DO NOT MISS THIS FREE TELECONFERENCE!!!!!
Category: Movies, TV, Celebrities

Hal Croasmun gives away, in this teleconference, more information than many teach in months of classes.  And if you're pretty confident about the basics, but need some help to make that script really GRAB that reader...this is how, and you will love this little mini-course.  I can't get the link that gets you right to the signup thingie to work, but you can just go here:

http://www.scriptforsale.com

That'll do it.  Now here's the skinny:

21 Powerful Rewrite Strategies
FREE Teleconference

Have a screenplay you want to rewrite? The more effective your rewrite strategies, the better your script will be. Spend two hours on the phone with Hal Croasmun and your next rewrite will produce better results than you can imagine right now.

Best of all, there is no charge.*

Here's some of what we'll cover:

• The 1 Key to Rewriting Success. Change this one thing and rewriting gets so much easier.
• The most important question you must ask to turn dull scenes into dramatic and valuable scenes.
• The key ingredient that will turn a simple conflict into an unforgettable one.
• Three ways to turn ordinary characters into extremely compelling story people.
• The 1 Reason writers won't cut bad scenes. Don't be guilty of this.
• And 16 other Advanced Strategies for rewriting.

12:29 AM - 2 Comments - 0 Kudos - Add Comment

Script beat calculator
Category: Movies, TV, Celebrities

Very cool toy that tells you, when you type in your scripts page count, just where all the most important moments (inciting incidents and other plot points) should fall in the script.  You don’t have to follow it, but it’s kinda fun playing with it just the same.

Go here:

http://www.rareform.com/screenplay-editor/beats.php

...and see where the numbers fall for you!

10:05 PM - 0 Comments - 0 Kudos - Add Comment

A fly on the wall...
Category: Movies, TV, Celebrities

This might be worth having.  It’s a book full of actual notes and coverage of movies that have been made, or NOT made, to show you exactly what studio readers like and don’t like.   Written by a Hollywood insider, it offers clues to what sells, what doesn’t and why--for only $9.95.

Go here:

http://www.writemovies.com/consult/studiomanual_text.htm

Get the scoop--and check that script you’re doing against the notes provided.   Very often reading about someone else’s second act issues can shed some light on your own!

8:33 AM - 0 Comments - 0 Kudos - Add Comment

One stop shopping--all the plot theories and structures
Category: Movies, TV, Celebrities

This is a cool site that lists all the most well known plot theories (Polti, Friedman, et al) and screenwriting formats so that you don’t have to do that, "What was that called again?" thing when you’re deciding whether to use The Hero’s Journey or Syd Field’s three act process:

http://changingminds.org/disciplines/storytelling/plots/plots.htm

6:27 PM - 0 Comments - 0 Kudos - Add Comment

Screenwriting 101
Category: Movies, TV, Celebrities

I’m currently spending a fortune taking two intensive courses which have completely changed with way I write scripts forever--more on that, and which of the two I recommend most, soon.  But here’s a bargain online course ($150)  for those of you who just wanna brush up on the basics, or get a little jump start:

Screenwriting 101

8:42 AM - 0 Comments - 0 Kudos - Add Comment

Mystery Man on Film--THE best screenwriting blog?
Category: Movies, TV, Celebrities

I found this when someone sent me a blurb that said this site was THE best.  At first, I shrugged.  Then, I went there and read this and realized they were probably right.   It’s not just your usual advice blog, full of amateur conjecture.  Whoever this "mystery man" is...he’s giving out painstakingly practical, "user friendly" lessons in the business of storytelling for the screen...for free.

Go browse.  I was there for HOURS...because of things like this:

I recall Robert Evans saying in "The Biggest Mistake the Writers Make:"

"I can pick up a screenplay and flip through the pages. If all I see is dialog, dialog, dialog, I won’t even read it. I don’t care how good the dialog is – it’s a moving picture. It has to move all the time… Screenwriters do not get the lesson… It’s not the stage. A movie audience doesn’t have the patience to sit and learn a lesson. Their eyes need to be dazzled. The writer is the most important element in the entire film because if it ain’t on the page it ain’t going to be on the screen."

12:06 AM - 0 Comments - 0 Kudos - Add Comment

Advice from someone just like you...who MADE it
Category: Movies, TV, Celebrities

She was just a college student who wrote a great script...and got to see it on the big screen.  She also loves Blake Snyder as much as I do, so...go here...and read her advice to you about how to make it all come together.

See you on the big screen!

12:15 AM - 2 Comments - 2 Kudos - Add Comment

Billy Mernit IS a genius

I had the pleasure of talking to Billy Mernit, the romantic comedy "expert" with a group of writers I’m taking a wonderful course with (more on that later).  And we were all incredibly impressed that night, as he made all the things we’d been struggling with seem so...easy to fix!

So I check his blog regularly, for tidbits...and found this today--GO HERE NOW, no matter what kind of script you’re writing!

If you follow his lead...those "fuzzy edges" that may be marring your writing will be gone in a flash!  Trust me!

10:05 PM - 0 Comments - 0 Kudos - Add Comment

Croasmun newsletter

From one of my favorite teachers:

~~~~~~~~~~~~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
SCRIPT FOR SALE NEWSLETTER
http://www.ScriptForSale.com
March 20th, 2008
Issue 137
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"A great screenplay is the most powerful bait
in Hollywood." Sissy Spacek
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

To subscribe, go to http://www.ScriptForSale.com

**********MISSION of ScriptForSale.com:*************

To create a community of screenwriters who
consistently win contests and sell scripts.

****************************************************

In this Newsletter:

1. Note from Hal.

2. Ten Keys to an Irresistible Screenplay.

3. Last Chance For The Fresh and Edgy Class.

4. Creating Surprise Every Five Pages -- Part One.

5. What "They" Don’t Tell You About Subtext...

6. How Ed, Edd, and Eddy Changed My Life...

7. Having Your Dialogue Jump Off the Page!

8. Updated Class Schedule.

=================================================
1. Note from Hal
=================================================

Hi everyone,

You’re going to really enjoy this issue. I’ve got a great interview
with Michael Hockney about what he’s learned as a staff writer on
a TV series. Also, you’ll learn how to create surprise every five
pages -- a true skill of a pro.

And, if you haven’t joined us for the "Ten Keys" teleconference,
you owe it to your writing career to make this call.

BTW, can you do me a quick favor?

Cheryl and I are producing a show in conjunction with a web based
reality series. They are neck and neck with another site for the
2008 Yahoo Video Awards and we’d like to see them win.

This will only take you about 30 seconds. Can you go to this
link and vote for "DadLabs: Bike Rap." It will make a big
difference for the guys at DadLabs.com and it could help us
put our deal together.

Go to this page and vote for "DadLabs: Bike Rap."
http://www.yvideoblog.com/blog/2008/03/12/yahoo-video-awards-best-new-uploader

Thanks in advance for voting. Have fun and enjoy the Holidays.

Hal

=================================================
2. F*R*E*E Teleconference -- Ten Keys to an Irresistible Screenplay
=================================================

In this 90-minute call, writer/producer Hal Croasmun will share with
you the keys that make the difference between an average script
and a great screenplay.

Early in his career, Hal interviewed 50 producers who are all
making movies with Studios. His questions were very direct and
got to the heart of what causes a screenwriter’s success:

- "What causes producers to buy scripts?"
- "What needs to be in a script for an A-List actor to sign on?"
- "What is missing from the scripts that producers turn down?"
- And 25 other important questions.

In this call, he’ll share many of the answers he received and give you...

1. Ten Keys to an Irresistible Screenplay -- How to stand out
as a Pro from the first page to the last page.

2. Cliche Busting -- Making sure your writing is truly unique!

Don’t miss any part of this important call. What you learn here
can easily improve your current screenplay and make sure your
next script has a much better chance of success.

Call Time: Saturday, March 22nd at 5 PM Pacific Time

To join the call, click here
http://www.scriptforsale.com/10keys.html

=================================================
3. Last Chance For The Fresh and Edgy Class
=================================================

You pick up a script and within minutes, you can tell if this is going
to be a great experience or a slow read. But what if every line of
dialogue, every situation and every character is so fresh and
intriguing that you can’t put the script down?

Here’s how Geoffery Rush described it:

"I got to maybe page three and this script was so full of invention,
so funny, I was laughing out loud. I looked up at my agent and
said ’I’ve got to be in this."
Geoffrey Rush - SHAKESPEARE IN LOVE

See the power of fresh writing? It entices. It surprises. It entertains.
And it gets industry people raving about your writing. To a producer,
it translates into audiences who are well entertained. They’re seeing
something new or something familiar presented in a new way.

There’s a specific kind of fresh writing that has been on every
producer’s wish list -- Edgy scripts.

In this class, we’ll demystify the process of writing both fresh and
edgy scripts. This could be the class that takes your writing to a
whole new level...and helps you discover a side to your writing you
never considered before.

CLASS: Fresh and Edgy

DESCRIPTION: 10 days that will give you a set of strategies for
making sure your scenes, characters, dialogue, and action is fresh
and/or edgy.

PRICE: $85

SPECIAL: $80 if registered and paid in next five days.
Use Coupon Code 8166C

DATES: March 24 - April 3, 2008

To register, go to http://www.ScriptForSale.com/classes/fe.htm

=================================================
4. Creating Surprise Every Five Pages -- Part One
=================================================

Often, I’ll interview a producer in front of a group of screenwriters
and ask why they choose to produce a certain movie. Beyond the
obvious answers about marketability, there’s a few others that stand
out and one of them is...

..."The script surprised me in many ways."

At first, I didn’t think that much of that answer. But as producer
after producer said it, I took another look.

Remember, they read 10 to 30 scripts a week. So reading scripts
isn’t a hobby; it is a tedious job for them. They are often
disappointed and even more often, bored.

So if your script surprises them on a regular basis, you’ve made
reading a script an adventure again. You’ve given them a treat!

PROBLEM: The structure and plotting of most scenes are the first
version that pop into the writer’s mind. Instead of thinking "Okay,
I found the cliche version, now let me create something really
interesting," they just write the first idea as if they don’t know
there may be a better choice.

RESULT: In many cases, we see screenplays where every single
scene is predictable, ordinary, and unimaginative.

SOLUTION 1: Create some kind of surprise every five or so pages.

That’s right. You want the reader to experience the emotion of
surprise every five minutes or so.

Why?

Because that keeps them reading. It also increases the chance
they’ll recommend the script. Just as important, it identifies you
as a professional screenwriter.

HOW TO CREATE SURPRISE IN A SCENE

Keep in mind that there are big surprise and small surprises. You
don’t have to have a major plot twist every five pages -- just some
kind of surprise.

The easiest way to do this is to write them as setup/payoff
sequence, but not just any setup/payoff sequence. This one is
better explained as...

...Setup/SURPRISE.

You want the emotional reaction of surprise. While most people
focus only on the surprise side, I believe that both sides of the
equation are important.

Here are a few examples so you can see how it works.

Plot Twist

Jake finally realizes he’s in love with the
main suspect, then finds a human hand in her
garbage.

Scene Action Twist

Adam finally defeats the biker in a deadly
martial arts fight and as he celebrates his
dominance, 20 more bikers ride up to take revenge.

Character Reveal

While preparing for the church picnic, Martha
finds the collection plate money and steals 10%
of it -- for the first of many times.

New Character Twist

Jerry and Veronica sign the prenup agreement
at their attorney’s office. Jerry walks Veronica
out to her car. As they kiss, a woman interrupts
them -- It’s Jerry’s soon-to-be ex-wife and she’s
happy because she now owns half of Jerry’s
business and will be torturing them every day
from now on.

THE FORMULA -- Setup/Surprise.

A SETUP is the information that sets a pattern or causes the
reader’s mind to go in a specific direction. It prepares the reader’s
mind for the surprise.

SURPRISE: An unexpected occurrence, appearance, or
statement that causes you to feel wonder, astonishment, or
amazement.

So the setup prepares the reader for the surprise and the surprise
plays off of the setup to create astonishment.

WHAT ABOUT YOUR SCRIPT?

In the next issue, I’ll give an easy process for increasing the
impact of the surprise. Once you have it down, you can make
any scene or sequence more interesting and you can do it
quickly.

Between now and then, you may want to go through your current
script and ask this question about each scene:

What is the setup in this scene?

What is the payoff?

List those two things about each scene and you’ll get a clear
picture of what a reader will experience. If your setup/payoff
combination is dull, chances are the read is dull. But if you have
this process down, your scripts will surprise and delight readers.

These kind of things are what make producers fall in love with
your screenplays and more important, with you as a writer. The
more you have in your screenwriting toolbox, the faster you will
become a sought after writer.

Is there more to this?

A lot more...and it is coming your way in the near future.

NEXT ISSUE: Elevating the level of surprise.

=================================================
5. What "They" Don’t Tell You About Subtext...
=================================================

If you’ve ever read a really great screenplay, you know that it gripped
you in a way that other scripts don’t. What was it that the writer
knew that had that script be so good?

At least one thing was the QUALITY of the subtext.

Now, imagine being so good at subtext that YOU can consistently
deliver that experience to readers.

Wouldn’t that present you as an AMAZING SCREENWRITER?

Subtext is absolutely essential in your screenplay. It delivers the
INNER WORLD of your characters without directly telling their
thoughts. It gives depth to every scene, every character, and
to your dialogue -- without being on-the-nose.

The REVEALING SUBTEXT class will give you the answers you
need to have subtext flow through five areas of the script:

- Subtext built into the plot.
- Subtext as a natural part of the characters.
- Subtext in the scene design.
- Subtext through character actions.
- Subtext throughout the dialogue.

If you don’t already know how to do each of those, this class may
be the best screenwriting investment you’ve ever made.

"I’ve read nearly every book printed about writing screenplays
and been to almost all the big Hollywood seminars, and this
course did more for me in 10 days than all the rest together.
It’s delivered so unpretentiously, the breakthroughs sneak up
on you while you’re not looking, and they are powerful."
Lor Andahazy

The REVEALING SUBTEXT program gives you a complete model for
building subtext into your plot, character, scene, dialogue, and action.
Revealing Subtext provides DEPTH, which is vital to getting actors to
fall in love with your script. Lack of depth is one of the main reasons
that scripts get turned down.

"Your ’designing subtext into the structure of a scene’ is
brilliant. I am blown away by the depth of investigation
and the insights of this class. I will continue to rave
about it’s excellence."
Jim Shea
Chairman of Producer’s Outreach
Scriptwriter’s Network in L.A.

Subtext is one skill that separates the amateur from the professional.
Don’t miss this program.

LOCATION: Online

PRICE: $85 -- Special: $75 for the next 5 days.
Use Coupon Code 051B8

DATES: April 14 - 24th, 2008

http://www.scriptforsale.com/classes/subtextprogram.htm

=================================================
6. How Ed, Edd, and Eddy Changed My Life...
=================================================

For the last month, I’ve been working with Michael Hockney on a
script for an animated TV series. Michael took the ProSeries four
years ago and then became a Staff Writer on Ed, Edd, and Eddy
that is in its sixth season on Comedy Central.

I asked Michael to do this interview because I was very impressed
with his ability to EXCEED my expectations with each rewrite he
has done on this project.

As you read the interview, see if you can tell what it is about his
writing that consistently produces higher results than I expected.

-------------

HAL: Ed, Edd, and Eddy has gone up for some major awards
almost every year, hasn’t it?

MICHAEL: Yes. We’re nominated again this year for the
Nickelodeon Kids’ Choice Awards. It has a reputation for being
one of the hardest shows to write for.

HAL: Okay, so what is the basic process of a writer coming in
like you did?

MICHAEL: I actually came in as an assignment writer, so they
asked me to come up with about 20 story ideas which I pitched
them. Out of the 20, one of them was good enough to go ahead with.

HAL: Then what happened?

MICHAEL: They asked me to expand the idea, to turn it into a
premise. Once the premise was approved by the creator of the
show, it then went to a four-page outline. That was broken down
into acts, so it was basically a blueprint for the story.

Once that was approved, we wrote the first draft and the producers
would go through with the head writers and myself, and we would
find out what was working and what wasn’t. Then I would go back
and fix it and it would go through a second approval, and then it
would be sent to Cartoon Network for final approval. Once it was
finally approved, then it would be passed on to the storyboard artist.
They would storyboard it out and have their own set of meetings.
Then it would end up animated.

HAL: I notice that there is a significant difference between how you
work right now vs. how you worked two and a half or three years ago
when we worked together. What did you learn in the midst of
working with Ed, Edd, and Eddy?

MICHAEL: One of the things I learned was, for a writer coming into
a show, you really have to shelve your ego. You really do. These
guys know what they’re talking about. They’re not there to screw
you; they want to see you succeed as much as you want to yourself.
Your work becomes their work. And their work has to be broadcast
and stand the test of the audience.

So, you become part of that team effort.

The other thing I learned was when something didn’t work, not to
take it personally. It was hard to do at first because you’re putting
so much of yourself into it. You realize quickly that it’s not you
personally that’s not working, it’s the situation or the dialogue or
the character. It’s not you, so you have to get your head around it
and say, okay, how do I make this work? What can I come up with?
Because in reality, if you don’t, there’s going to be 10 other guys
waiting to do it for you.

HAL: With everything you’re doing and everything they’re doing,
ultimately, the job is to have it on the air, right?

MICHAEL: And to have it be the best it can possibly be.

HAL: Right, everybody is all about trying to accomplish certain
things for the show. If the show doesn’t get what it needs, then
they toss that out.

MICHAEL: Oh yes. Actually it’s pretty brutal. It’s still a really
cool environment, but if it doesn’t work, get it out of here.

HAL: One way to look at it is, everybody is making choices that
are business choices, that they are show choices, career choices,
and all that kind of thing, so nobody wants anybody to fight over
word choices.

MICHAEL: No. And that’s where your ego has to be shelved. It’s
not like you’re going to hold onto this and fight tooth and nail for it.

HAL: You were telling me about something before about character
situations…

----------------

The rest of the interview gets even better. Michael talks about
creating characterization through unique character actions.

We then discuss how to exceed producer’s expectations, how
Michael and I work together on a script, and finally, how plot and
character intertwine to make a great story.

You can see the rest of the interview at:
http://www.scriptforsale.com/articles/hockney.html

=================================================
7. Having Your Dialogue Jump Off the Page!
=================================================

If you’ve been looking to make a SIGNIFICANT IMPROVEMENT IN
YOUR DIALOGUE, you’ll love this program.

"This course has TOTALLY enlightened me. I’m paying
much closer attention to making each line of dialogue
count in some way...either to further characterization,
create interest, tension, or make the scene just plain
more interesting.

Not only does this technique "teach" the skill, it
challenges learners to aim high AND helps us understand
the importance of REALLY GOOD WRITING!"
Suzanne Doherty

In ten days, you’ll get 47 ways to improve any line of dialogue.

REMEMBER THIS:

- Great dialogue increases the chance of a reader
recommendation.
- Great dialogue lures A-list actors.
- Great dialogue justifies a producer’s decision to buy.
- Great dialogue covers up a lot of other sins in a script.
- Great dialogue MAKES YOU LOOK LIKE A PRO!

Advanced Dialogue will give you the TOOLS to write the best
dialogue you’ve ever written. Each day, you’ll learn another skill that
will elevate your dialogue to a new level.

"Buckle up, it’s a fast ride. Hal opens your mind to aspects
of dialogue that will blow you away."
Dr. Mark Yates

WHAT YOU’LL LEARN DURING THIS PROGRAM:

Day 1: What Makes Great Dialogue Great?
Day 2: Expressing Character Fully.
Day 3: More Character in My Dialogue, Please.
Day 4: Colorful Language that Entertains.
Day 5: Dialogue Contrast and Twists.
Day 6: Dialogue Structures that Match Real Conversation.
Day 7: Suspenseful Dialogue.
Day 8: Subtext in Dialogue, Part 1.
Day 9: Subtext in Dialogue, Part 2.
Day 10: Applying "Advanced Dialogue" to Your Scripts.

From this point on, you’ll be able to take any line of dialogue and
make it stronger and more interesting.

DATES: May 5 - 15th, 2008

PRICE: $85 normal price.

SPECIAL DISCOUNT: $65 for the next 5 days.
Use Coupon Code E19B5

LOCATION: Online.

For more info or to register, go to:
http://www.scriptforsale.com/classes/advdialogue.htm

=================================================
8. Updated Class Schedule
=================================================

These are high quality online classes that have you focus on one
thing -- improving your writing.

Each program is designed to increase the MARKETABILITY of your
writing. And they’re GUARANTEED. If at the end of the third day, you
don’t like the class for any reason, all you have to do is email me
and I’ll instantly refund your money.

NOTE: 33% of any class you pay for will be credited toward the
Pro Series if you choose to take it at a future session.

Next ProSeries: June 7, 2008 - November 15th, 2008.
http://www.scriptforsale.com/classes/proseries.htm

REGULARLY SCHEDULED CLASSES

March 24 - April 3, 2008 -- Fresh & Edgy Screenwriting
http://www.ScriptForSale.com/classes/fe.htm
Regular 85, Now $80 - Use code 8166C

April 14 - 24th, 2008 -- Revealing Subtext
http://www.scriptforsale.com/classes/subtextprogram.htm
Regular 85, Now $75 - Use Code 051B8

May 5 - 15th, 2008 -- Advanced Dialogue
http://www.scriptforsale.com/classes/advdialogue.htm
Regular 85, Now $65 - Use Code E19B5

IMPORTANT: These classes are not about critiquing the content of
your screenplays, (although some of them provide critiques), they
are about dramatically improving your screenwriting and your ability
to market the finished product. These programs are designed with
11 learning principles that will cause you to have deep learning
experiences and improve your screenwriting.

See what other screenwriters say about these programs at
http://www.scriptforsale.com/quotes.htm

=================================================
SCRIPT FOR SALE NEWSLETTER is sent out twice a month.

Know other screenwriters? Feel free to send this newsletter in its
entirety to them.

Editor: Hal Croasmun
Contact: mailto:halgc@earthlink.net
Website: http://www.ScriptForSale.com

Subscribe: go to http://www.ScriptForSale.com
Unsubscribe: mailto:scriptforsale-unsubscribe@yahoogroups.com
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Copyright Hal Croasmun, 2008. All rights reserved.

3:31 PM - 0 Comments - 0 Kudos - Add Comment

Facescript? Scriptbook?
Category: Movies, TV, Celebrities

This is adorable and I just found it by accident.  This is the wave of the future for sure!  Wanna write and share and let others edit and play around with a script idea?  AND use free scriptwriting software online?  Go to Zhura.   It’s like a combination Facebook and screenwriting blog/forum, where you can use the software to either write privately or with lots of others.  They’re even hooking up to film some of the scripts that are posted there.  Yep, it’s one of those, "Why didn’t I think of that?" ideas, right?

Go play!

9:04 PM - 0 Comments - 0 Kudos - Add Comment