Feature Film Screenwriting: The First Ten Pages

2. Why the First Ten Pages?: - Hi, - My name is Kevin Cava, - and I am the instructor for this class feature film Screenwriting The 1st 10 pages. - So the title of this class pretty much states what will be focusing on here the 1st 10 - pages of a feature length script. - But why the first time pages? - The answer is simple. - Time studio executives, - producers, - agents in readers are all pressed for time, - and none of them are going to devote 9200 and 20 minutes to a script. - They only end up passing on. - And because all of these people have read hundreds or thousands of scripts, - they know within those crucial 1st 10 pages if all the elements for a successful script or - president rejection is part of the industry, - a huge part of it. - But here's the thing. - Every single person in the industry that picks up your script wants it to be their next big - tent pole movie or Oscar winner or career maker. - But rejection is guaranteed if the writer fails to use the 1st 10 pages to draw the reader - in no matter how great the rest of the script is, - or how many amazing twists are presented later in the script add to the fact that all - executives read with a very specific intention in mind, - and they know exactly what they're looking for. - A mark ability, - cast ability, - genre and budget range with this in mind, - and this is especially true for new writers. - Executives don't need to read the whole script to know if it is for them or not. - So it's these 1st 10 pages that air the make it or break it for your script and getting - your reader to devote more time to it. - In orderto have your reader turn to Page 11. - Your 1st 10 pages need to be compelling, - interesting and have a hook you need to make sure your script starts at a precise moment is - one of the most common mistakes and new writer makes, - and setting up The story is letting the crucial 1st 10 pages go by, - filled with exposition and useless scenes. - So when a reader picks up your script, - your clock starts ticking. - Accept that fact. - So how do you go about making them concentrate on the words on the page instead of the - number in the upper right hand corner? - Accomplish the five major rules of the 1st 10 pages, - and you are already on your way. - These are established the genre of your film. - Introduce your main character and possibly most of your major characters clarify the world - of the story and the status quo. - Indicate the theme or message. - Set up the dramatic situation, - and the next five lessons will delve deeper into each of these rules before continuing on - to the project. - Details of the course is you work through the 1st 10 pages of your feature length script. 3. Establish the Genre: - establishing genre is probably the easiest of the five rules for the 1st 10 pages of a - script. - Well, - for many new writers, - doing so is one of the most overlooked steps in the early part of the script. - So it is very important to be very clear about what genre the script falls into, - and not on Lee with the visual world of your stories. - Genre understanding, - film, - genres and sub genres is important simply because screenwriting is not about reinventing - the wheel. - It is about meeting audience expectations. - The guy gets the girl in the romcom. - The action hero saves the day. - The killer in a slasher movie mysteriously vanishes after presumably dying. - They're seven major genres and film, - a number of minor genres and a whole host of sub genres that fall within these two. - The major genres include action and adventure, - comedy, - drama, - horror, - mystery and suspense, - romance in science fiction and fantasy. - Overall, - most spec scripts over the last few years have fallen into the action and adventure genre, - followed closely by comedy drama in the mystery and suspense and horror. - Few respects are written in the romance in science fiction and fantasy genres at the same - time industry interest in scripts over index and the action and adventure, - drama mystery and suspense and science fiction of fantasy genres. - But under index in the rest. - Now this doesn't mean to go on right your 1st 10 pages in an unfamiliar genre just because - it's hot in there. - Fewer scripts out there in that genre always write what you know, - but I referenced this to show you that genres and interest in them goes in cycles. - So maybe that psychological sci fi script that you wrote years ago got no interest in and - stuck in a drawer. - Now could garner some interest with a polish free right, - but only after you write your first time pages for this course. - So in closing about genre, - I can't stay how important it is to make sure the Jonrowe of your script is obvious within - your 1st 10 pages and at the same time to know the conventions of your genre both of visual - and story elements. - And it always helps toe love. - Whatever, - John, - are you writing it that write what you know. - He readers expecting certain points to be hit within that genre. - And if you don't understand the conventions of the genre. - You'll turn your reader off, - and this is also something that will happen if your readers confused by which John or your - skip falls into because you are not clear within those 1st 10 pages. 4. Introduce the Main Character: - without question, - the most important character in your screenplay is your main character, - your protagonist. - Without him or her, - there is no story. - But here's the problem that many new writers face from writing a screenplay. - The protagonists they create is boring static on interesting, - non compelling, - a passive protagonist instead of an active one. - So what is an active protagonist? - An active protagonists is one who has a goal here she wants to achieve and then works to do - so and along the way of achieving that goal runs into obstacles that they need to overcome - changing strategy as necessary and ultimately getting the opportunity to achieve their goal - in a climatic situation. - Create a protagonist that meets this definition, - and the story will actively and fold because of them and their actions, - and not because something is happening to them. - This makes them an active part of the story instead of standing on the outside of it - passively. - But having an active protagonist is only half the battle. - Your protagonists has to be active, - but he or she to make your story stand out and to make those a list actors fight over your - script also has to be an unforgettable character. - Here's some tips to help in doing just that as you work to not only introduce your main - character in those 1st 10 pages, - but to think about them as they work their way through the rest of your script. - Create a character that the reader truly cares about, - someone that they hope obtains their goal but also fears that they may fall short. - Create a character that the reader feels at least empathetic for and a bass sympathetic for - not every character deserves sympathy. - An anti heroes, - an example. - But the reader must be empathetic to your main character and his or her plight. - Know everything about your main character. - The more you understand about what your character wants both internally and externally, - the easier your reader will be able to relate to them and their cause. - Your main character cannot exist without conflict, - so make sure that there is enough conflict for them to overcome once again, - both internally and externally, - on their way to their goal. - Create weaknesses in your main character so that the reader will fear the Mangold might not - be achieved because of their weaknesses. - It's even better when your main characters. - Either Bolivia's to these weaknesses or in denial about them. - The weaknesses and flaws of your main character need to be evident within the 1st 10 pages - any later, - and you start to undermine your ability to emotionally engage the reader, - poke your character at their weakest points, - which will force them to reveal things that they're normally unwilling to share. - It's in moments of conflict where the truly great characters will shy. - Don't allow your main character to see the full breath off the theme at the beginning of - the story, - which allows them to to easily connect the dots to their final goal. - The theme and its implications should be revealed as your protagonist moves towards their - goal. - Make sure your characters, - all of them but especially your protagonist changes and our grows as they work towards - their goal. - This is the all important character arc. - Your character needs to either grow through the knowledge they received over the course of - your script and or change as a result of acting on that knowledge. - Use these tips in your well on your way to creating a memorable protagonist 5. Clarify the World and the Status Quo: - the 1st 10 pages of a script need to give your reader taste of the world they're about to - be plunged into and shows what makes it special. - Even if the world of your story is the present day, - you must know the world that you're creating the rules of it, - even if you don't include much of it in your story. - It is the details of your world that will not only suck the reader in and make them believe - that this world actually exists. - But it's also what's going to show off your voice, - your creativity and your originality. - Your 1st 10 pages should give the reader just enough detail about your world to make us - feel like it is something special, - visual and most important cinematic As you create your world. - It is also important to know exactly how your character fits into this world, - what their places in the world and how they affect it, - and how the world effects that as they move towards their goal. - The status quo was set up in these 1st 10 pages, - along with the Rules for your world. - And although the status quo changes as the story moves along, - the rules for your world never should, - which could lead to elements of your story feeling out of place and random When you are - building your world, - ask questions such as, - Where is my story said, - And what is the time period? - Think about the culture and demographics of your story. - As you drill further down, - your world should become more nuanced, - which highlights your unique voice in transmitting the tone mood. - Feel an emotional landscapes present in your world. - Hand in hand with building your world status. - Quote of the world as it relates to your character needs to be stated. - It is in the disruption of the status quo that the character and the world inhabited by - them begins to change. - And what, - in essence, - start your story. - Build your world, - even if only bits and pieces air viewed in the 1st 10 pages and establish the status quo - for your character within that world. - Make your world of living breathing entity because if it is not to you and your character, - it certainly won't be the A reader 6. Indicate the Theme: - theme is crucial to your screenplay. - It's the root of everything from the moment you type fade in theme is what your script is - about, - not the actual plot, - but the reason behind the plot. - The reason that you are writing a screenplay in the first place and in the same way that we - don't look to reinvent the wheel. - When it comes to genre, - screenwriters go back to the well when it comes to themes. - The most common themes and screenplay, - which in turn serve as a staple to the underlying plots of most films, - are good versus evil. - Love conquers all triumph over adversity individual versus society. - The battle death is part of life. - Revenge, - loss of innocence, - man versus himself, - man versus nature. - Now all met. - It's a little depressing to see most movies boiled down to one of 10 or so themes. - But just because so many movies are about the same thing doesn't mean they're the same - movie. - It's the way the story is told, - not the actual theme behind it. - But even so, - it is absolutely imperative toe lay out your theme in those 1st 10 pages because once you - start thinking about theme is the driving element of your screenplay. - You will make better decisions throughout your script when thinking about theme. - Remember these three key points? - One. - Why do you want to tell this story? - This is the most important question. - Ask yourself. - It will be the guiding factor behind What is your theme? - Two. - Exploration of the characters crucial. - The theme, - as it is in the character that the screenwriter finds a conflict for the script, - is the most common themes show theme and conflict are absolutely linked. - Three. - The screenwriter can show theme through his or her characters in a number of different ways - , - but the theme always springs from the characters. - Main goal. - Remember, - each script has to be about something to tackle some great human struggle. - No matter what genre, - you find yourself writing it. 7. Set Up the Dramatic Situation: - by page 10 it is essential that your reader generally knows what your story is about and - where it's headed. - Genre year World Your characters in your theme, - all working, - setting up your story, - the what you are writing about. - And it is around page 10 where your main characters world is turned upside out through the - inciting incident. - The inciting incident is the main complication or problem. - Your protagonist is going to be facing the event that pushes the protagonists out of the - status quo of his or her own world and instantly creates conflict intention. - This immediate source of conflict should make your protagonist want to take action, - transitioning your protagonists from need to desire. - Your protagonist then should attempt to satisfy his or her desire. - But of course, - this action is futile first, - and is he or she continues on their quest to satisfy this desire. - More and more obstacles are presented by you is a screenwriter blocking their need to - satisfaction? - A good rule of thumb when figuring out where your inciting incident should appear is around - the 10% mark of your script, - as most scripts average about 100 pages with all spec scripts needing to fall within 9200 - and 20 page limit. - This inciting incident is usually somewhere around the magical 10th page. - Any earlier in your character and his or her world might not have been fully developed any - later in what came before, - it might have been a little too meandering and thus has already turned your reader off. - Think about the inciting incident, - at least for this project is sort of a cliffhanger. - And believe me, - the battery or inciting incident is the more your reader want to know what happens on that - next page. - So give your inciting incident deep conscious thought and know that the batter you know, - your protagonist in his or her world, - the batter you're inciting incident will be. - This wraps up the what and the why of your 1st 10 pages of your script, - and the next lesson we're gonna move on to the actual project. - Details for feature films Screen writing the 1st 10 pages 8. The Project Details: - So now that we have an idea about what should be in those 1st 10 pages, - let's talk a little bit about the project. - Details for this project number one right between one and three log lines. - This I hope that you do before you start writing your 1st 10 pages for a couple of reasons - . - One, - I hope to get some of your classmates participation in helping you peck kind of what your - 1st 10 pages air gonna be about what that script's gonna be about? - Um, - maybe, - you know right away what, - you want your screenplay to bay. - Then write your one logline and post it. - Maybe you have no idea. - Maybe of a bunch of ideas and you're had, - um about what you want to write in that case right out three different log lines and post - him and get feedback from about those and kind of move forward from that. - Now, - say you don't have any idea what you want to write about. - Uh, - I'm gonna help and right three generic log lines myself in post those so that if you don't - have an idea what you want to write, - you can pick one of those and mold it to your own story. - Choose your own genre. - Choose your own character. - Choose your own time, - period your own theme around that logline that you peck of mine number two for this project - , - right? - The 1st 10 pages of your script based on your logline. - So that's pretty much the easiest thing to do in at least when it comes to the project. - Details in number three. - And this is one of the more important things, - as far as I'm concerned, - give feedback to at least five other projects. - So choose out five projects that your classmates post so there their 1st 10 pages of their - script and give good feedback. - We're going to talk a little bit more about giving feedback and what that entails. - But first we're going to talk about writing that logline. - So what is the Logline? - Logline is a one or two sentence summary of your film that not only conveys the premise but - also gives the reader emotional insight into the story. - As a whole. - Log lines originally used back in the early Hollywood days, - people would write their log line on the side of the script, - the binding of the script so that producers could easily look through the hundreds of - thousands of scripts that they they had on their desk on their shelves and kind of pull one - out that they might be interested in doing and pass over the ones that they wouldn't. - And still, - nowadays, - that logline is used in that same way, - they effectively serve that purpose, - which is to efficiently represent the story and get the potential reader interested. - While it's critical to have a good logline so that you can concise explain your felt film - on paper, - it works just as well verbally. - So someone says, - Well, - what your script about you given that one or two sentences and you should be able to convey - what your whole script is about that quickly. - But what is a good logline and what's the proper form formula? - Let's look quickly at some of the most important components of a logline. - Ultimately, - you need to get across the following information in your logline. - The protagonist, - in my opinion, - don't use their name, - just a description, - some log lines. - You do see that the logline, - the other logline, - uses the character's name, - but most and what is most generally accepted is not using their name but using a - description off them. - You also need the goal of the protagonist. - This is usually in line with your second act turning point. - So even though you might not know, - even though you might not, - might not be that far ahead, - because we are only talking about the 1st 10 pages. - You should know, - of course, - where your story begins, - where your script begins and you should know the ending of your script. - Ah, - script is different from a novel. - You you in a novel, - you can see where your character takes you. - You have unlimited amount of pages. - In a screenplay, - you have maximum for a spec script 120 pages. - So you know what? - What your end point is, - and you need to know where your character what What is the endgame for your character and - and what is on that final page? - Everything in between that your fear filling in your filling in to get them from that - beginning. - Get them from that status quo to have them achieving their goal. - So you do need to know the beginning in the end, - and you should be able to at least plot out your script, - even though you're only writing the 1st 10 pages. - So the third thing you need the antagonised or the obstacle of the antagonist in your - logline. - So you build those three pieces together. - So thinking about some of the more famous or more famous movies or log lines and just - goingto say a couple of them and you can see not only those three pieces within the logline - , - but you can also see the themes. - You can see the theme of the movie that we discussed earlier presented in this logline. - Here's the 1st 1 When a gigantic great white shark begins to menace the small island - community of amity, - a police chief, - a marine scientist and grizzled fisherman set out to stop it. - Of course, - that's the logline for Jaws presents all those all those three important pieces within that - one sentence logline. - Here's another four unfortunate men from different parts of the globe agreed to risk their - lives transporting gallons of nitroglycerin across a dangerous South American jungle. - That's from the movie source, - er, - the same thing. - It's presenting the in this case, - the protagonist, - four unfortunate men and what they're what they're journey is and what they're what the a - tag honest is the antagonist in this case is gallons of nitroglycerin and the dangerous - South American jungle. - And finally, - a younger crude in Vietnam faces a moral crisis when confronted with the horrors of war and - the duality of man. - That's from platoon, - Um, - the same thing. - You can see the protagonist right off the bat, - young recruits. - And especially in that logline, - you can really see those themes that we earlier discussed the horrors of war. - So the battle in the duality of mad man versus man, - their various ways to structure your logline. - So we're gonna go through those When the inciting incident occurs, - a your protagonist must objective or else the stakes. - So when this is the kind of the most common commonly used structure for a logline, - So when inciting, - incident occurs comma a, - your protagonist Maust objective comma or else stakes. - So once we've once you are through your logline either writing one of your own or three or - using one of mind Next you want to write that the first time pages of your script we went - over though we went over some of the things that should go in that 1st 10 pages in the - earlier lessons. - Finally, - and this is the last part of the project. - Details give good and valid feedback. - Like I said in upcoming lesson, - we're going to go through what exactly that means. 9. Outlining Your Script: - never write without a plan. - That's a recipe for writing disaster. - An outline gets you thinking, - but it also keeps you focused and on track. - Unlike the earlier lessons where the content that I was presenting was a lot more - structured. - This contact now that I'm presenting is a little bit more free form you might be able to - see. - But I still did outline what I was going to say in these in these lessons, - and the same principle applies no matter what you're going to write or in this case, - Sigh. - So how you outline different authors. - Different writers do it different ways. - Some some writers will outline every single scene, - every single thing that happens in that scene, - all their lines of dialogue, - so that when they're actually writing the screenplay, - when they actually get to the point of writing that screenplay and they're done outlining, - they're basically just transferring their outline into screenplay form. - Some other writers just break down the broad strokes of the eight sequences and make sure - that there is a clear central obstacle with within each sequence is enough. - But still others simply clarify the five major plot points before we get to those. - My personal style for outlining is I carry everywhere with me index cards and on these - index cards, - I will write the When I'm working on a script, - I'll write my slugline for each individual scene and then anything that I think is - important within that it might be a line of dialogue that I think of that would for - perfectly fit in that scene or some action. - Or maybe a character is introduced. - And that's the point that I want that character to be introduced our item into that scene. - This makes it easy for me after I have all my cards, - because then I can move those pieces around. - Ah, - seen that I might have thought would happen later in the movie while I'm while I'm writing - the script and might might make sense for it to be earlier so I could just pick those up - and shuffle my cards around. - I always have these cards on me, - even when I'm not specifically writing something, - because I might hear some some person say something that I find really interesting and that - I might want to use, - and I'll just write it down on a card and save it for later. - I might come across a very interesting person and write down their name and some features - that might end up being used by me later in a script. - So in a way, - I'm kind of always outlining. - And, - um, - I'm not saying for you to do that, - but it is a good way to build up kind of a vocabulary of film and be being ableto basically - have a role. - It acts of characters or of dialogue, - of interesting things or places that you see. - Um, - so that's how I outlined. - And like I said, - you can do it anyway. - But I would I would strongly advise before you sit down to write your screen played right - those 1st 10 pages to outline what you're going to write about. - Like I like, - I just said, - talking about the eight sequences that are in a film on these on. - Some writers will make sure to outline these. - So in Act one the of sequence one which is the status quo in the inciting incident and of - course, - this is what we're working towards In this class are 1st 10 pages establish that status quo - established that world and move towards that inciting incident. - So you have that, - you know, - right around that 10 pages, - that sort of cliffhanger, - and that is the end of the first sequence. - So staying in Act one sequence to is the predicament and lock it an act to we move on to - act to Sequence three is the first obstacle in raising the stakes act to sequence for the - first culmination and the midpoint and then sequence five also enact to the subplot and - rising action sequence sex. - You're talking about the main culmination and the end of Act two, - so we've moved through six sequences. - You move through the 1st 2 acts of your three act script in Act three e sequence. - Seven New tension and a twist and then sequence ate the resolution. - So at that point, - your your movie and your script is over. - Like I said, - they some writers will Onley outline the five major plot points instead of the 88 sequences - . - So those five major pop points are the inciting incident that we're working towards block - in the first culmination, - the main culmination in the third act twist. - So I would advise outlining outlining either based on those the eight sequences or those - five steps within a script. - So how do I outlined? - Um, - you need to sit down and you need Teoh. - You need to figure out those steps in your hide the steps that your character will take. - Ah, - good way in a way that I heard, - if you're not used to outlining, - is to sit down and watch a movie that doesn't need to be your favorite movie doesn't need - to be some great movie. - It doesn't even need need to be a long movie. - Sit down with, - say, - those carts every scene that goes by right the scene heading and then write three or four - important things that happened in that scene, - whether it be dialogue, - whether it be action, - whether it be an introduction of a character, - whatever. - As you work through that as you posit scene and write those things out as you work through - that, - you'll see the outline for that movie you're watching formally, - right in front of you is your. - You are writing down what's happening in that movie, - so figure out how best to go about for you to outline a script because it will make your - job easier. - Even within those 1st 10 pages, - it's It might seem like a lot of work you might seem like. - Oh, - I can just wing this and just get these 10 pages out. - But out Gary into you. - If you think before you write, - if you outline before you write your job in those 1st 10 pages will be a lot easier. 10. Formatting Your Script: - right away. - It's easy to see if writers familiar with standard screenplay for Matic proper sizing, - spacing, - sluglines, - scene and character headings. - Well, - having your script properly formatted doesn't mean the script is gonna work. - If it's not, - it certainly is a possible sign that the writer might not be familiar with other elements - of screenwriting that a script needs to be successful. - Of course, - talking about formatting is is ah, - lot harder than showing it, - Um, - so I have put together a a pdf off proper formatting. - So everything that a script includes needs include, - um, - where things need to go and why, - UM, - the when you are formatting, - the easiest way to do that is not to do it in a program like word, - it's to buy final draft to use, - um, - a free screenwriting formatting program. - If you want to go with something that won't cost you anything, - The reason why this is is because if you're if you're trying to format and word your your - writing in your your thinking about while this needs toe, - this needs to be indented. - This amount of space is, - and this needs to be centered and you're not focusing on the writing, - you're focusing on the formatting. - A something like final draft does that for you, - so you can sit down. - You can just right. - You don't need toe wonder where things are going and wonder if you're doing it right. - The other thing with formatting And this has more to do with, - especially in something like this class, - is where one of your assignments is to give five other scripts and five other classmates. - Feedback is formatting just doesn't mean the placement of slugline. - It also does mean errors. - It doesn't mean dramatic clears. - It doesn't mean spelling errors means punctuation errors. - When I write a script more than anything, - I want to make sure that when it comes to those things, - my script is bulletproof as it can be. - I want to read reader even in early draft, - to sit down and be able to read through my script and not be not come to a halt because I - missed a period or because I misspelled a word or because I'm the My sentences aren't - structured properly. - It's a very easy way to take your reader out of the world that you're trying to create and - throw them off, - And so I can't stress enough when you're writing, - and even before you get that initial feedback, - it's It's very easy to hope that someone is gonna come along and, - like at it, - your script. - They're going to tell you you spelled their incorrectly. - There should be not th er but th e i r. - Um, - but that's not really what you should be looking for. - To get feedback from. - You should be hoping that your feedback comes in in your story and how your structuring - your story, - your characters and your dialogue and your action, - not someone picking out all of your misspellings. - So I would really stressed t to do that, - to make sure your script is bulletproof when it comes to things like that, - so that they can focus on your actual script. - Not on, - you know, - a few errors that you might have made 11. Good Writing Habits: - Now I know I name this lesson very presumptuously titled Life Lessons. - And I'm not here to give you any life life lessons per se, - but to relay some of the things that I've learned as I've gone through writing scripts and - exploring, - Ah, - the writing community and what makes a successful writer and what makes both giving and - receiving feedback successful for both parties. - So when it comes to good writing habits, - let's explore some of the realities of screenwriting success by looking at what successful - screenwriters do on a daily basis. - So this is, - you know, - these air things to think about that will hopefully make you better writer, - no matter what the lessons earlier I tried teaching. - I think that kind of the most important thing, - because everybody has a different learning style everybody has a different teaching style - is to take away things that from this that make you a better writer, - not particularly from anything that I might have said, - or I might have taught, - but by kind of looking at the community of writers around you through skill share. - It's a great opportunity to learn kind of what works and what doesn't work and adjust it - for yourself. - So highly successful screenwriters have a driving reason to write. - This could be anything you could love to write. - Hopefully, - most screenwriters and most successful screenwriters do just love to write, - and it's kind of what they were made to do. - But to be honest, - it's if you're driving. - Reason is to gains fame and success as long as that gets you going and get your right, - and there's nothing wrong with that. - You have to have a reason why you love to write why you want to get up and right, - even if it is something like making money on that obviously doesn't sound like the kind of - the best way to go about things. - But for some screenwriters, - that is true. - So as long as you do have that driving reason is that designers you do have the driving - force, - you're going to get up and you're going to write highly successful screenwriter set a High - standard of excellence. - This means that they've really spent a lot of time learning their craft and understanding - how to write and knowing the difference between good screenwriting and bad screenwriting on - That isn't that isn't to say that you'll get a lesson in that here through this class. - But by reading other people's work, - you do learn a lot. - You learn a lot, - how to make your work better. - You you know, - you end up learning a lot more about what works and what doesn't work and screenplays and - the more time you spend in a writing community, - it's very easy as a writer to close yourself off from everything and to Onley seek out - positive feedback. - But the more you open yourself up to the community of writers, - the the memorial master your craft. - It's very important, - and that that does help. - Screenwriting is a craft. - It is something that you can learn. - You do have stories inside of you. - Everybody does. - Getting them down on the down on papers is difficult. - That kind of leads into the excellent, - highly successful screenwriters right regularly and sat writing goals. - This is something I do when I'm writing a screenplay. - I will sit down and say, - I'm going to write 2000 words or 1000 words. - I'm gonna write five scenes every day until I'm done with that screenplay. - You get up and you do that. - You don't take a break and you don't take a vacation. - Sometimes the writing will be great. - You'll sit down and it will just come out in. - Those 1000 words will just be great. - You'll be so happy, - and sometimes it's completely terrible to be honest, - steal, - you'll write something and you'll know it's bad. - But you still have to get through that. - Get through that because you're not. - You're not ever going to sell your first draft. - So to get it out and to get your screenplay out in a time period and not to keep putting it - off, - not to keep going and saying, - Well, - I'll finish it toe are are you know tomorrow instead of writing five scenes? - Because I'm not gonna do that today, - all right. - 10 scenes tomorrow. - That's an easy way to fall behind. - That's an easy way to give up on your goals. - So set those goals, - whatever works for you and get up and do it. - You'll find that time everybody has, - you know, - even if it's 15 minutes that you're going to sit down every single day at a certain time to - write do it. - Highly successful screenwriters evoke emotions in the reader. - This is probably one of the most important lessons, - huh? - Beginning screenwriters sometimes don't know how to do this. - Every single scene, - every single page, - every single word that you're writing. - You should be thinking about that emotional response from your reader from your audience. - If you are able to do that, - you're able to draw your reader and you're able to, - you know, - evoke those emotions in them, - and your script will be that much stronger. - Otherwise, - your script, - it's just surface level. - But if you can really dig deep inside your reader and get them to to to express emotion, - get them involved in your script, - it's only gonna make your script that much better. 12. Giving and Receiving Feedback: - the best thing. - The best take away about this whole project, - in my opinion, - is the opportunity to get really feedback from multiple people spread not Onley across the - United States but the world. - This should really not be overlooked or under appreciated to receive feedback from other - screenwriters, - establish an up and coming writers know how difficult it is to get someone, - anyone to read what you wrote and then to give it really venue. - Give real feedback to your writing, - the good and the bad. - In this, - the bad can sometimes be difficult to take, - especially when you know how much work you've put in your script. - Hearing this doesn't work, - or maybe you should go in. - This direction does not mean that a reader doesn't like what you wrote, - even though they might not. - But it especially doesn't mean that they don't like you. - This is something that that can sometimes be difficult to separate these two very different - things from each other for new writers and Morrell experience writers, - too. - So feedback you as part of the class. - I'm expecting you to give it, - um, - and also toe take feedback to knock it upset to not think someone is personally attacking - because they might not like your story. - Um, - it's not. - They don't like you when you're also receiving feedback. - Kind of pick and choose what? - Um what What Your takeaways are from that feedback. - Not every single piece of feedback is valid. - Not every single piece of feedback needs to be valid toward towards you. - Pick, - pick, - and choose what you think works. - What you think will help your script be better. - Not everybody understands your genre or not. - Everybody understands you know how you're trying to present your story. - However, - if you do see a lot of feedback coming back about the same thing over and over, - then that is something that you really should look at in your script. - There might be an issue there. - You might not think there is one, - but there might be so understand that this is the most invaluable thing about joining this - class in this opportunity. - To potentially have all of these readers is something that any screenwriter, - especially new screenwriter, - will never be able to replicate and understand that although your feelings may be hurt - reading some of the more negative feedback about your script, - your readers air giving you this feedback to help you make a become a better writer. - So treat your readers and their comments with respect and repair, - reading a feedback with a reciprocal read of your own and also know that you don't have to - rewrite your script based solely on your readers feedback. - Like I said, - pick and choose what works for you. - What? - What they have helped you to see as possible weaknesses of your script. - But don't get discouraged, - right? - Digest your feedback in your own feedback. - As you read through your own script and rewrite, - you're never gonna get it right the first time no script is has ever been produced on a - first draft, - especially were writing a spec script here. - Um, - so I can't reiterate enough to, - um, - give good feedback? - Not just, - you know, - tell Tell, - uh, - another student You didn't spell this crackly. - Um, - you know, - your grammars off here really digest their story and try to help them out the best that you - can help them out by giving good feedback and the same thing when you get feedback, - respond to it when somebody gives you great feedback, - whether be great what a great job or great. - Here's a lot of things that I think you should work on, - respond to them and thank them. - And when you work through those changes, - if you do work through those changes, - let that person know you know I took Took what you said to heart. - Um, - I've applied some of what you've said to my script, - and I'd love you know, - if you have a chance, - could could you re read it? - It's difficult sometimes, - especially when you get feedback feedback to go right away and to change all these things - and then to go back. - And I've just made all these changes. - Can everybody read my script again? - It's difficult for people to do so. - Don't go back to that well too many times. - Get your script as strong as you can after you get that initial feedback. - After you get some good feedback, - go back kind of isolate yourself. - Do your rewrite. - Read it over yourself, - do another rewrite, - and then when you're satisfied when you think it's the best that it can be, - then come back and, - you know, - contact those people who really helped you and let them know. - Hey, - you really help me in and it be great if you could check out my script again. - So feedback. - Important part of this class. - I hope that everyone takes it to heart. - You're not going to get another chance. - Toe. - Have so many eyes on a script that aren't close friends or relatives that are people who - are on the other side of a computer who can actually, - if they want, - feel OK about hurting your feelings, - and that's okay, - they're not attacking you. - There's wiping issue with this with your script that they're looking at, - but hopefully everybody does a great job. - Uh, - we produce a lot of excellent 10 page, - first time pages of the script, - and we're getting some good and giving some good feedback out there. 13. Closing Thoughts: - So in closing, - I really want to thank you for taking time out to take my class and to, - ah, - join me and any other classmates on this journey. - As we work towards completing the 1st 10 pages of a feature length script, - everybody learns differently. - Everybody writes differently, - so I hope that the lessons that I've presented previously help you in some way. - I'm not expecting anybody is gonna follow anything that I say to the word, - but hopefully you do find some nugget of knowledge and something that I've said throughout - these lessons. - So once again, - I really appreciate your time. - Know that anyone who has already taken a class with me knows that I'm very active. - And even though I'm the instructor in this class, - I'm going to be as active as I possibly can. - You can promise that I will read every single completed script. - I will give feedback on log lines for people who are stuck and looking for help. - So I'm here to help. - Don't be afraid to contact me either on the discussion boards here or off site on Twitter - Facebook O r. - Through my email here to help you because you've taken the time out to to join me, - and I really appreciate it. - Thank you.