Complications Ensue: The Crafty Game, TV and Screenwriting Blog
Complications Ensue:
The Crafty Screenwriting, TV and Game Writing Blog



Archives

April 2004

May 2004

June 2004

July 2004

August 2004

September 2004

October 2004

November 2004

December 2004

January 2005

February 2005

March 2005

April 2005

May 2005

June 2005

July 2005

August 2005

September 2005

October 2005

November 2005

December 2005

January 2006

February 2006

March 2006

April 2006

May 2006

June 2006

July 2006

August 2006

September 2006

October 2006

November 2006

December 2006

January 2007

February 2007

March 2007

April 2007

May 2007

June 2007

July 2007

August 2007

September 2007

October 2007

November 2007

December 2007

January 2008

February 2008

March 2008

April 2008

May 2008

June 2008

July 2008

August 2008

September 2008

October 2008

November 2008

December 2008

January 2009

February 2009

March 2009

April 2009

May 2009

June 2009

July 2009

August 2009

September 2009

October 2009

November 2009

December 2009

January 2010

February 2010

March 2010

April 2010

May 2010

June 2010

July 2010

August 2010

September 2010

October 2010

November 2010

December 2010

January 2011

February 2011

March 2011

April 2011

May 2011

June 2011

July 2011

August 2011

September 2011

October 2011

November 2011

December 2011

January 2012

February 2012

March 2012

April 2012

May 2012

June 2012

July 2012

August 2012

September 2012

October 2012

November 2012

December 2012

January 2013

February 2013

March 2013

April 2013

May 2013

June 2013

July 2013

August 2013

September 2013

October 2013

November 2013

December 2013

January 2014

February 2014

March 2014

April 2014

May 2014

June 2014

July 2014

August 2014

September 2014

October 2014

November 2014

December 2014

January 2015

February 2015

March 2015

April 2015

May 2015

June 2015

August 2015

September 2015

October 2015

November 2015

December 2015

January 2016

February 2016

March 2016

April 2016

May 2016

June 2016

July 2016

August 2016

September 2016

October 2016

November 2016

December 2016

January 2017

February 2017

March 2017

May 2017

June 2017

July 2017

August 2017

September 2017

October 2017

November 2017

December 2017

January 2018

March 2018

April 2018

June 2018

July 2018

October 2018

November 2018

December 2018

January 2019

February 2019

November 2019

February 2020

March 2020

April 2020

May 2020

August 2020

September 2020

October 2020

December 2020

January 2021

February 2021

March 2021

May 2021

June 2021

November 2021

December 2021

January 2022

February 2022

August 2022

September 2022

November 2022

February 2023

March 2023

April 2023

May 2023

July 2023

September 2023

November 2023

January 2024

February 2024

 

Friday, October 24, 2014

I want to send one of my stories (6 page of containing outline, show summary, story headlines, characters directions and derivations, show themes that lead the entire series ) a "Tv concept idea" contest in L.A. 

I get some script consulting about it such as " it will be not a bad idea for TV " from a reputable blogger .He says that the core idea is interesting and the concept has some potential for future episodes, but the only thing is my language barrier . 

I know my english as a second language will not be sufficient to write in english like an american fellow even I know all about TV show business ; ... Would you suggest me to get another idea from another guy of business or stick the consulting and suggestions of him ? at least before sanding my outline for the contest. 
I am also work for TV time to time in my country, I know everybody says lots of things, usually of non sense to make money esp. in this business. 
I want to learn what is the criteria to have "story by" credits, especially on tv. ...
Realistically, the only way for someone to sell a TV concept if English is not his or her first language is to make the series in his own language and then sell the format. For example, the Israeli series PRISONERS OF WAR (חטופים) became HOMELAND; the Israeli series בטיפול‎ (IN THERAPY) which became IN TREATMENT and a dozen other series in different languages; the Dutch series BIG BROTHER which became a metastatized cancer afflicting the entire television medium.

If a paid evaluator says "This will not be a bad idea for TV," I think they are maybe taking your money. That's about the smallest possible thing someone can say about a TV concept. On the rare occasions I read something that really could work, I say, "I think this really has a shot."

(Though generally when I'm evaluating other people's material, I don't say whether it's good or bad; I generally say how to make it better. I don't think it's helpful to say, "This stinks." If you want me to tell you if it's good or bad, you have to ask. The truthful answer, however, is usually, "It's not good now. If you do everything I tell you, and do it well, then I think you have a shot.")

The criterion for getting a guaranteed "Story By" credit in the US under WGA rules is to have written the first draft of the pilot. ("Story by" is the irreducible minimum credit for the original writer.) If you're not a native English speaker, or Vladimir Nabokov, the odds are they won't let you write any draft of the pilot; and they won't read your spec pilot, either. However if you write the pilot in your native language, and sell the format, then you can negotiate something like a "Based on the series PRISONERS OF WAR created by Gideon Rafi."


4 comments

Post a Comment

Monday, October 06, 2014

So, Compulsion Games will soon be hiring a community manager. This is a full-time contract job in our Montreal office keeping up with the people who play (or might play) our games. That means writing back to gamers when they have questions, posting on forums, responding to posts on forums, tweeting and generally making us look awesome. It's about engaging with our community to better understand what they think and feel about our games and help us make better ones. 

There will be some dealing with the game media. There might theoretically be a bit of game writing, if you are so inclined, but that's not the priority. 

The ideal person is witty and irrepressible. S/he plays a lot of video games and likes to talk about them. S/he probably reads the game press (Kotaku, RPS, etc.) S/he understands social media. We're not looking for a degree in marketing, but we would be impressed by your clever and provocative Twitter feed and your mob of followers. 

Compulsion is an indie game company of about a dozen really dedicated developers. Our previous game, Contrast, was a PS4 launch title, passes the Bechdel test, and is shortlisted for 10 Canadian Video Game Awards. Our new game may blow your mind.

If you think you might be the right person for this, email my buddy Sam Abbott at jobs@compulsiongames.com.



1 comments

Post a Comment

Saturday, October 04, 2014

A reader writes:

Q. I'm wondering how fast I should write screenplays if I want to be successful. I want to hit that sweet spot. I understand that pieces of string come in varying lengths. My first took me two months, my second took me two weeks, and my third has taken me two months already and I'm only on page 19. It's probably just a bad story idea and I should probably move on, but I know that in TV writing you are forced to do things you don't want to do. 
I've got several non-starters like this. If I were to force myself to finish any one of them, do you think the material would come out best if I went with a fast (2 week), medium (1.5 month), or slow (>3 month) speed for the first first draft? By "best" I of course mean most sellable. I understand that you offer no guarantees, etc. You have advised to plan for a better story in advance, but I do indeed feel pressured to tell a certain (original) story a certain way and would like to just plow through it, I'm just unsure of the speed guidelines.

Every writer is different. Robert Towne takes a year to write a script. I have no idea how he manages to spend a year on a single script. I'm assuming a lot of golf is involved. I usually write a feature first draft in about 24 days. I spend time conceptualizing and outlining, then I write the first draft pretty fast, and then rewriting takes however long it takes. Years, sometimes, with long gaps in between while producers look for money or I wait for perspective.

Both my wife and I find that having a completed script makes rewriting much easier and less stressful. She calls her first draft the "vomit" draft because she just wants to get it out of her system, and it doesn't look pretty.

Joss Whedon writes all the fun scenes first, then writes the scenes that connect them.

If you're on page 19 after two months, something is wrong with your outline. Go back to index cards, or better, go back to telling your story out loud.

The amount of time you spend on a first draft has nothing to do with how sellable the script is. The script is sellable if it has a great hook and good implementation. The hook is in the outline, and the implementation is in the first draft, and the second, and the third, and so on.

The key is that you don't climb a mountain. You take one step up. Then another step up.

You don't write a script. You write an outline. Then you write pages. By pages, I mean scenes. You only write one scene at a time. 

Look at the scene you're writing. Who wants what? Why does the other person not want to give it to him? What does the first person say or do to try to get it? What does the second person want? Why won't the first person give it to her? What does she say and do to try to get it?

If you can answer those questions, you ought to be able to write the scene. If you can't answer these questions, there's why you're hung up on page 19. 

Sometimes the reason you can't write the scene is that it's boring and doesn't need to be in the movie. Skip it and see if you miss it. Maybe you're telling it wrong. Maybe find another way to present the story elements in the scene. Try writing the scene as a silent movie. Try writing the scene as a phone conversation. Try writing the scene as a scene from a novel. Try having one character refuse to talk. Rewrite the scene as the couple arguing while they're at a cocktail party. Try having the scene happen offscreen and we only find out about it in a conversation with third parties. Try writing the scene with a different outcome than you expected and see if that feels more truthful. Rewrite the scene as all subtext, with everyone saying exactly what's on their minds. Now rewrite with no one saying any subtext at all -- they're refusing to talk about what they mean and want, and talking about anything but.

Get some actor friends to do an improv based on the scene. If you don't have actor friends, do it with your own friends. If you don't have friends, take each person's part and see what they say.

Why does that scene need to exist? How does it move the plot forward? How does it reveal character? A scene should ideally do both. If it's sagging, it's probably either not moving the plot forward, or you've written it so that the characters are saying and doing the things any normal people would say and do, rather than things only those characters could say or do.

I'm a big believer in finishing scripts even if they feel like they suck. Around page 40, they almost always do feel like they suck. But I would never write a script without writing a solid outline first. That's like getting in the car and driving without a destination. You think you're going to wind up some place you never expected, but you usually end up at the supermarket.

Good luck!

Alex

0 comments

Post a Comment



This page is powered by Blogger.