When trying to get your TV pilot or feature screenplay out there, the length and look of your material could mean the difference between getting read or being set aside in favor of another, more esthetic screenplay.
What makes for a memorable screenplay, that sort that stands out and stays with the reader? I’ve been reading at a rate of a script a day for years now; in this blogpost you will find those elements that make a screenplay or pilot stand out for me.
For many, a great screenplay or TV pilot starts with a proactive character whose needs and stakes ultimately drive plot. In my latest blogpost, check out the three critical questions whose answers will help you build and define an effective protagonist.
What should you consider when deciding on your next original screenplay or TV pilot? Should you write to the trends, for what you think execs want to read, or should you write from your passion?
The length of your screenplay or TV pilot matters in more ways than one: Not only does it say a lot about you as a writer, it can also dictate your works’ priority for the person reading it…
No one wants to hear that their screenplay or television pilot is boring, or forgettable, or just plain Meh. But in today’s industry climate, there is one thing that is even worse.
We hear it often: As a writer, you have to grab them in the first 5, 7, 10 pages. But how do you really stand out in the first 10 pages of your screenplay or teleplay? The industry’s top experts weigh in.
Mistakes. We all make them. Once some perspective is gained, we tend to look back and shake our heads. If only we knew better. If only someone made us aware. Perhaps the most common mistake you hear about writers making is including typos and spelling errors in what is supposed… read more →
If there is one thing I’ve learned over my many years working with screenwriters, it is this: When it comes to making or breaking your screenwriting career, your body of work can make all the difference. Before we go into the “why,” let’s address the “what”: What should a screenwriter’s… read more →
When I interviewed Jewerl Ross, renowned literary manager (who is these days celebrating the immense success of his longtime client, MOONLIGHT writer/director Barry Jenkins), for my upcoming book, BREAKING IN: TALES FROM THE SCREENWRITING TRENCHES, he told me of the screenplays he reads and the content he sees: “If it’s… read more →