SCREENWRITING DO'S & DON'TS

Over the years, I've read thousands of scripts as a producer and former VP Development for companies at Sony, Universal and Disney and had to separate the wheat from the chaff. Many times, I heard pitches that sounded absolutely fantastic in the room and I was certain I would option the project. But then after reading the screenplay, the execution fell short and what initially sounded like a definite sale became a definite pass.

Execution has to do with whether or not the concept is successfully executed on the page in terms of character development, structure, set up, pacing, dialogue, and the overall ability to engage your reader in the protagonist and his or her journey. There are tell-tale signs that a writer is a novice who has not yet mastered his or her craft, and lacks the skills that Hollywood decision-makers seek.

The following are tips on how to avoid certain "red flags" so that you can become a better writer, increase your chances of selling your script and establish yourself as a pro!

DO stay within standard script length -- 108 - 114 pages ideally. A 122 page screenplay is long but still acceptable.

DON'T turn in a script that is 139 pages! Unless it's an epic such as "Dancing with Wolves", "Braveheart" or "Seven Samurai" and you are one of Hollywood's A-listers at the top of your game, scripts should never be this long. Turning in a script that is too long is a tell-tale sign you're a novice and haven't had the discipline to edit your work.

DON'T write scripts with 20 characters. If you write a script with 20 characters, you dissipate focus away from your central character, the protagonist with whom we need to connect and engage.

DO write a central character with a strong point of view who will take us on a journey, seeing the world and experiences through their eyes, emotions, actions and reactions.

DON'T write character monologues that take up a whole page. In fact, avoid writing a character monologue that takes up even half of a page. This is a tell-tale sign you're an amateur. If you feel absolutely compelled to write a long monologue, break it up with visuals such as image motifs that correlate to what is being said and/or other character's reactions.

DO write compelling, vivid, emotionally engaging, endearing, flawed characters when you first introduce them. If you don't care enough about your character to create an interesting portrait of who they are to hook your reader, chances are the person reading your screenplay (an agent, actor, producer, director, executive) won't care about them either. Introducing a character and only including their age and the color of their hair is another tell-tale sign of an amateur.

DO take pride in your work, making sure there are no typos or grammatical errors and that your script is formatted properly. How you present your work is a reflection of you. Always present yourself as a professional and be meticulous. If you are sloppy and do not care about your work's professional appearance, neither will your reader and it will wind up in the trash.

DON’T write endless camera angles in your descriptive passages or stage directions with respect to dialogue and the manner in which your character should read a specific line. Let the director decide how to shoot a scene and let the actor decide how to read the line.

DON’T write expositional dialogue where your characters state exactly what they are thinking and feeling. Human beings in real-life do not speak this way. Often they are afraid to express how they really feel. Sometimes they might be passive- aggressive or say the opposite of how they’re feeling. Writing expositional dialogue or dialogue that is “on the nose” limits characters’ dimensionality and depth.

DO write subtext where characters do not state exactly how they feel. Examples of great subtext can be found in Harold Pinter’s “Old Times” and the Humphrey Bogart, Lauren Bacall classic “To Have and Have Not”.

DO use image motifs, awkward moments and even silent moments to convey mood and emotions. For example, a lead character sitting in the middle of an empty square surrounded by tall buildings tells us about the character’s isolation, without the character having to actually state that he or she is lonely. A picture paints a thousand words. Movies are visual mediums. Don’t be afraid to use pictures and images to help tell your story.

DON'T write MASSIVE paragraphs of description or action -- try to keep it 3 to 4 lines max! (This last "Don't" comes courtesy of my good friend, Joseph Frio, founder of ScreenplayFest www.ScreenplayFest.com).

Content may be King, but Execution is God!

Wendy Kram is a producer and the owner of L.A. FOR HIRE, a consulting company for screenwriters, filmmakers and production companies, assisting them in developing, packaging and selling their projects.Creative Screenwriting Magazine ranks her in the Industry’s Top 3 Picks for “Best Script Consultants” and #1 in Marketing.

For more information about Wendy’s services, success stories and how she may be able to help you advance your projects and careers, please visit www.la4hire.com or contact wendy@la4hire.com

Reality TV & Branding

I was recently asked to evaluate a treatment for a reality TV series.

Many writers and producers come up with good ideas for reality shows, but there is a key component they don't realize they need, and it is essential when trying to sell a show -- which is you must attach a significant element. Without the auspices of having a renowned expert or celebrated personality in the field, the idea will be too generic, in that many people can come up with an idea. It’s the auspice that you can attach that distinguishes your project and becomes the tipping point to get buyers’ (i.e. network, cable, etc.) attention. "America's Next Top Model" sold because the producer attached Victoria Super Model, Tyra Banks. "Project Runway" had the auspices of another Uber Super Model, Heidi Klum. Without these well-known celebrities, the shows would not have sold.

Other ways to make your project stand out is to use on-line media. You can work on generating a buzz by creating a digital series, filming individuals with compelling stories, and putting them on youtube. If you are able to develop a following, you might be able to attract network and cable interest, as well as a sponsor, especially if there are products and brands that tie in with your show. Another possibility is to create a blog or use Twitter. Examples include "Julie and Julia" which started out as a blog, became a book and then was optioned by a top Hollywood producer and turned into the blockbuster film with Meryl Streep and Amy Adams. "Sh*t My Dad Says" started out as a bunch of tweets and developed a huge following as well, eventually gaining the attention of a production company which in turn sold the project as a series to CBS. While the series ultimately did not succeed, it turned the Tweeter into a millionaire.

I hope the above provides useful information. If I can be helpful in providing further insider tips and strategies to advance your projects, please feel free to contact me.

wendy@la4hire.com 310-994-3258 www.la4hire.com

Recognized by Creative Screenwriting Magazine as "Top 3 Consultants" in the Industry

Landing a Job in Hollywood When You're Just Starting Out

I recently received a question from a young woman who had just completed a course in 3D Animation and was having a hard time finding work. In spite of being immensely talented, companies require experience in order to hire you. Because she just finished school, she didn't yet have that experience. She wanted advice on what she could do to break in.

"Is it the typical catch 22 that all new graduates face today, particularly in this economy where there is plenty of surplus and a plethora of experienced talent?" she wanted to know. "How do you get your foot in the door?"

My suggestion is the following:

It's always a catch 22, but there is also a solution which is to call companies and offer to work as an intern. While clearly the end-goal is to land a paying job -- working as an intern can be an invaluable experience that can cement relationships and offer great returns on your investment in a relatively short period of time. Many studios and networks have diversity programs and if applicable to your situation, these programs are extra ways to gain opportunities. Working as an intern gets your foot in the door, allows you to prove yourself, develop contacts and exposure for a promotion or paying gig within that company. You've also solved the catch 22 problem because now you do have experience. Additionally, it looks good on your resume, enhancing your overall "hire-ability"as companies love seeing other "name" companies on applicants' resumes.

I hope the above is helpful. If I can provide additional tips and advice, or if you need assistance polishing your screenplay and selling your project, please feel free to contact me.

Wendy Kram, Producer/Owner

WK Productions & L.A. FOR HIRE, Inc.

310-994-3258

wendy@la4hire.com

www.la4hire.com

Ranked by Creative Screenwriting Magazine as Top 3 Picks

for "Best Script Consultant"

Wendy's Script Tip

Brief Script Tip:

If you've been working on multiple drafts of the same script and feel like you're starting to beat a dead horse, take a break and work on some other projects. Very often, the distance from the work will do your head a world of good! Engaging in some of your other projects will stretch different parts of your brain and help you step out from places you've been stuck. Freeing up your mind to explore different avenues of your creativity will most likely unleash new inspiration for you. Then when you go back to your old project, chances are you will come to it with fresh perspective that breathes new life into your characters and story.

For other tips, career advice and private script consultations, please feel free to contact me me.

Wishing you all a very Happy New Year and that 2011 brings you lots of "Go" projects! :)

Wendy Kram, Producer/Owner
L.A. FOR HIRE, Inc. & WK Productions
Creative Screenwriting Magazine Top 3 Picks for "Best Script Consultants"
wendy@la4hire.com * www.la4hire.com

For Screenwriters on Choosing an Agent or Manager in Hollywood

A young screenwriter who recently received two offers from literary managers asked for my advice as to how she should go about choosing the right one.

First, this is wonderful news...any time any one of you receives recognition for your work, please take a beat to pat yourself on the back. In one of the most competitive fields in the world, when others appreciate your creativity and talent, this is an accomplishment you need to acknowledge. Your hard work and unique skills are paying off and this is a positive sign of additional opportunities to come. Congratulations!

In choosing an agent or manager, my advice is the following:

A) Be polite and express your enthusiasm about their interest in you, but don't be afraid to ask questions and do some due diligence.

B) Look them up on IMDBpro.com and see what other clients they represent. If they have any big hitters, that gives them easier entrée to network executives and production companies which means they have more leverage to get buyers to actually read your work.

C) Ask them if they could spell out their game plan for you and your career. Ask these additional questions:

• Who do they plan to send your material to?
• Who would they like to get you meetings with?
• Where do they feel they're the strongest, i.e. comedy, drama, cable, prime time, day time, animated, children's programming, etc. and are their strengths in these areas a match with yours?
• Where do they see your career going? Features or Television? Starting out on half-hour comedies, one-hour dramas and eventually becoming a show runner?
• Do they want to team you up with any show runners?
• Do they want you to write more spec shows, original material and so on.

Finding the right agent or manager is like dating...see if you're on the same page.

I hope the above is helpful. If I can offer further advice to you or someone you know, please check out my website and let me know how I can help!

Cheers to a happy holiday and all best wishes for a fantastic and prosperous 2011 -- with lots of "Go" projects!

Wendy Kram, Producer/Owner
WK Productions & L.A. FOR HIRE, Inc.
Creative Screenwriting Magazine Top 3 Picks for "Best Script Consultants" 2010

wendy@wendykram.com * 310-994-3258 * www.la4hire.com

Writer/Comic Michael James Nelson

Congratulations to my client, Michael James Nelson, who has had an amazing month!

Michael has been on the front page of Will Ferrell's website "Funny or Die" a total now of six times.

His BP video, which he wrote, directed, and stars in, was featured on "Funny or Die" and today made The Huffington Post!

Michael also performed on the main stage at The Comedy Store and was invited back to do a 20 minute set on August 22nd.

Make sure to check him out.

Michael has been diligently writing comedy sketches, performing and honing his craft -- and it just goes to show that hard work does pay off!!

Check out Michael's BP video:
http://www.huffingtonpost.com/2010/07/26/an-unedited-look-at-the-p_n_659645.html

Wendy Kram & L.A. FOR HIRE listed as "Best Movie & TV Script Consultants"

Creative Screenwriting Magazine just came out with their 2010 Edition of "The Best Movie & TV Script Analysts & Consultants As Rated by Screenwriters".

I am proud to be listed among an elite group, ranked #3 in an overall rating of over 160 consultants who were reviewed, and considered by Creative Screenwriting Magazine as "The Cream of the Crop".

For more information about Creative Screenwriting Magazine's 2010 Edition of "The Best Movie & TV Script Analysts & Consultants As Rated by Screenwriters", please visit:

http://creativescreenwriting.com/consultant.survey.html

http://viewer.zmags.com/publication/255a13a6#/255a13a6/16

For more information about my services and how I may assist you with your screenwriting goals, please visit:

www.la4hire.com or email me at wendy@la4hire.com

Ageism in Hollywood?

I was recently asked the following question:

How much does age and experience factor into getting started in Hollywood?

My response:

If you are looking to break in as an assistant to a producer, studio executive or agent, it helps to be young. In reality, most adults would not want these positions. These are the types of jobs that young people are more willing to do since the pay is low and they entail a lot of grunt work, which is fine when you're just starting out and if you have the means to sustain yourself. In some cases, young people have parents who are willing to subsidize them in these jobs as they realize it's an investment in their children's futures...or younger people are willing to work night jobs such as bar tend to make ends meet, concessions many adults are not willing to make. Assistant jobs are a rite of passage of sorts and can provide invaluable experience. But it is not essential to have this experience in order to make it in Hollywood.

Specifically when it comes to screenplays, I don't think age is such a factor since what matters most is the content. If you have a great script with a great concept that can get noticed by people who can help get your movie made, age doesn't really matter. If someone is young and writes a crappy script, no one is going to buy it just because they're young. And even if someone is 25 and brilliantly talented, their age won't guarantee that their project will get noticed. It's a tough business no matter how old you are.

What matters most is having a great story that's well-executed.

It's content, not age, that's King.

No matter what your age, your focus should be on creating a great piece of work and having the wisdom and self-honesty to know what's good and what's not.

The Art of the Pitch in Hollywood

Starting with how the idea for your project came to you is one of the best ways to begin your pitch. Because you are connecting to a real place and the source of your genuine inspiration and excitement about your project, your delivery will come across in a manner that's not so re-hearsed. It's a great ice-breaker. Best of all, talking about how you got your idea makes you more relaxed and less self-conscious, which in turn makes the person you're pitching to also feel more relaxed and engaged.

As a producer who has heard infinite pitches, nothing is more painful than watching someone sweat, turn red and even shake because they feel so uncomfortable and nervous. While some executives might come across as a little cold, the truth is, every executive is rooting for you. If you have a great project, you make them a star.

Worse are those who come in and read from a document. We want to connect with you, see who you are and get to know you. We're taking time out of a very busy day to have you in our office, so do what you can to entertain us.


The best way to do that is to connect with your genuine source of interest and excitement because that reveals you...and your excitement will engage us and be infectious.

Never under estimate the importance of practice and being prepared. The best way to prepare, I have found when I'm preparing a pitch, is to write the story down. Usually, this process takes place in the form of a treatment or outline that I've been working on for at least a week. By reading and researching the characters (if based on a book or true story) and writing the treatment, I've gotten to know my characters and story intimately so that talking about them becomes second nature.


DO practice in the shower, in your car, on your way to your coffee shop, as you walk across the parking lot -- do whatever it takes! Practice your pitch on your friends. Make sure they are friends who are supportive and won't tear you apart or put you down as that will only shred your confidence and put you back a few steps -- completely counter-productive! So practice, practice, practice!...until your pitch is second nature.

DON'T wing it. Unless you're a seasoned pro, a gifted story-teller who has been writing novels, scripts or plays for at least 10 years as these are the only people I know capable of "winging" pitches...and even they too have to prepare a little bit.

Last but not least...

Have FUN! Love your story, love what you're telling...even if it's a scary movie, a tragedy or a horror movie...enjoy the process! Chances are if you have fun, the person you're pitching it to will too!

For more information about "Pitching" and other Hollywood Tips, contact Wendy:

wendy@la4hire.com l www.la4hire.com

Why I created L.A. FOR HIRE, your own Hollywood Executive

It all started when I was sitting at a bar in Chelsea in NYC with a girlfriend of mine, Danielle, an advertising media whiz and fellow Columbia University alumni -- and I was longing to return to my roots in Manhattan where I grew up and went to college. Over a lovely, crisp Sauvignon Blanc, as I thought about becoming more bi-coastal, Danielle said...


"You're L.A. FOR HIRE! That's what you are... You have over 15 years of experience in Hollywood and a bunch of credits under your belt as a producer and executive for various film and TV companies at all the major studios. This makes you a valuable commodity, especially in New York or anyone outside of L.A...so you should consult."



You know the players, the network, studio and production company executives...you know creative talent, writers, directors, actors, agents, managers, and so on...and you know how to navigate the Hollywood system. You're L.A. FOR HIRE!"


I Liked the sound of that.


I got into a taxi and by the time I arrived on the Upper Westside where I was staying, I had pen and paper in hand and began to formulate my new entertainment consulting company "L.A. FOR HIRE".


With over 15 years of experience developing and producing projects for film and television, I decided to create a company that would fill a niche for those filmmakers, screenwriters, production companies and advertising agencies that might be seeking insider expertise and Hollywood contacts to advance their projects but lived far away -- or didn't have the access and the "know-how" to navigate the entertainment industry. And in instances where companies were forced to make cut-backs or became short-staffed, they could hire a seasoned film and television executive on a consulting basis.


In creating L.A. FOR HIRE, your own Hollywood Executive, I offer filmmakers, screenwriters, production companies, and advertising agencies from all over the world a gateway to the Hollywood community. Wherever an individual or company may be...whether it's New York City, London, Paris or Dubai...if you can't get to Hollywood -- I'll bring Hollywood to you.



Thus L.A. FOR HIRE was born.


For more information, please contact Wendy at:


wendy@la4hire.com or click on my website: www.la4hire.com