Enjoyed a stand up moment this week with ReelLadies Script Club online chat about CHERNYY PEARL.
We talked about process.
We talked about production co. vs. festival breakin.
We talked about foreign language format.
We talked about life rights contracts.
I felt washed in a stream of creativity and want to again thank ReelLadies. So many great suggestions! They even gave me the germ for another screenplay, many many thanks!! I want to discuss quickly some of the exchange here!
Process: With a first screenplay do you star with an outline, beat sheet or character’s journey?
Well, for me I start with a character and story. But the second screenplay may be another germination. Killing Immortal started with a character, journey and then I watered it with an outline/plot beat sheet/brief synopsis, which is still in flux.
More on process: TEDxEast – Nancy Duarte uncovers common structure of greatest com
Note: During my latest writing adventure, Screenwriter Shape-Up discovered that my style is different from others, I handwrite in a blue screenwriter pad that has blue guidemarks like a blueprint and then type into format. Others journalized this way, which I infact use electronic aides for that (iPhone).
Find your voice, write every day and stand up.
We talked about production co. vs festivals. Think circle. If you go to a production company, they want representation. To get representation you need contests shows and wins. So, first step-contests. But wait, be patient all in good time. Strike while the iron is hot and then show, send, promote.
I think the best step is to hash your script with writing groups — taking all critiques to heart until the script is bare bones, then submit. Festivals and contests first, get some recognition and then look for representation and let them actual sell your work.
We talked about foreign language format. My scripts tend to be international. CHERNYY PEARL is Russian/ American and KILLING IMMORTAL is Asian/American. It was suggested that the Russian dialogue is a mention and let the actors/directors finalize.
I think it can go both ways, as was also discussed. Good language translations show authenticity. Language evolution, so that accents are mapped out can demonstrate character arc.
This was not discussed, I thought about this later!
We talked about life right contracts. This is a legal matter and I refer to a great article I found online: tMatt Galor Q&A.
I promised I would update the Ladies on the second screenplay, as soon as it was finished, or ready for review at least!
By the By, one lady asked about how many rewrites? Well, rewrites should be about three before the work is critiqued by positive, knowledgeable colleagues. But it is a fluid process, always tweaking and trekking.
Ladies, thank you for your hard work! If there is anything I can help you promote, plz, just HOLLA!