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SHOULD YOU WRITE A SCREENPLAY? With screenwriting contests in abundance these days, it's easy to see there is a definite trend towards this type of writing. Writer's Digest has had a contest going for years, and the perks for the winners are nothing short of fabulous. Who couldn't use a few thousand dollars in their pocket, an award for Screenplay Excellence presented in person at a banquet and a three night stay at the Sheraton in Los Angles? http://www.writersdigest.com/contests/internat_screenplay.asp Or how about the one endorsed by Warner where the winner can receive up to $70,000 in option money and have his or her screenplay sent directly to production companies and studios? http://www.moviebytes.com/mb_contest_detail.cfm?contestnumber=499 Maybe you have what it takes to be the next great screenwriter who'll turn Hollywood upside down. Before you pull out the incognito shades and start saying "Where do I sign?" you need to determine whether or not you have a screenplay to write. How do you know if your story should be told on the big screen, rather than in a novel or as a stage play? Knowing what's most needed for each venue is the simplest way to determine what you ought to be writing. Once you've got that figured out, we'll move on to what you need to know to write your screenplay and sell it! Look over these simplified guidelines and decide if you'd like to go further with this type of writing: Novel: Readers are invited into the minds of the characters so we can know things about these people through their thoughts. Stage play: More detail is needed in setting up a scene for the stage than is required in a screenplay, and the dialogue must tell us about our characters. Screenplay: Action and dialogue are the key ingredients to understanding the characters. There are some stories that can be translated into all three of these mediums, as in the case of "Les Miserables" by Victor Hugo, but this is not always true. "The Sum of All Fears" by Tom Clancy was great in both book and movie form, but couldn't possibly be a stage production. If you feel you have a story that could be told in two or more mediums, then your only job will be to determine which you'd prefer to write first. Examples of the three styles mentioned here are offered at the end of this article. If you've decided scripts are the way for you to go, the next thing you need to do is learn what works and what doesn't. The best way for new writers like us to do this is by reading successful screenplays. Success in this case is not determined by whether or not you personally liked a particular film, or how great it did in the box office, but by the fact that it made it to the big screen at all. The more current the scripts you read, the better it will be for your writing. It'll help you get a feel for structure, style, content, as well as aid you in understanding what directors are looking for these days. To help you get started, see what the internet has to offer. Free scripts are everywhere! http://www.screentalk.org/gallery.htm http://www.simplyscripts.com Interested in checking out some contests? The following two sites have plenty to offer. You'll find that some of these contests are free to enter, while others do charge a fee. Considering the potential payoff though, 25 to 45 dollars isn't as hefty as it first sounds. http://www.moviebytes.com/ http://www.hollywoodlitsales.com/cf/contest/contestlist.cfm With these resources as your fingertips, you'll be off to a good start. In the next article of this series, we'll take a look at the structure of a screenplay. Following that you'll learn what works and what doesn't, and why it's important for you to know it. Further in the series, you'll learn how to find material to write about, what you need to know to get your script past the Hollywood reader, the real role of a screenwriter and much more. EXAMPLES. In the following examples, I've written one scene, but altered it for each of the three mediums discussed; the novel, stage play, and screenplay. Please note that in the screen and stage samples, margins are not set as precisely as required due to site versus word program discrepancies; however, I did my best to give you an idea of what your manuscript should look like. NOVEL: Gilda Wittaker's small, white teeth pulled at the skin around her fingernails. There wasn't enough nail to bite off any longer, but the familiar movements calmed her. She studied the people coming through the door intently, waiting for one of them to approach the table. Behind her, grills and deep fryers busily turned raw meat and potatoes into the greasy burgers and fries people seemed to gulp down rather than actually eat. Gilda's stomach growled and she wondered when she'd get to have something too. For turning six today, her birthday wasn't turning out to be as fun as Megan had promised. "Stop biting your nails." Megan demanded. Gilda looked up at her sister, and frowned. "I'm not, I'm just--" "Don't talk back, and sit up straight." "You're not the boss of me. Mama is." Megan glared hard at her little sister and pinched her arm. "Quit calling that witch our mama. She isn't. You're going to meet your mama in just a minute." "What does she even look like?" Gilda asked. Megan thought of the tattered picture tucked in her otherwise empty wallet, and shrugged. Who knew? In the picture, their mother's hair was blonde and curly, but Megan remembered it being red and straight at one time, dark blue-black and down to her waist another time. The only thing Megan was sure of was that their mother had promised to meet them here today. She'd buy them lunch and Gilda would finally meet the woman who sent her and Megan to live in a foster home when Gilda was only two. Gilda had no memories of Janice Wittaker. Megan had blamed herself for it. If she'd been a good girl, if she'd done what she was told when she was told, if she'd loved her Mama more or been nicer to Gilda, maybe it would have been different. Megan was five the year Gilda was born, and until the day the social worker came, Megan hadn't cared much for her little sister. Now, she was all the family Megan had except for a few phone calls from their mother over the years. "What does she look like Meg?" "She's the most beautiful woman in the world." Megan prayed she'd recognize her mother on sight if she showed up this time, and berated herself for not asking on the phone the other night. STAGE PLAY: SETTING: We are in a fast-food joint in the city. Stage right a door opens and closes with great frequency with all the busy traffic the restaurant does. Stage left, there is a fast food counter, with all the basics. Tills, cashiers and servers, busily serving customers. Center stage, there are two white Formica tables with four orange plastic chairs at each (two on each side of the table). People are seated there, hurriedly eating their burgers. As soon as some leave, other people take their place. Front stage, is another white Formica table with four orange chairs. AT RISE: People hurriedly move about the restaurant, there is much coming and going and we hear orders being yelled, as tills jingle. The sound lessens as we focus on the two people seated at the table at front stage. MEGAN WITTAKER, known as MEG, is a skinny 11 year old girl. She is seated next to her 6 year old sister, GILDA WITTAKER. It is GILDA'S birthday and both girls appear to be dressed up though their clothes are not high quality. GILDA is biting her nails as she gazes at the door. MEGAN is squirming in her seat, clearly impatient as her eyes are focused on the door. They are waiting for someone. MEGAN (annoyed, she slaps Gilda's hand) Quit biting your nails, Gilda. GILDA (crossly) I'm not! MEGAN You are so and it doesn't look very lady-like. You need to look your very best. And sit up straight. GILDA You're not the boss of me, Meg! Mama is! MEGAN Don't you call that foster mother our mama. You have a real mama and you're meeting her today. GILDA Will she bring me a present? Will you and our real Mama sing me Happy Birthday? Does she know I'm turning six today? MEGAN Stop asking so many questions and just watch for her. GILDA We've been waiting a long, long time. Maybe she isn't even coming. MEGAN She's coming. She promised. Just wait. If you sit quietly, I'll ask them to put a candle on your hamburger and I'll sing the birthday song for you. GILDA (excitedly clapping her hands together) Will you? Oh thank you, Meg! And do you think I can have ice-cream too? MEGAN Yes, yes. Now just settle down and watch for her. GILDA Meg, will she recka-nize me cause she hasn't seen me since I was a tiny girl? What does she look like? MEGAN (hesitates then shrugs) You'll know her when you see her, Gilda. She's the most beautiful woman in the world. And yes, she'll recognize you. SCREENPLAY INT. FAST FOOD RESTAURANT - DAY Patrons are coming and going. The sights and sounds are those of a restaurant doing a good, steady business with the lunch crowd. The CAMERA PANS ACROSS the restaurant to one table. Seated there, with a good view of the door, are two young girls. MEGAN WITTAKER, 11 years old, and known by friends as MEG, is seated next to GILDA WITTAKER, her 6 year old sister. They are both watching the door though MEG is more intent than GILDA, who's showing signs of boredom. MEG is annoyed with being kept waiting but is expressing it through her exchange with GILDA. MEG Stop biting your nails. GILDA I'm not! I just-- MEG Gilda, don't talk back. Just stop it and sit up straight. GILDA You're not the boss of me! Mama is. MEG pinches GILDA'S arm and glares at her little sister. MEG Don't you call that foster mother our mama. You have a real mama and you're meeting her today. GILDA Ow. (beat) Will she bring me a present? Will she sing me Happy Birthday? Does she know I'm turning six today? MEGAN Stop asking so many questions and just watch for her. The lunch crowd is thinning, and the camera CUTS TO a clock on the wall. CUT TO several creamers open on the table in front of GILDA. She is playing under the table. GILDA Maybe she isn't even coming. MEGAN She's coming. She promised. Just wait. If you sit quietly, I'll ask them to put a candle on your hamburger and I'll sing the birthday song for you. GILDA (excitedly clapping her hands together) Okay, do you think I can have ice-cream too? MEGAN Yes, yes. Now just come up here and watch for her. GILDA Meg, will she reckanize me? You said she hasn't seen me since I was a tiny girl? What does she look like? MEGAN (beat) You'll know her when you see her, Gilda. She's the most beautiful woman in the world. And yes, she'll recognize us both. Now that you have a general idea of what sets a screenplay apart from other types of writing, you can get started on a two-part project. Read as many screenplays as you can (one page is approximately one minute of screen time). Once that's done, write a short story, or select one you've got on hand, and transform it into a script. For more articles on screenwriting or just writing in general, see "IMPROVE YOUR WRITING"
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