild you can register with.

 

 

With my own screenplay, procrastination and perfectionism set me back awhile as I tried shaping and molding my work into what I wanted it to be. Registering my screenplay happens to be the biggest hurdle I had as a screenwriter, but eventually, my confidence in my writing leads to a certificate from the WGA.

As I rewrite my spec script, the thought of re-registering my script has come to mind. Now, my rewrite and reshaped story bible will be representative of my true vision. When the time is right I will be prepared.

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The goal of registering your work is to help prepare you for the endgame – optioning your idea for film, television or the web. Like last week, keep your eyes on the prize.

In reading this post, I hope you will have a better understanding of what ownership means to any screenwriter with a dream and some decent words. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back later this week as I speak on preparing your screenplay for submissions.

Packaging Your Screenplay Part 2 – Revising and Shaping Your Bible

Once the logline and treatment have been revamped, you can focus other aspects. Any screenwriter with a vision will want one for when their big moment finally arrives. But once the revising and editing process has slowed down, revisiting the bible is a must. In today’s blog, I’ll tackle a screenwriter’s best friend – the series/film bible.

If loglines and treatments are the mission statement and slogan for your vision, then the story bible is the handbook of your well-crafted vision. It’s the foundation of your screenwriting. Your bible sets the tone for your story will be for the next 90 minutes or 5 seasons.

For me, my story bible has shifted quite a bit since I first wrote my pilot. The same premise has remained in tack, but episode orders, plotlines and more have changed as my needs for the overall story have. Remember to always keep your premise even as your story shifts from time to time.

With that said, let’s explore how to repurpose your story bible.

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Retooling a story bible can be a daunting yet rewarding task as you want the bible to be in sync with your pilot. With that in mind, a series/film bible is described as:

a reference document used by screenwriters for information on a television series’/film’s characters, settings, and other elements that keep the content consistent throughout its course.

With loglines and treatments are short and concise, a story bible tends to vary in length depending on what stage in the process you’re at.

There are two schools of thought in television and film about story bibles. As mentioned by Screencraft, there are more traditionalists like screenwriting master Jacob Kruger who puts it as:

What they’re really asking is proof that you know what you’re doing, and that your series pilot not only has a fabulous premise and collection of castable characters we’d want to spend our time binge-watching, but also has the kind of engine required to run for at least five years.

He feels many producers and studios still have the mentality of world-building as king. He suggests the tried-and-true structure listed below:

  • A series logline (including all the elements from your original pitch).
  • Short character bios for each character detailing who he or she is along with their wants, and what they will do to get it.
  • A short overview paragraph describing the story arc of the first season.
  • Summaries of each first-season episode, including a title and a nutshell description for each episode by restating the characters’ wants and needs and the rising conflicts.
  • A short summary of seasons two through five (with short being the keyword; leave the producers and executives wanting more).

On the opposite end, there is producer/script editor Lucy V. Hay who feels the traditional method can be boring and long. Hay champions brevity as she states, “Knowing this helps you focus your vision and your pitch to the right network.” She suggests this four to five-page format:

  • A one-page pitch
  • One page of character profiles for all characters
  • Short synopses of all episodes following the pilot
  • A page or so detailing the format (who the returning characters are, intended channel, intended slot, and so on)

 

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Courtesy of Bang2Write

I have to admit I fall more into the traditionalist lane as I craft TV scripts with a series being the goal. I love the idea of world-building and giving background to every aspect of my script. While it is a challenge, I love having the vision to be fully planned out before someone sees my hard work.

The revising and editing process can make it hard to stare at your meticulously planned bible and say “I need to start over.” That moment can be a heartbreak for any writer especially your average screenwriter. It means you have to go back to the drawing board and go through the shaping and plotting all over again.  But it’s okay because you have shifted your vision, and your story bible needs to reflect that. You can still keep the bones while you lay on the flesh.

I’m going through the process as I write this blog. After rethinking my spec script, I figured out some of my issues are related to the bible I create. Now, I am reconstructing what my episodes and modifying my series trajectory.

When redoing your bible, you have to keep your screenplay in mind. It has to reflect what the themes, characters, plot, settings, and etc. are now rather than the previous revision(s). As I have gone through the revising process, I have found myself looking back at the story bible every time to see if it still captures the premise of my script. Now as I make some changes to it, I have to let the past go as I reshape my vision to its true form.

 

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The goal with this writing staples is to help shape and mold your vision to what your endgame is going to be – optioning your idea for film, television or the web. Keep your eyes on the prize.

Hopefully, reading this post will relieve your anxiety about tackling your series/film bible. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back next week for registering your screenplay and preparing it for submission.

Packaging Your Screenplay Part 1 – Revising a Treatment and Logline

Once free from the creativity drainer known as writer’s block, the preparation for shopping and optioning your screenplay will commence. Even before writing your screenplay, two key elements are needed – a logline and treatment. But once the revising and editing process has slowed down, revisiting the logline and treatment is a must. In today’s blog, I’ll dive into redoing your logline and treatment for your big moment.

Loglines and treatments are like the mission statement and slogan for your vision. They set the blueprint for what your story will become once you begin writing/typing your script. Even though your story might change course here and there, your logline and treatment are there to keep you from veering too far off course.

For me, my logline and treatment have remained the same since I first wrote my pilot. Of course, there have been some minor tweaks along the way, but pretty much the same premise has remained in tack. Remember to always keep your premise in mind when redoing your logline and treatment.

With that said, let’s explore how to repurpose your logline and treatment.

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Logline

Retooling a logline can be both amazing and challenging. As the definition states,  a logline is

a brief (usually one-sentence) summary of a television program, film, or book that states the central conflict of the story, often providing both a synopsis of the story’s plot, and an emotional “hook” to stimulate interest.

Being short and concise is the key to crafting a great logline. So once you’ve come up with one, you can breathe a sigh of relief.

The revising and editing process can make it hard to look at your well-crafted logline and think “this doesn’t speak to the story I have now.” That moment can be a heartbreak for any writer especially your average screenwriter. It means you have to go back to the drawing board and go through the brainstorming process all over again.  But it’s okay as now you understand your plot and characters better. Writing the new one will be a little easier.

When redoing your logline, you have to keep your screenplay in mind. It has to inhibit the plot and characters as they are now not from the previous revision(s). Just remember to keep the setting, characters, inciting incident, conflict, and goals in mind. As I have gone through the revising process, I have found myself looking back at the logline every time to see if it still captures the premise of my script. Every revision causes a tweak to the logline in some form or fashion. Keep calm and go with the flow.

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Treatment

Long before the first word of your screenplay is typed or written, your treatment plots out how your story will come together and take shape. Treatment follows its definition to a tee:

a piece of prose, typically the step between scene cards and the first draft of a screenplay, longer and more detailed than an outline that reads like a short story, but describes the events as they happen in the present tense.

The treatment allows you to write your screenplay without worrying or over thinking every little detail. Trust me that’s a godsend for a type A personality like me and my racing thoughts. It provides structure while allowing for wiggle room where needed.

The revising and editing process can throw your well thought-out treatment for a loop. It feels like your world is coming to an end as you go back to start tweaking dialogue and rearranging scenes to best fit the story in its new form.  But it’s okay as now you understand that all the moving parts are now working in tangent with each other. Writing the new one will be an undertaking but so worth it.

Like your logline, retooling your treatment make you refer to your revised screenplay. It has to follow the story’s new course instead of the previous one. As I’ve gone through the revising process, I found myself tweaking the treatment as I rewrote and edited my script. The same vision I had, in the beginning, did not reflect the current state of my screenplay. Every revision trickles down to the treatment in some way. Just remember to keep your vision in tack.

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The goal with these two writing staples is to help shape and mold your vision to what your endgame is going to be – optioning your idea for film, television or the web. Keep your eyes on the promised land.

Hopefully, reading this post will aid you in rethinking and revising your treatment and logline. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back later this week for more on deconstructing and reconstructing your film/series bible.

Writer’s Block Part 2 – Finding Relief

After dealing with the symptoms and causes of writer’s block, writing a screenplay can be a stressful situation so why add this foe of all writers into the mix. In today’s blog, I’ll dive into some resolutions to help deal with this plague.

Dealing with writer’s block can be a major stressor to any screenwriter. Sometimes, all you need is a changeup or some personal time to get back into the creative flow. When I was writing my pilot, I found myself staring at a blank computer screen for moments at a time. I would back away from the screen and watch some Korean variety shows to get back in the fold.

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In that spirit, I’ll give you some tips on breaking out of your writer’s block.

Research

If you find yourself questioning some of your writing decisions (characters, settings, actions), research can a huge aid in breaking through writer’s block. Looking up culture aspects of a character’s background or real places for your fictional world can great in pushing through and developing your screenplay. During the writing process for my pilot, I spent half of my time reading books and looking up pages and forums online to get a better breadth of my characters’ various backgrounds.

Change of scenery

Any writer who’s been handcuffed to their computer or notebook all day will tell you that changing your environment will open up your creative world. This doesn’t necessarily mean taking a walk outside. You can go grocery shopping, meeting friends for lunch, seeing the afternoon matinee, etc. Any chance to be out and about in the world is a great opportunity to get inspiration. My favorite thing to do is going to a shopping center or grocery store and observe people as I run my errands.

Reading outside of your medium

Screenwriting is amazing, but sometimes, you can get into a little rut with the format as your creative well begins to run dry. Reading outside of your screenwriting territory is crucial in keeping the creativity flowing. Find a nice book. magazine, or blog site to get some inspiration for your characters, plots, settings, etc. My usual reading selection goes between historical fiction, mystery, graphic novels, and memoirs. I can always find inspiration in those mediums.

Tap into other creative outlets

Besides reading outside of the medium, you use other creative outlets to inform your script and its world. Being an artist allows you to be a multifaceted individual so embrace it. Anyone who is thinking about or in the thick of screenwriting usually has a background in some other forms of writing. But there’s also other forms of art that can get those creative juice going. Before becoming an aspiring screenwriter, I got my Bachelor’s degree in animation along with having a background in every aspect of the fine arts.

Try other activities

A piece of advice is not all your activities have to be creative-focused. Sometimes, you have to let your mind go blank and enjoy some mindless fun. After a day of writing, you need to unwind in some way. Video games, film, television, etc. Just embrace it all. I spend my free time going between video gaming, listening to music or catching up on my favorite TV series and podcasts online.

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When there seems to be no relief for writer’s block, a breakthrough happens, and the words begin to flow from your fingertips to the computer screen or notebook.

Hopefully, reading this post will help in getting out of the fog known as writer’s block. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back next week for more on creating the full screenwriting experience.

 

 

Writer’s Block Part 1 – Symptoms and Causes of Creative Restriction

After speaking on the importance of scenes and actions in crafting a screenplay, I’ll speak on a writer’s worst enemy – the dreaded writer’s block. Today’s blog will focus on the symptoms and causes of this creative plague. Writer’s block can lead to a depressive state in your writing process.

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According to the website Mental Health Daily,

The phenomenon was first documented in 1947 by Edmund Bergler, a psychoanalyst… Anyone can end up with writer’s block, even talented writers like F. Scott Fitzgerald have been noted to struggle with this condition. The condition was researched throughout the 1970s and 1980s and specifically focused on the process and post-process theories of composition.

Like any form of writing, screenwriting is no exception as mental blocks can come at the most inopportune moments. When I originally wrote my pilot, I was writing the last two acts for my screenwriting class when I decided to push myself due to outside obligations. I couldn’t concentrate as my mind raced at top speed.  In short, I ended writing those acts at 2 AM after a crazy concert. My creative juices were flowing, and I had to capture them before sleep and fatigue settled in.

In that spirit, I’ll break down some of the warning signs and causes of writer’s block.

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Symptoms

Brain fog – This dreaded cohort of writer’s block always appears when you in the midst of creating your latest masterpiece. You feel like your brain is working against you as your concentration and productivity slow down to a screeching halt amongst a cloudy atmosphere. It can lead to a major delay in your writing process.

Lack of focus – As either an offset of brain fog or a casualty of distraction, focusing on a story can be a daunting task as outside forces seem to constantly vie for your attention. A wandering mind can take your attention away from your passion for writing.

Lack of inspiration – Have you ever been in the midst of or starting to writing your screenplay, and found yourself not feeling or lacking direction in your work? Of course, we all have. Sometimes, you find yourself writing something that just doesn’t speak to your soul and heart. That can be a major dilemma, especially when dealing with a tight deadline.

Frustration – Another writer’s block cohort popping up when writing shouldn’t a stress but a labor of love. Often times this comes up when you need to write but can’t put words to pen or computer screen. You end up in this negative cycle of doubt and creative restriction.

Causes

Over analyzing and over thinking – As a creative, your work becomes a child of your writing process, but sometimes, a writer’s worst enemies – self-doubt and fear – can creep up and cause you to rethink everything you’ve written. You begin comparing your screenplay to that of your peers or industry veterans and scrutinizing every single word you have on the page or screen.

Anxiety – Again, a writer’s worst enemies – self-doubt and fear – can lead to some very intense moments as you begin looking over your work. Breathing gets shallow, mind races and heart palpitations set in as this silent foe begins overwhelming all your senses and body. You feel completely out-of-control and unable to write.

Emotional fatigue – Life outside of writing can be draining – physically, mentally and emotionally – leading to a lack of creativity and mental blocks. The latter comes when your words lack the emotional fortitude your character needs. The lack of connection and a slow mental process can leave you filling unfulfilled and unmotivated.

Lack of motivation – Once in the thick of emotional fatigue, your determination and ambition seem to drift to the wayside as lethargy and low mental fortitude set in. Being unmotivated can the biggest mountain to climb as when it comes to writing a screenplay. An already daunting task can become almost impossible.

Stress – This negative force can be a major hindrance in the writing process. Sometimes, stress can go beyond the thinking process and impede on complex cognitive functions like writing a screenplay. Outside forces like daily life, family problems or relationships can render the idea of screenwriting as more of an overwhelming task than a creative outlet.

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Even though the condition has been studied, it has become a controversial subject as many individuals, including writers, have begun to question the validity of writer’s block in recent years. I’ll just say that writing no matter the medium can be a huge undertaking especially in a short amount of time, but I’ll leave that debate up to you – the audience.

In reading this post, I hope you won’t feel alone in the battle against writer’s block. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back later this week to read about some cures for writer’s block.

 

Feedback Part 2 – Peer and Professional Critiques

After speaking on the benefits of table reads earlier this week, this blog will focus on peer and professional feedback when it comes to your screenplay.

Having family and friends read your work is one thing, but letting your writing peers and screenwriting professionals comb through your words is a different level of anxiety. But you shouldn’t be nervous as getting feedback from other writers can be very rewarding when it comes to tweaking your screenplay.

Writers reading other writers’ work is like iron sharpening iron as they give you a keen insight make your script better. They can tell you what works, what needs work or what doesn’t work at all. It is very helpful in terms of hearing what your words may or may not be implying from another writer’s perspective. This only leads to more fine-tuning of the best characters or scenes and trimming the word fat for a better, more polished screenplay.

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As you think about pursuing peer and professional feedback, I’ll give you some places that have helped me on my screenwriting journey. Here are a few Facebook and LinkedIn pages:

Screenwriting Magazine

Organization of Black Screenwriters

Screenwriting Blogs, Interviews, and Advice

SCREENWRITER NETWORKING

Secrets of Screenwriting Group

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Writers’ Guild of America Discussion Group

Along with group pages, there are quite a few websites that can aid you in perfecting your screenplay. Here are a few:

The Black List

LA Screenwriter

Reddit Screenwriting

Screencraft

Screenwriter 911

Writer So Fluid

These are just a few of the resources you can use on your screenwriting journey.

 

By reading this post, I hope you feel a little bit better about your peers and industry professionals looking over your work. Now, you just need to find a safe place to let your words be free. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back next week as I talk about character development in a screenplay.

Feedback Part 1 – Table Reads

For any screenwriter, getting feedback on your screenplay is pivotal to creating your best work. There are many sources of feedback for screenwriters. With this post, I’ll be focusing on table reads, or read-throughs, and their importance to the editing and revising process.

After completing your first screenplay and sitting with it for a minute or two, you’ll want to get instant feedback. This is where traditional read-throughs come into play. Read-throughs are an excellent source of feedback when it comes to fine-tuning any aspect of your script. Seeing and typing words on the screen is very different from hearing your words read aloud.

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The vibe of a read-through is best summed up in its definition:

an initial rehearsal of a play at which actors read their parts from scripts.

You don’t necessarily need professional actors to make your words come to life. But you will need willing participants to read your script. Family members. Friends. Classmates. Co-workers. Anybody will do when it comes to bringing your dialogue to life. You might want to let your readers look over the script to give them a chance to pick which characters they want to voice. Outside of the speaking parts, there is the issue of narration. You need someone to give your characters’ actions pizzazz as the screenplay takes shape.

With characters and narration set, there is the issue of the venue. Big or small. Well-lit or dim. Living room, kitchen table or bedroom. The place for the script reading doesn’t matter as long as everyone is comfortable and understand what the goal of the read-through is. All you really need is the right creative atmosphere to produce a fruitful reading.

Once everything is set, the hard part begins – hearing your words read aloud for others to hear. It can be scary but don’t worry because it’s all a part of the process. Having others read your words allows you to hear what dialogue doesn’t sound correct or feels off for a certain character. What directions or actions are more tell than show in the script? Is too much dialogue and not enough action, or vice versa? Is the plot moving forward or stagnant? Is the climax strong enough? These are some of the questions that might arise as you hear your words outside your mind and computer screen. That’s okay because this is another step in perfecting your screenplay. You might be in your feelings as you hear feedback from others. That just means you have a real passion for what you’re writing, but don’t let keep you from hearing good constructive criticism.

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Hopefully, this post has introduced you to your new best friend – the table read. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back later this week as I speak on another source of feedback – critiques.

 

Editing and Revising Part 3 – Creating a Clean Copy

While this week’s first entry focused on proofreading, this second part will look at getting a clean copy when editing and revising. Make sure to have your computer screen up and a red marker ready for an exciting ride.

With proofreading out of the way, let’s get to business shall we – actually reading through your script. For any writer, proofreading is a tedious process as you scan over every phrase and word in your writing. Screenwriting can be even more intense as one word or phrase correction can change the direction of a scene or act. Proofreading a screenplay usually goes through three phases to create a decent clean copy.

Phase 1 – the computer screen

All you have to do scroll through the pages at a snail’s pace to spot what misspellings and homophones you might catch. You can agree with your spellchecker or overrule it like a dictator. The choice is yours.

Phase 2 – the printout

Reading a hard copy of my script can an eye-opening moment as you comb through every character. Action. Word. Punctation. You’ll need a red pen and time as you can every page for a minute or two so no mistake is left behind. Make sure to keep tabs on your corrections by leaving a checkmark or X on each page.

Phase 3 – from the hard copy to the screen

At this point, you’ll be looking over the script page by page as you make corrections to your file. Just remember to look over the pages carefully so not to create more errors.

Bonus Phase – streamlining

As a writer, cutting away the excess can be very helpful in fine-tuning your screenplay. Eliminating unnecessary words and phrases can create a balance between dialogue and action and reduce repetition.

 

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By reading this post, you’ll be able to work out the bugs out and fine-tune your script just in case your big moment arrives. But this isn’t the end of the conversation, you can leave comments below and discuss this even more with your fellow screenwriters along with myself.

Come back next week for more insight from The Screenwriting Forum.

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