Screenwriting and the Budget-Conscious Script

When you’re writing your own script, one thing that must be considered is budget. You can have a fantastic original story, but if your script is not written with budget in mind, you’ll be putting your script in the category of a Studio option. Even if your script receives a “green light” a producer may impose budget-conscious rewrites on your script that differ considerably from your original vision.

A writer doesn’t necessarily need to be budget-conscious when writing their script unless their intent is to have their screenplay made into an indie film. However, the road to indie is a lot greener than knocking on studio doors. For most first-time screenwriters, a budget-conscious script is a good way to get your foot in the door. A writer looking to successfully move into filmmaking should focus on the independent film industry.  If you’re a writer that needs to see your vision to completion, you’ll have a much better chance of keeping your vision whole if you choose the indie film route. The digital revolution has spawned the budget-conscious feature film. Indie filmmakers with the smallest of budgets can now see their vision make it to the screen.

It all starts with a screenplay…

Don’t be afraid to venture out and share your talent. Find screenwriting groups in your area and consider collaboration. Discover how other screenwriters approach ultra-low or micro-budgeted filmmaking as a means to realize their artistic ambitions. Start with realistic goals in mind. List resources that you currently have access to, build a story around what you know. You may find other writers/filmmakers that would be willing to share in the financial burden of producing an indie film.

Compile a list of actors that you know and that are eager to work for screen credit. Most actors, especially those who are just starting out, are always on the lookout for roles, whether as lead or as an extra. If you have access to a locally based talent agent or manager, this can be a big help, but you may be looking at some nominal fees for referrals. The best advice is to limit your cast to five or six roles. Remember, the more actors involved in your production, the more likely you’ll incur expenses related to catering and transportation.

Avoid the flashback…

Many writers tend to use flashback in their story as it relates to a character’s recollection or dreams. Frames: (a story within a story) is also a technique that is commonly seen in scripts from beginning writers using this approach in scenes. Writers should avoid using flashbacks in their script as it will rely on backstory too heavily and may result in a bigger budget from an extraordinary set design and or wardrobe. A favorite flashback period is the 1950’s. Would you know where you would locate all of the wardrobe pieces for your flashback scene? The best approach for wardrobe in a low or no-budget indie film is to locate wardrobe items that you have access to that may increase your production value without increasing your budget. Think thrift stores, friends, and relatives when searching out unique wardrobe items. Avoid writing historical dramas that would require elaborate props and costumes.

Write your script with that fewest possible locations in mind. It helps to have access to many of the locations in your immediate area. Maximizing the least amount of locations, gives your actors and crew more time, freedom to create, and less time spent moving an entire crew from one location to the next.

You’ll want to have complete control over any sound (pedestrians, traffic, planes, air conditioning, cell phones, etc.). Huge consideration in the audio levels in each environment will save you from post production hell. It’s also a good idea to perform scouting for some alternate sites in the event that your first choice suddenly becomes unavailable. You’ll also want to consider electrical issues for the lighting of your environment for each scene. If you can’t control the light and sound for each environment don’t write that particular location into the script. If you find yourself stuck writing a particular scene, put yourself at that location and ask yourself “will this work with my budget?” One of your greatest resources would be to secure locations through family, friends and business owners eager to lend their space on your word. In exchange, they get to experience a little filmmaking magic.

Success is more than luck; its commitment, enthusiasm and simply making a good effort.
- David Spies

Screenwriting and Story Structure

If you’re new to screenwriting or thinking about getting started in the craft, learning the fundamentals of story structure are key to establishing a solid foundation.

Understanding the basics will ensure you’re on the right path before you even begin to write. Certain story elements called “plot points” must be incorporated in the story and fall at specific times within the screenplay to keep the story advancing smoothly. It will also be easier for an audience to stay interested in your story and understand what is happening in front of them.

Stick to a three act formula – act I, II and III, otherwise known as setup, conflict and resolution.
Keep the script to a 120 pages in length. Syd Field, author of Screenplay and The Screen Writer’s Workbook, has outlined a paradigm that most screenplays follow. According to Field, screenplays follow a three-act structure, meaning the standard screenplay can be divided into three parts.

The first act is where all the major characters of the story are introduced, plus the world where they live in, and the conflict that will move the story forward. Everything in the hero’s everyday life appears in balance at the beginning of the hero’s journey. Then something happens called the inciting incident. This is what throws things out of balance, giving the hero a new desire, mission or goal.

Act I comprises the first quarter of the screenplay. (A 2 hour movie, Act I would last approximately 30 minutes.)

What happens in Act I (Setup)?

Exposition – the part of a story that introduces the characters, shows some of their interrelationships, and places them within a time and place.

This part of the story introduces the main character, the dramatic premise, and the dramatic situation.

Main character – (Hero) the person in the story who has a need/objective to fulfill and whose actions drive the story

Dramatic premise – what the story’s about

Dramatic situation – the circumstances surrounding the action

Inciting Incident – an event that sets the plot of the film in motion. It occurs approximately halfway through the first act.

The “Plot Point”–According to Field, the three acts are separated by two plot points. A plot point, often called a reversal, is an event that thrusts the plot in a new direction, leading into a new act of the screenplay.

Plot Point #1, which leads into Act II, is the moment when the hero takes on the problem.

The second act is by far the longest and for some screenwriters, Act II is the hardest one to write. Act II is also the development stage of the story. This is where the paramount part of the story takes place. The characters are faced with more conflict, challenges known as progressive complications. This leads to the end of act II, the “crisis”; the place in the story where everything that can go wrong, goes wrong.

Act II comprises the next two quarters of the film. (A 2 hour movie, Act II would last approximately 60 minutes.)

What happens in Act II (Confrontation)?

Obstacles–In the second act, the main character encounters obstacle after obstacle that prevent him from achieving his dramatic need.

First Culmination – a point just before the halfway point of the film where the main character seems close to achieving his or her goal/objective. Then, everything falls apart, leading to the midpoint.

Midpoint – a point approximately halfway through the film where the main character reaches his/her lowest point and seems farthest from fulfilling the dramatic need or objective.

The “Plot Point” – According to Field, the three acts are separated by two plot points. A plot point, often called a reversal, is an event that thrusts the plot in a new direction, leading into a new act of the screenplay.

The last act, Act III presents the final confrontation in the story; the hero decides that he/she can go on, usually with greater resolve because he/she solved the inner problem that was holding them back. Thus, showing us the ultimate climax followed by the dénouement. This act is generally the shortest in length and must resolve the story one way or another. The protagonist must go head-to-head with the villain and either achieves his or her goal or fails. Think showdown then conclusion.

Act III comprises the final quarter of the film. (A 2 hour movie, Act III would be the final 30 minutes.)

What happens in Act III (Resolution)?

Climax (Second Culmination) – The point at which the plot reaches its maximum tension and the forces in opposition confront each other at a peak of physical or emotional action.

Denouement – The brief period of calm at the end of a film where a state of equilibrium returns.

When you think of the story’s line of events, they can be broken down into three parts. If your story structure has a solid foundation, you’ll have a much better chance of having your work read and eventually accepted. If the reader can relate to the main character in some way, your screenplay is likely to generate interest and leave a good impression.

It is believed that 98% of all the screenwriters fail. Why the others succeed is something to explore if you want to be part of the 2%.

Creativity comes from an open mind; good work is generated from a steady hand.

-          David Spies

Screenwriting and Groundhog Day

Some people at one time or another… have had a sensation that they’ve done certain things before, but can’t really explain as to why? Whenever I experience this unique emotional state, I’m always reminded of Bill Murray and Groundhog Day. These unique experiences have such an intriguing impact and experienced by so many, that some people were motivated to make a movie about the subject.

Déjà vu is an experience most of us have from time to time and it usually presents itself as something mysterious or magical. Déjà vu usually occurs when a dream scene becomes a real-life scene. This creates the sensation that you’ve experienced this particular event at a previous time; however, the previous experience occurred in a dream state and not a real state. Some say it could be a glimpse and an opportunity to change a particular direction in our life. Paranormal theorists propose that a déjà vu experience is evidence for reincarnation, “that experiencing something for a second time around indicates your soul experienced this event in a previous life.”

Déjà vu usually sets in without notice. All of a sudden you have that feeling you’ve been to a certain house, city, event or you’ve met people that are strangely familiar. Though, you had no prior connection to these places or people. A clue that you’re experiencing déjà vu; if you know your way around someplace that you’ve never been before…

Most of us will just brush off these experiences with the definition of a coincidence or “I should not have taken that extra melatonin last night”. If déjà vu were only an illusion, how can our mind distinguish between this illusion and the story it is creating? Albert Einstein suggested that “space and time” were simply human conceptual constructs, abstracted for discussion and intellectualizing, but not actual defined components of our reality.

The moment when an idea for a story comes to you is a similar experience, almost magical. The best ideas often seem to come out of nowhere… all of a sudden you’re inspired and motivated to write and not stop until your pen runs out of ink. Writers should pay particular attention to these experiences as they can serve as great material for story ideas.

Sometimes when we least expect it someone touches our lives in totally unanticipated ways. Paths tend to cross with so many shared experiences, thoughts, and feelings in common that it seems impossible to understand. How many times have you thought about someone that you had not thought of for years… and the very next day, you receive an email from that person or the phone rings?

Déjà vu is a sensation which usually lasts only for moments but the magical emotional connection remains, lingering and irrefutable.

Original ideas are born from an open mind – David Spies

Screenwriting and Indie Film Distribution

There are different distribution avenues to consider when looking at marketing your film. Film festivals have been long known to provide filmmakers’ exposure to distributors. However, this kind of exposure is considered ‘dependent’ film distribution. Filmmakers are dependent on the exposure to distributors and eventually become dependent on what the distributor will do for them. The chances of the right distributor screening your film at the right time at the right film festival are not good odds.

Fortunately for us, times are changing and indie filmmakers are not waiting around hoping to get a distribution deal.

Indie filmmakers are finding themselves at the forefront of an online distribution revolution. Considering online distribution for your indie film? You’ll want to weigh the pros and cons in regards to selecting an online distribution platform. Approach an online distributor with the intent of making some $$$ but don’t necessarily expect that you will. Think of this avenue of distribution as a long-term investment. There’s a plethora of new and barely heard of platforms and services for selling your film. Regardless of which platform you choose, you’ll want to consider several things.

• Startup cost
• No up-front costs
• Long-term cost
• Delivery to mobile devices
• No mobile devices
• Exclusive agreements
• Non-exclusive agreements
• Percent of profit
• Tax implications

Also, if your film is under 20 minutes, this may be an issue as far as preliminary qualifications of being accepted as media for distribution on some sites. For example, Amazon’s VOD store requires that content titles be at least 20 minutes long. Most short films would not qualify for this service.

Amazon does appear to be ahead of the curve when it comes to partnering with independent artists of books, CD’s and films. Amazon provides well laid out Features, Pricing and Submission Requirements on Amazon’s CreateSpace.

As far as Apple and iTunes, it’s difficult to even locate information on how to get an indie film into the iTunes store? That in itself is reason alone to not pursue distribution through iTunes. Give it another year and the wizards at Apple will see the revenue generated from streaming indie films from sites like Amazon and indieflix.

Indieflix appears to be a good choice for digital distribution for indie films. They accept short films as well as features, they have a considerable presence across the web and they are based here in the big filmmaking hub of Seattle Washington. Indieflix is an online marketplace and distributor that offers over 2,500 film festival-selected independent films screened from countries worldwide. Indieflix provides a platform for independent filmmakers to market their films, and is notable for being non-exclusive.

Prior to setting up VOD distribution with any company, you would want to know the distributors current customer base, understand their marketing strategies, and have a good understanding of any revenue that could be generated or not realized from hosting your media with such company. If the numbers just don’t add up, it may be a good industry move to get your film out to the masses, views vs. dollars.

The current market for indie filmmakers pursuing revenue generating distribution for an indie film is very bleak at best. Finding an audience for your independent film has never been easier. There are many platforms for digital distribution to choose from, it’s just a matter of dollars vs. views. What route makes the most sense to each filmmaker?

The bigger payoff for indie filmmakers may be the old-school route… Put your work out there and create some buzz!

You have the power to dream. Let the inspiration flow and your creativity will take shape.
- David Spies

2011 in review

The WordPress.com stats helper monkeys prepared a 2011 annual report for this blog.

 

Here’s an excerpt:

The concert hall at the Syndey Opera House holds 2,700 people. This blog was viewed about 11,000 times in 2011. If it were a concert at Sydney Opera House, it would take about 4 sold-out performances for that many people to see it.

Click here to see the complete report.

Screenwriting – The Beginning Middle and End

The opening to your story is the most important part of the whole journey. Before you even sit down and start writing, know your beginning, middle and end.

Some writers have a hard time just getting started. If you take your time to figure out basic story structure (Setup, Conflict, Resolution) you will have a better understanding of how your story should come together. If you know the ending, think the exact opposite for the beginning. This will help you establish your starting point or opening scene. Remember, film is a visual medium, show the reader, and don’t tell them what is happening.

Begin your story with an opening scene that has impact. You’ll want to hook your audience, drawing them in as your story moves forward and continues to grow. Make sure that your theme; tone and pacing make sense for each scene. Establish a compelling plot arc that propels your story forward. Introduce your main characters (i.e. Protagonist, Antagonist), and then introduce a point of conflict or an “inciting incident”.

Each scene should have a beginning, middle and end. Just as your story has setup, conflict, and resolution, a scene should have setup, conflict, and dilemma. This will keep the audience engaged with every scene and launch the audience into the next scene.

Your character needs to be capable of change from the very beginning; otherwise the change won’t be believable. As your story progresses, the protagonist must face situations and conflicts that require change in order to stay on track with your character arc. Be sure to outline the consequences that your protagonist will encounter on their hero’s journey. To keep the attention of the audience, and to further the transformation of the protagonist, things must get worse before they get better. The conflict must intensify.

You’ll want to ensure that your protagonist has a proper evolutionary character arc. It’s one of the most important elements of storytelling. When a character grows, we vicariously experience his or her changes and are transformed alongside the evolution of the character. Think of the character arc as a map of your character’s beginning, middle, and end. Your character might start off insignificant and without possibilities, then finds a reason to change even while the odds are stacked against them.

Eventually the protagonist reaches a “tipping point,” a moment when a crucial decision must be made or a truth must be revealed. By the end of your story, the character has left their original identity behind and is now at the end of their journey. Your main character should be changed or develop in some way.

Don’t begin writing your story unless you know how it will end.

- David Spies

Screenwriting and Starbucks

Cafés have long been a writer’s best friend. A cliché perhaps, but take it from me, there’s something special about settling into one of those “comfy” chairs and putting pen to paper while enjoying your favorite cup of coffee. It’s the ambiance, the camaraderie of the morning regulars exchanging pleasantries and the aroma of freshly brewed coffee wafting around creating a constant euphoria.

I moved to Seattle eleven years ago this month and quickly fell in love with Starbucks. I was impressed by their reputation and the wonderful hospitality that I was greeted with when entering any one of their establishments. It’s the kind of recognition that is felt when entering your favorite neighborhood spot, with Starbucks it doesn’t matter what neighborhood you’re in; the atmosphere and hospitality is always the same.

It’s been a while since I’ve been on a writing streak and I always seem to find a bit of inspiration while sitting in one of my favorite neighborhood Starbucks. This week I made my way into the Starbucks on Gilman Blvd in Issaquah expecting to find “Comfy” chairs next to the fireplace. Upon walking inside, I was surprised to find that this Starbucks location had suffered some sort of cafeteria style redesign. The furniture looks like long
craft tables from a kindergarten classroom and has chairs to match.

The many businesspeople sitting at various tables, laptops plugged in and looking as if they were relegated to a timeout, looked comically odd.

I took my time looking around and taking in all the changes. The warm feeling was gone.  I made my way to the counter and placed my order. The baristas were pleasant and cheerful as always. I’m sure they were coached, “change is good, treat the customers the same”. The counter is now much longer; the menu board has changed and now includes beer and wine.

What?

Okay, there it was in black and white. Starbucks wants to make more money. In one hand you have the loyalists to the brand and the other hand you have the stockholders. What business initiatives can the executives’ drive that they haven’t already done to increase shareholder value? Sell beer and wine.

Really?

Why do the executives at Starbucks think they need to serve beer and wine? Starbucks gets the majority of their business before noon. Does Starbucks really need to “tap” into this evening business? Beer and wine is served at bars, pubs and established restaurants that can support an evening crowd with an ambiance that one might expect. I would speculate that the same people that buy their morning coffee and make up the majority of business for Starbucks will NOT be returning in the evening to down a few beers after work.
It’s just not going to happen.

Starbucks needs to look long and hard at the statistics that drive their business and study the elements that will come into play. Some people in the US job force are still lucky enough to be in the 9 – 5 workgroup. Most of the rest of the country is working what I refer to as “half days”. These workers live in urban cities and outlying areas, suburbs and even further away from their workplace. Their commute is long and tiring each way, they must get up earlier, stay later at work and get home later. Hence the half day or twelve hour work shift. This part of the workforce needs to spend as much time as possible at home with their family to make up for their half day work reality. These are the people that swing by Starbucks in the morning and like their coffee fast and perfect each time. It’s what they come to expect and that’s all they want. This routine will likely stay the same for most of these customers of Starbucks. On the other hand, I count these customers completely out of the statistics that would drive any evening business to Starbucks.

Additional customers to Starbucks are retirees that live close by to their establishments. These customers plan their day well in advance even if it’s a day-to-day routine. They venture down to their neighborhood Starbucks for the same consistent pleasant atmosphere that we’ve come to expect. Safe, warm and inviting, they meet with other retirees and even chat with regular customers that are part of the morning hustle.
Retirees are early to rise and home before the sun goes down. I count these customers
completely out of the statistics that would drive any evening business to Starbucks.

The self-employed laptop liberators make up another part of Starbucks revenue stream. These customers rely on the same consistent service that they have come to expect from their favorite neighborhood establishment. They plan meetings, draw in other customers for Starbucks, spending several hours within an establishment and making multiple purchases. These customers are burnt out by the end of their day and would likely not be part of the evening crowd that Starbucks hopes they will draw, but I won’t count them out.

Starbucks realizes much of their afternoon business from the teen crowd and select half day workers that need their second shot of inspiration. As for the “schools out crowd”, they come to Starbucks to meet friends after school, drink Frappuccinos and enjoy the same consistent pleasant atmosphere that we come to expect; safe, warm and inviting. The atmosphere will definitely change as a result of Starbucks offering beer and wine. Most parents will not want their kids hanging out in an establishment that serves beer and
wine. As a result, Starbucks will lose some of this consumer group as a result to their redesign. I also count these customers completely out of the statistics that would drive any evening business to Starbucks.

I believe Starbucks is introducing this redesign out of desperation. We see this time and time again, corporate greed. Executives are constantly driving initiatives that reduce resources, increase revenue and realize more profit for shareholder value. What executives NEVER factor into their initiatives is LOSS of customer service. The human element is detrimental to ANY business but requires the most attention.

When you direct your driving workforce to run lean, your workers have less time for customer interactions and mistakes are made. This is hardly the frontline worker’s fault, they are doing what they are told and must do so in order to stay employed. This scenario is likely the reason that sales at Starbucks establishments have dropped off in the morning.

Until this week, my wife stopped at Starbucks three to four times a week and has done so for a decade. In the last several months she has experienced a rapid decline in customer service at our neighborhood Starbucks. I’ve seen this myself, less workers performing more duties and working faster. This has resulted in her coffee being prepared incorrectly on multiple occasions, sometimes twice a week. My wife received a package from Amazon yesterday and informed me that she will now be making her morning coffee at home. Not just more often, but every morning. A bottle of Torani Pumpkin Spice now sits next to our beloved Saeco Espresso machine and will likely be ordered on a regular basis. I imagine that many of Starbucks morning customers that make up the majority of their business have the means to invest in their own espresso machine and some have already found or are looking for their favorite syrup.

As for me; I’m searching out independent coffee shops in and around my neighborhood that offers a safe pleasant atmosphere, the aroma of freshly brewed coffee, hold the hops. If you reside on the Eastside, checkout the Issaquah Coffee Company! http://issaquahcoffee.com

So where are the beer and wine swilling customers going to come from? That’s anyone’s guess. I’m sure the executives at Starbucks have this one figured out; otherwise they wouldn’t be spending millions on redesigns…unless they succumb to the Netflix trap.

Happy Sipping!