October 28, 2010

Personal News... and other links...

I apologize for my unexpected hiatus from blogging, but I'm thrilled to announce that my husband, Warren Bell, and I sold a pilot to Nickelodeon.  I hope to blog about my experiences writing pitches, rewriting pitches, and actually pitching very soon, but for now...

Links from around the web:

Amanda the Aspiring Writer posted three great interviews with industry professionals: 
John August's thoughts on script consultants as well as what your email addy says about you.

Every link The Thinking Writer posts. 

Ken Levine's Adventures in Pitching Pilots.

P.S. How does IMDB know I'm married to Warren Bell?  

October 23, 2010

The CRY HAVOC Company's OPEN WORKSHOP SERIES

The CRY HAVOC Company, Inc. is a not-for-profit theater company in New York City. Led by Artistic Director Kitt Lavoie, CRY HAVOC is committed to developing new plays and reinvestigating existing plays in an environment that demands that artists challenge the boundaries of their talent and technique. CRY HAVOC is committed to creating raw, provocative, and humane theater by approaching all plays – both comedy and drama – as conflicts between individuals struggling to do what each desperately believes is right. CRY HAVOC is committed to bringing the best of this work to the public as a powerful and sustained voice on the Off-Broadway stage.

The CRY HAVOC community began working together in 1997, and was formally incorporated as a 501(c)3 not-for-profit organization in 2008 in honor of its tenth year of work. Since its founding, CRY HAVOC has developed more than seventy new plays and scores of new approaches to existing plays through its active Workshop and Lab programs. In that time, CRY HAVOC has also brought more than 25 of these projects to the New York stage, including its critically acclaimed production of Romeo & Juliet (featuring two women in the title roles) and the world premieres of more than a dozen new plays. Projects developed with CRY HAVOC have also appeared in more than 35 productions at other major Off-Broadway, New York, and regional venues.

The CRY HAVOC artistic community is comprised of more than 150 actors, writers, directors, designers, composers, and production staff, and is the home of The CRY HAVOC Resident Company.

The CRY HAVOC Company is proud to announce the opening of its new rehearsal and performance space at 347 West 36th Street.  After nearly fourteen years of developing raw, provocative, and humane theater, CRY HAVOC’s two hundred actors, writers, and directors now have a 24-hour, seven-day-a-week home to create and present challenging new work. 

Our new workspace will allow us to expand our educational and literary programs exponentially, serve many more artists, and do even more rigorous work on plays under development with the company.  And it will allow us to share our work much more frequently with our audience.

CRY HAVOC is committed to bringing our audience inside the development process to see and interact with our writers, actors, and directors at phases of work that normally happen behind closed doors.

With the opening of our new space, our open workshops, interactive rehearsals, and discussions of new plays will occur much more frequently, beginning with a slate of events that will allow the public to encounter some of the work that we are already doing in our new home:

The “How We Got Here” Open Workshop Series – featuring discussions of plays that have played a pivotal role in the history of CRY HAVOC and discussion with the artists behind them.
Monday, October 25 at 7:00pm
Makes Three – discussion of the full-length play through which CRY HAVOC’s new play development approach was honed.

Thursday, November 4 at 7:00pm
CRY HAVOC and Shakespeare – discussion of CRY HAVOC’s approach to Shakespeare featuring selections from Romeo & Juliet, Macbeth, Much Ado About Nothing, and other plays that figured significantly into CRY HAVOC’s history.

Friday, November 12 at 7:00pm
The Median Line and realer than that – discussion of two plays by the same writer, addressing similar themes, written fifteen years apart – one the first play that CRY HAVOC ever produced, the second a play from the Workshop that was recently published.
The Moving In Plays  – The first three weekends in December, we will share plays written by ten CRY HAVOC writers specifically to celebrate the opening of our new home – each inspired by photos of an empty room… and the two characters who are moving in.

If you would like to join us for any of these Open Workshops, please RSVP at rsvp@cryhavoccompany.org.

October 6, 2010

How Long Should My Spec Be? Ken Levine Explains...

From By Ken Levine:
When reading a spec, one of the most common traps I see young writers falling into is overwriting.

First thing I do when receiving a spec check its length. If I get a hernia lifting it, that’s not good. A comedy screenplay should be no more than 120 pages and that’s stretching it. Sitcoms vary depending on the rhythm and format of the show. But if you write a spec COUGAR TOWN and it’s 50 pages, I can tell you sight unseen it’s waaaay too long. HOT IN CLEVELAND scripts (multi-camera) generally topped out in the low 40’s. When I was consulting on WINGS we had a writer who routinely turned in 65 page drafts. His rationale was that he gave us choices. We could whittle it down to the best 42 pages. Fine and dandy except THAT’S HIS JOB!!! If you can’t tell your story in the allotted time then maybe you’re not telling the story right. Or there’s too much story and that has to be addressed.

The only thing worse than a TV script or screenplay that’s overwritten is a stage play. Plays have no length requirement so the playwright has free reign to torture us long into next month. When a two character piece about what to pack for a vacation is longer than NICHOLAS NICKLEBY that should be a clue.

And then there’s the dialogue.

This may sound obvious but worth stating anyway: Always remember that actors have to perform your script.

Soooo many times I’ll see full page speeches with sentences so long and complicated that no human being on earth could ever deliver them. And certainly not in one breath. Read your script out loud. If you need CPR by the end of a speech, rethink. Dialogue has to sound natural, conversational. And rarely do we speak in big whoppin’ speeches.

When writing a TV spec, writers often go overboard on character quirks. They’ll hear Sheldo utter something a little technical and think that every word out of his mouth has to be quantum theory. In fairness, shows themselves get caught up in that trap. On MASH the tendency to give every line a spin evolved into absurdity. In a later season (after I had left the series) Potter once said to Klinger, “It was curiosity that KO’d the feline.” WTF?? Who would ever say that? And why?

There is a tendency to want to impress by working in all kinds of complex themes and philosophies – show how you’re the next Paddy Chayefsky. In truth, it’s your inexperience not intellect that’s being put on display. If long intricate theories and complicated Byzantine ideas are your cup of tea, write a book.

More often than not these long speeches have characters express in detail their emotions and attitudes. Not only is it taxing to listen to this balloon juice it also gives the actor nothing to play. Might as well go on to the next scene. Sometimes a look or a gesture can say volumes more a two page speech that James Joyce would find too convoluted.

Whenever my partner, David and I go back to polish a draft we thin out the big speeches. If the speech is 14 lines we make it 11, if it’s 11 lines we make it 9. There are ALWAYS trims.

Same is true in stage direction. A reader sees a big block of stage direction I GUARANTEE he will not read it. You could describe a sex act in detail and he’ll flip the page.

As a rule it’s better to underwrite than overwrite. We have an expression. We like “open pages”. Much more white than type. This may sound obvious too but: You don’t get paid by the word.

Writer/blogger Earl Pomerantz contends you could always lose page 8. He's usually right.

So go back through your script. I bet you could lose two pages. Page 8 and one other.

As always, very best of luck.

October 5, 2010

John August's Script Library

The great John August has a wonderful library on his sight including sample scripts, outlines, pitch documents and more.  It's an amazing resource. 

WGA Event: Notes On Craft 2010

The Writers Guild Foundation presents Notes On Craft - a series of evenings featuring a panel of screenwriters in conversation with Academy-nominated writer Dan Petrie Jr. on the most important aspects of the screenwriting craft.

NOTES ON CRAFT 2010
Weekly, Starting October 14 - 7:30 PST
At the WGF/WGA headquarters, 7000 W 3rd St, Los Angeles 90048

GET TICKETS TO THE ENTIRE SERIES

Thursday October 14:
Premise and Concept. Dan Pyne (Fracture) Allan Loeb (Wall Street: Money Never Sleeps), Ann Peacock (The First Grader) - Get tickets to this night

Wednesday October 20:                 
Story and
Structure. Jane Anderson (The Prize Winner of Defiance Ohio) Nicholas Kazan (Reversal of Fortune) - Get tickets to this night

Thursday October 28:                     
Characters
. Jennifer Salt (Eat, Pray, Love), Howard A. Rodman (Savage Grace) - Get tickets to this night

Thursday November 4:                   
Mood,
Tone and Voice. Raymond De Felitta (City Island), Laeta Kalogridis (Shutter Island) - Get tickets to this night

Thursday November 11:                 
Dialogue and Scene. Jon Lucas & Scott Moore (The Hangover); David Seidler (The King’s Speech) - Get tickets to this night

Thursday November 18:                 
Rewriting and Polishing.
Richard Clement & Ian La Frenais (The Bank Job); Robin Swicord (The Jane Austen Book Club); Christopher Marcus & Steve McFeely (The Chronicles of Narnia). This evening is followed by a reception. - Get tickets to this night

NOTE: MORE PANELISTS TBA! Panelists are confirmed subject to availability; check website for updates.

PRICES:
SERIES - $100, GP; $80 WGA; $50 full-time students with ID.
Individual evenings: $20.00 GP; $15 WGA; $10.00 student. At door: $25.00 GP: $20 WGA; $15 student and military service personnel/veterans with ID.

Tickets and Info at: www.WGFoundation.org

October 4, 2010

July 2010 
Josh Jennings for Congress
Nathan Gotsch 
A few years ago, I made some fake campaign commercials for a 25 year-old slacker named Josh Jennings, starring my friend Mike Maulof.
They ended up on CNN, MSNBC and FOX News. That led to me getting calls from TV development executives interested in creating a sitcom around Josh.

I met with agents and managers, and the guys who ended up representing the project advised me to create the show myself and shoot the pilot -- that is, the first episode of the Josh Jennings show -- on my own. Another one of their clients had just done the exact same thing with an idea that became the hit show "It's Always Sunny in Philadelphia."



Earlier this year, I raised $20,000 in six days and we shot the pilot the second week of March. I called in a bunch of favors from my former USC film school classmates and, on the strength of the script, was able to snag a very strong cast:

  • Ashley Johnson – What Women Want, Growing Pains
  • Sara Fletcher – star of Comedy Central's Secret Girlfriend
  • Martin Kove – the Cobra Kai sensei from the original Karate Kid
  • Johnny Pemberton – star of MTV's upcoming MegaDrive and a recent guest star on It's Always Sunny in Philadelphia
  • Mike Mauloff, who played Josh in the original videos and has been on Curb Your Enthusiasm and Parks and Recreation since then.

Nathan is currently shopping the pilot to various studios.  I encourage you to check out the trailer.


How to Work With and Write For Actors

Ken Levine offers his advice...

The Writers Room Schedule

Every Friday Ken Levine answers questions submitted by readers.  Below is his explanation of the writers room schedule.
Ken, I'd love to see you plot out the time frame of a television season. When does the writing start? When do the actors show up? Do you get a kid in school sized Christmas break?

In very general terms, the writing staff will usually converge right after Memorial Day. They'll spend the early summer breaking stories and preparing scripts. Production begins late July or the beginning of August. There are built in hiatuse weeks for the actors that vary from show to show. On multi-camera series they generally come after every third or fourth episode. On MASH we had week long hiatuses after seven or eight episodes.

I stress that these are production hiatuses. Actors are off but not writers. We take those weeks to desperately try to catch up. Dave Hackel, the showrunner of BECKER used to fine any actor who says to a writer "So where did you go during the hiatus?" The answer: While the actor was in Hawaii the writer was in the fucking office for sixteen hours a day!!

If you're a first-year show you hold your breath that you'll get picked up for the back nine. That comes around the beginning of November.

Thanksgiving is really the first break for the writing staff. And then a week or two the end of the year for Christmas when the show shuts down for the holidays.

Then the big crunch. From the first of the year until the end of March or beginning of April you churn out shows with little or no breaks. By the last month you're generally on fumes.

Once the show wraps for the year the showrunner still has a few weeks of supervising post production on the last few episodes. And generally he's done by the end of April. A week in St. Johns Hospital and then he's ready to go to Hawaii.

If his show is a big hit he can relax for two months. But if his show is on the bubble then in early May he has to go to New York to lobby for his show's pick up for the next season. Then it's home, another week at St. Johns and maybe a nice long weekend in Santa Barbara before the cycle begins again.

How to Format a Title Page

John August gives his advice...

October 3, 2010

Does Networking Through Blogs Really Work?

Yes!

Here are a few success stories to encourage you this Monday morning:

Three HU blog readers have landed internships though connections they've made using HU's Scriptwriters Network! I encourage all of you to join HUSN and start chatting.

Also, my neighbor, actor Rad Daly wanted to submit his headshot for a upcoming film.  He had a connection to the director and had read the film, so he knew the "look" they were searching for.  The problem was, he didn't have the look.  So Rad and I set out to take new headshots.  We visited an old junk yard in 100 degree weather and staged shots of Rad looking cold, as the movie takes place during winter.  The shoot was styled by my other amazing neighbor Cydney Cornell.  (She also made the wig.)

Last week, Rad received an email from the director guarenteeing him a role in the film! Below are a few of the headshots we submitted.

October 1, 2010

Attn: USC Students

Will any of you be attending today's "Conversations With..." Speaker Series? Today's speaker happens to be my husband, Warren Bell.  I'll be in the audience; feel free to stop by and say hello!

"Conversations With..." Speaker Series

The Writing Division “Conversations With…” Speaker Series is an intimate interaction between SCA students and leading writers, producers and directors in the motion picture industry, television and other areas of the cinematic arts.

Past Guests Speakers

  • Jerry Bruckheimer (C.S.I., Black Hawk Down)
  • Ron Howard (A Beautiful Mind, Apollo 13)
  • Baz Luhrman (Romeo & Juliet, Moulin Rouge!)
  • David Lynch (Blue Velvet, Twin Peaks)
  • Ronald D. Moore (Battlestar Galactica, Star Trek: Generations )
  • Julie Taymor (Frida, Across the Universe )
  • And many others...
Traditionally, the “Conversations With…” speaker series is held on Friday afternoons with a discussion hosted by an M.F.A. writing student and then followed by a lengthy audience Q & A session.
“Conversations With…” is generally reserved for students of the Writing Division, but will, on occasion be opened to other SCA students and guests.  Audio  from the sessions is recorded. Podcast are available on the School of Cinematic Arts Web site or iTunes.
The “Conversations With…” speaker series was initially established as the Zaki Gordon Speaker Series.