Script Frenzy 2009

[awmperry]

April's coming up, which means it's time to start planning my script for this year. (In case anyone else is thinking of entering, by the way, I put together a little calendar to use - http://rapidshare.com/files/207978494/SF_Calendar2009.pdf.html Hope someone finds it useful.)

As for my script... we'll see what it ends up as. Plans are under way, but it looks like a feature-length pilot teleplay.



So, anyone else thinking of entering?

Comments

[silly-swordsman.livejournal.com]

Hm...

By the way, are there any resources of advice for budding scriptwriters you'd care to recommend? What to include, what to leave to the director and director of photography, how to present it and so on? Just idle curiosity, you understand...

[awmperry.livejournal.com]

Well, for presentation the easiest thing is to either buy Final Draft (www.finaldraft.com or www.thesws.co.uk) or use a free service like CeltX (www.celtx.com).

What to leave to the director... well, in the fifties it was commonplace to include camera instructions ("LS the street. CU pair of boots entering left, follow pan right..."), then in the seventies everything was written from the audience's POV ("We see a lift falling straight at us..."). Nowadays you pretty much just write what happens. There are sneaky tricks to hint to the director what sort of shot you're thinking of - breaking the description up one paragraph to a shot, for instance, or describing things to indicate a particular angle - but on the whole you don't indicate the cinematographical stuff much.

To give you an idea, from one of mine:

EXT. AT SEA - DAY

A late afternoon at sea.

SUPER: “December 4, 1872”

A brigantine under full sail, cruising slowly along
under a light tailwind. There’s no sign of life.

EXT. ON DECK - SAME

The deck’s unoccupied, with only the usual furniture.

The forehatch lies open.

The fixings that held a lifeboat are empty.

A red-stained sword rolls gently over the planking.

EXT. WHEELHOUSE - SAME

The wheel creaks slowly from side to side as the waves
nudge the rudder.

A wooden pillar holds a compass. It’s broken.

INT. BELOW DECKS - SAME

Empty hammocks swing gently from side to side.

A half-smoked pipe still smoulders on an ashy plate.

INT. GALLEY - SAME

Empty. A teapot whistles on the stove. Whoever’s not
here now, they left in a hurry.

EXT. ON DECK - SAME

The ship’s bell sways gently, the clapper slightly
touching the sides, barely enough to be heard.

EXT. AT SEA - SAME

The ship cruises past. Its name is painted on the
transom:

MARY CELESTE

I can strongly recommend The Screenwriter's Bible by David Trottier. Tells you everything you need to know.