Last week I was talking to my good friend Tim Beachum about new scripts I had completed, current projects, and future films I wanted to shoot. The conversation moved from talking about filmmaking to a book he had recently read called, “The Alchemist.” I am confessed book junkie, but lately I have not been in the mood to read as much. My mind has been consumed with looking to the future for that next screenplay to write or movie to make.

I had never heard of “The Alchemist” and politely told Tim I did not have the time to read it. It was a complete BS excuse. The reality was I was mentally drained and frustrated that Slice Of Americana Films projects were not coming together as fast as I wanted them to. The goal was to fund, produce, and distribute two to three independent films a year in-house.

Sources of funding disappeared when the economy crashed and burned. Film investors for indie projects became scarce. The executive producers for two films that were going to be shot back to back had to pull out after already spending ,000 on early preproduction. The commercial buildings they built in Southern California sat empty with no tenants. This changed their cash flow dramatically and the projects were now dead.

Last Friday a copy of “The Alchemist” arrives as a gift from Tim with a note that said, “Sid, you have to read this book as soon as you get it!” I put it on my desk without even reading the back cover. Instead I chose not to be productive at all and spent the weekend burning off steam to relax.

I felt somewhat better after raising a little hell, but was not looking forward to another round of pitching to new investors for the next two movies. My mind had already been geared up to get on set, roll cameras, and make two entertaining movies. Now I was back at step one of financing. I really felt like that first deal had been a total waste of time and energy. At the end I had accomplished zero and was not any closer to the goal of producing two to three movies a year in-house.

Sunday I finally started reading “The Alchemist” and could not put it down. I finished it that night. I immediately called Tim to say thanks for sending it. He told me, “Sid, no problem amigo. I wasn’t going to let an excuse keep your mind stuck in the mud.”

Funny, how life works sometimes. The unselfish gesture of a friend had a positive mental impact that came at a point when I needed it most. I would have never read this book if it had not been sent as a gift. It turns out this story shined a light on what I was overlooking lately as a filmmaker.

The story author Paulo Coelho told in “The Alchemist” spoke to me. My personal take on the theme for me is this. Everything I had done from writing my first short story as a teenager to having movies distributed has been part of my own creative journey.

I had a renewed appreciation for all the knowledge of screenwriting, directing, and producing I have learned and continue to learn as I pursue what author Paulo Coelho describes as a “Personal Legend – the path we decide to take that fills our heart with enthusiasm. It is the path of our dreams.”

I have learned many important lessons, both good and bad, from actors to distribution companies I have worked with in the film industry. I am now more grateful for having the opportunity to have been in the position to live and learn through those experiences. My creative and business mindset has been changed for the better.

This is part 1 of 2. I will continue my story of how reading “The Alchemist” inspired a new perspective on screenwriting, producing, and directing films if that is your Personal Legend, like it is mine. This is indie filmmaker Sid Kali typing: Fade Out Part 1 of 2 of The Alchemist & The Filmmaker.

 

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How Do I Sell My New Screenplay?

By: DMA/Donna Michelle Anderson
Posted: Mar 19, 2007
Views: 9,552
Comments: [6]

When new screenwriters finish their scripts, they often begin the search for a rep to submit the work around town. But is that the best way to do it? Well, sure! But it’s not the ONLY way to do it.

As you prep to get your script sold, incorporate this info into your marketing strategy:

SEEK REPRESENTATION

But only if you have a bona fide “in” to their direct office line! It’s very difficult to get a lit agent to read a script for representation without a personal introduction by a repped client of theirs. If you know a screenwriter or other industry member with an agent who actually is getting scripts read by real studios and funders, and you have TWO solid scripts (more on that later), ask for an introduction. Give your contact a substantial gift whether you are signed or not!

Of course, it’s not necessary to have a lit agent to shop a script. Make getting an agent only one part of a broader shopping strategy.

EXPLORE LEGITIMATE SUBMISSION OUTLETS

The main places you’re trying to get your script to, production companies, studios and even top-five actors’ shingles, are sometimes more accessible than lit agents. If you’re not already, make sure you join professional writers’ groups like ScreenplayLab and Scriptwriters’ Network, and attend every possible event to make those contacts. There’s a list of organizations to get you started at Movie in a Box – Links.

Again, the way to shop a script in our industry is to know someone. It’s tough to open a new professional relationship by asking for the considerable favor of an agent referral, so try a strategy where you’re offering something they could use in exchange for the introduction (like Web site design, database entry, etc.). And expect them to request to read your script first – and listen to their notes without argument.

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Another credible outlet for getting your script noticed is via some of the online sites. If you’re not already, make sure you’re active at Inktip, for example. And be sure to explore the hundreds of screenplay competitions, like Scriptapalooza – but check first to see what success stories you can verify from their sites.

WRITE AND QC MORE THAN ONE SCRIPT

“QC” stands for “Quality Control.” Do not ever submit a script that is not structurally sound, no matter how ready you are to stop looking at it! This is neither a judgment, an assumption, an insult or a joke. It truly is a requirement. I was a reader at one of the biggest prod cos in Los Angeles, I’ve had scripts optioned, I run a filmmaking seminar, I’ve taught at UCLA Ext, I’ve written a very popular screenwriting book. Please trust me on this. There are no second chances for first impressions in our industry. And it’s not just your rep on the line, but also the rep of whoever opens that door for your submission.

Why “more than one script”? That is because if someone reads work of yours and thinks you have promise, their next request (to confirm the initial impression) is very often, “Can you send me another spec?” If you can’t, that is by no means a dealbreaker. But if you CAN, and the second script is equally hot, that could be a dealmaker! The second script needs to be structurally sound, as well.

Be sure that your screenplays are structurally solid (on a first submission, nothing else will do! Trust me!). Be sure that an experienced Hollywood reader has read the script and you’ve addressed the notes. As I always say, “if the story does not fit, you must not submit!” If you submit a flawless first spec, you will never have to live up these standards again, but you should. If you submit a flawed first spec, you will not get the chance to live up to higher standards at that company; you will be blocked from future submissions.

CONSIDER PRODUCING YOUR WORK YOURSELF

If you find you are getting great feedback on your work, but it’s never quite the right fit, consider producing the film yourself. This is a great approach when you have a lower-budget indie project (think “Open Water”) versus an effects-laden thriller! It is an enormous undertaking to produce a film, but there are many resources out there for people who have compelling scripts to develop. And just as you studied and trained to write well, be sure to research and train extensively before taking on a massive project like producing a movie. Your first stop should be a professional organization like Film Independent (FIND), which can connect with you with terrific partners and/or mentors, as well as vital resources. Look into comprehensive seminars like Movie in a Box, as well.

However you decide to get your screenplay sold, it should be clear by now that you don’t do it alone – you need community support and resources – and no one else does it for you – even an agent! It is no one’s responsibility to open a door for you to sell a screenplay. It is your responsibility to create a tight script, research appropriate buyers, and relentlessly seek submission opportunities until someone buys – or you decide to produce your work yourself!

DMA/Donna Michelle Anderson – About the Author:

DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, “The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show.” She also offers reality production instruction seminars through her company’s Show Starter services.

For DMA’s national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.

Source: http://www.articlesbase.com/screenplay-articles/how-do-i-sell-my-new-screenplay-118542.html

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Comments on this article [6]
Add new Comment

I’m a writer who doesn’t live in the United State,but i have the ability to write script for any film makers in the world…Sorry is there a chance for someone outside USA

Oginni
Nov 16, 2009

I just wrote a new vampire book. It is called,”Kismet—the fate of one man’s destiny. “

It is published at lulu.com. I think it is easier to publish a book than to write a script , which is why I’m turning all my scripts into manuscripts and just publishing them online. If a producer wants to make it into a movie, then read the book. That’s What happened to Charlaine Harris and TRUE BLOOD!~

Suzanne LaRosa-Herlihy
Sep 14, 2009

i have a gr8 idea for a film, its about a woman who is found gulty of killing her son only for him to come back into England 10 yrs l8r, it has a devestating affect on the mother who is serving a life sentance for his murder, he was two years old when he dissapeared.

leanne
Jan 11, 2009

This article helps but doesn\’t tell you much about selling it yourself. For any writer with an unsold script you can submit it to scriptoploza or the pageawards and try to win money among other things. What is great about these is that people who read scripts for a living will be reading yours. So weather you win or not, some hot shot in Hollywood is reading your work. You can pay a little extra for a review also and they will tell you if their production company would buy it, reccomend it, or pass on it. The main thing is that your script is being read. You never know what that could lead to. Plus there are places online where you could publish your logline and synopsis for a fee of coarse. I do not know the names of these sites of hand but I do know that if you check out either of those contests, there will be links to those sites. In today\’s world, it doesn\’t matter where you live as long as you got internet. It would help greatly if you lived in LA, however it\’s not required anymore.

I hope this added info helps you get your script in the hands of those who can make things happen for you. I can\’t wait to see your movie on the big screen!

Imfamous
Jan 10, 2009

sir ,

i have the movie story for hollywood which is incrudible and best ever…..

it is about an orphan boy actually was not when he came to know her mother alive and sentenced to a hissle island of starve and loneness being a wife of a patriot of DRAGONUMA. a fanatic world….adventrous and entuastic world and death conspiracy for humans , when he meets his ancestors stone siren …..and defeated and dragged him to dragonuma……and regain thieir family and cobras glory………

this is really a fantastic movie full of wonders , adventure….., emotions and actions……

and great movie script………….

and i want to sell it……

please cantact me as soon as possible…..

i am from INDIA.

NEW DELHI……

MY CONTACT NO .IS 9350443658

kumar gaurav
Dec 27, 2008

So, i didn’t understang, how can i sell my screenplay?))) Is there chance for me, if i am not in USA, and my screenplay on russian language?

Thanks!

Bagira
Nov 28, 2008

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In Bruges: A Screenplay

After a shooting in London goes hideously wrong, two hitmen, Ray and Ken, are sent to hide out in the strange, Gothic, medieval town of Bruges, Belgium, by their volatile and dangerous boss, Harry Waters. While awaiting instructions from him as to what to do next, the pair attempt to deal both with their feelings over the botched killing and their differing attitudes towards this curious, otherworldly place they’ve been dumped in (‘Bruges is a shithole.’ ‘Bruges is not a shithole’), un

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Scriptwriting – Generating a Winning Idea

By: www.intellectualpropertyassociation.com
Posted: May 09, 2007

By The Intellectual Property Association

http://www.intellectualpropertyassociation.com

Every year thousands of screenplays are written and only a handful are bought. If you are an aspiring screenwriter who has not yet been able to sell material to Hollywood then your problem may be your screenplay’s storyline. A marketable story needs to offer the audience strong characters, a unique storyline, a format that fits the requirements of a particular genre, and it needs to be developed fully.

Generating a Winning Idea Step 1: Select a Genre

Most of the screenwriting literature available on the market today recommends that novice screenwriters focus their writing on a single genre. This does not mean that you have to only write screenplays in a single genre. What it does mean, however, is that each screenplay that you write should easily fit into one genre category. As your writing gains acceptance in Hollywood, you will be able to mix things up and create multi-genre scripts, but for your first sell, try to keep your story focused on a single genre.

Generating a Winning Idea Step 2: Watch Recent Releases

Staying on top of what is being produced is important to your story’s development. You want to incorporate popular story trends into your screenplay without duplicating what has already been produced or optioned. The Hollywood Reporter and Variety are two trade publications that can help you stay in touch with what is selling.

Generating a Winning Idea Step 3: Gather Ideas

There are a lot of places that you can get story ideas from. Newspaper headlines, listening to people talk, your dreams, and your personal experiences are all great sources. To find a story idea that can be developed you may need to play around with notes that you have made about your observations. When you look at a possible story idea think about how that story idea can be developed to create a completely unique story that will attract people to the movie theaters.

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Generating a Winning Idea Step 4: Organize Your Ideas

Now that you have several story leads your next step is to start developing a single storyline. To do this you may have to develop several storylines before you find one that will work for your screenplay. Brainstorm possible connections the story idea could have to current events, to potential characters, or to other story ideas. If you hit a stumbling block during the story’s development then you may want to put it aside and work on another storyline.

Generating a Winning Idea Step 5: Develop the Main Characters

Once you have a story idea you next need to develop your main characters. These characters should be memorable, they should have a specific function in the story, and they should be tied to the main theme of the story. The characters that you will need to develop during this stage of your screenplay’s design include the protagonist, the antagonist, and a couple of the supporting characters.

Generating a Winning Idea Step 6: Outline Your Idea

In this step you will want to start outlining the key events of your story idea. This will help you determine if your story idea has legs to stand on its own or if you need to scrap it and try a different angle. During this step you will want to make sure that you plan for the key components of your selected genre. If you don’t know what those components are then you will want to read up on that genre, watch films in that genre, and develop your understanding of your genre’s story expectations before you proceed any further.

Generating a Winning Idea Step 7: Have a Conversation With Yourself

The final step is to talk to yourself about your story idea. Ask yourself questions about the structure and flow of the story. For example ask yourself if there is a better way to set up the action in the story, and ask yourself about the set up and execution of the plot points in the story. By talking your way through your story line you will be able to engage your mind into actively participating in the development of your story. This is also a great way to identify story weaknesses.

——————————————————————————————————————–

The Intellectual Property Association (http://www.intellectualpropertyassociation.com) is dedicated

to assisting writers protect and promote their creative works. Contact the Intellectual Property

Association for a Consultation (http://www.intellectualpropertyassociation.com/contact-us/).

——————————————————————————————————————–

www.intellectualpropertyassociation.com – About the Author:

The Intellectual Property Association (http://www.intellectualpropertyassociation.com) is dedicated to assisting our members protect and promote their creative works.

Source: http://www.articlesbase.com/writing-articles/scriptwriting-generating-a-winning-idea-145082.html

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How Do I Become a Television Writer? Part 2

By: Robert Levin
Posted: Jan 24, 2009
Views: 190

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How do I become a TV writer?  Part 2.

To see part one of this article and other great articles go to www.TVwriter.me

 While there is no one ‘right’ way to learn to be a TV writer, many start out by watching enormous amounts of episodes of the ‘type’ or ‘genre’ of show they would like to write for.  They break the stories apart structurally to learn what makes an effective story.  They analyze dialogue and the characters voices so as to be able to write ‘in voice’ of the characters on a show.

 There are many books available that give a good fundamental background to television writing.  Two that I recommend are ‘Writing TV Sitcoms’ by Evan Smith and ‘Successful Television Writing’ by Lee Goldberg.  By watching shows and writing the scenes down on index cards, an aspiring TV writer will slowly learn the fundamental parts of the structure of the shows they want to write for.   Taking classes is another way to learn.  Whether attending top writing programs at schools such as NYU, USC or UCLA or local programs or seminars held by industry professionals, the key to success is to keep writing.   The more you write the better you become.

 The Tools

 While using a typewriter and paper or a word processing program such as Microsoft Word can be used to write a television episode, these days most writers use dedicated screen and television writing software.  These programs automatically format your script into an industry accepted format that producers and other writers are used to seeing.   All the books mentioned above give examples of proper script format and it is highly advised to purchase at least a few TV scripts to familiarize yourself with the format and its specifics.  Some of the more popular screenwriting software includes Final Draft and Movie Magic Screenwriter.   Other ‘plug-in’ formatting options are available to use along Microsoft word and other program but they don’t provide the sophistication, flexibility or compatibility that the major programs provide.   All working television writers use professional formatting software, usually one of the two mentioned.

 How to get work as a television writer.

 So you’ve put your dues in.  You’ve written script after script, learned story structure and dialogue and the words and story flow off your page gripping the reader without a boring or slow spot to be found.  How do you now get work as a television writer?  The short answer is…it’s not easy, but it’s possible.   Typically, a working television writer has an agent or manager that helps him meet the working professionals in the industry and shows his ‘spec scripts’ to the hiring producers.  

In order to get an agent interested you’ll need a minimum of two, but preferably more ‘spec scripts’.  These scripts should be the very best writing you can do and be of existing shows that are viewed as the most popular and most respected out on television at the time.  You don’t want to do a spec script of an outdated or off the air show because producers are not interested in seeing anything but the shows that are at the top of the game at the moment.   At the same time you often don’t want to write an episode of a particular show with hopes of writing for that show.   Chances are it will never happen.  

First off all many shows have policies that they will not accept submissions of episodes of their own show.   This is because first, for legal reasons they don’t want someone to claim that they stole the idea for an episode in case they happen to already be working on something similar and secondly…as much as you might think you wrote a perfect or great episode of that particular show…the Show runners…who created the show in the first place know the show better.   No matter how great you think yours is, they will always think they are a step ahead of you and set impossible levels of achievement to an episode of their show.

 Instead you should be thinking of creating a portfolio of spec scripts that are of a similar type but a different show.   For instance, let’s say you are interested in writing sitcoms.   Write a few spec scripts of some of the top sitcoms out at a particular time.   Most likely if you do get an agent or manager you will be meeting to work on a brand new ‘lower’ show when you are starting out and not a top show.  The writers on top shows are usually very experiences and have been around for years putting their dues in.  You need to work your way up to that.   Landing a job on an off-network show and getting experience is what it’s about at first.

 How do I get representation?

 So how do you get an agent to have your work shown?  There is no simple answer to this.   There are many ways people have gotten agents and managers that have launched their careers.  Some people know a great contact.  Others enter and win contests for screenwriters.  Others write query letters asking for representation.   Still others come up with their own creative ways to convince an agent that they are able to make money for them as a writer and get themselves represented.   Often you will have to start at a smaller agency and as you become more successful you will move up to a larger more established agency.   There is no magic to it.  It’s hard work, perseverance and a little luck.

 Conclusion

 Pursuing a career as a television writer can have many rewards.   You can make fantastic money, work with interesting, creative people and create worlds and characters that may resonate with millions of potential viewers.   The journey is long and hard but if you are one that truly craves to pursue your dream, it can be worth that long route.  Always keep in mind that true talent raises to the top eventually.  As those that have inspired me have insisted I remember when pursuing my own dreams.  Never give up.  Never ever give up…and you will succeed.

 To see part one and other great articles go to www.TVwriter.me

Robert Levin – About the Author:

With Degrees in Film, Real Estate Finance and Development as well as a PhD in Psychology, Robert Levin writes expert articles covering a broad range of issues. Some of his websites include: www.toptenmba.com,

www.MBAonline.me, www.lawdegree.me, www.topvirtualserver.com and www.tvwriter.me

Source: http://www.articlesbase.com/television-articles/how-do-i-become-a-television-writer-part-2-737508.html

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Star Wars: The Annotated Screenplays

n all three full-length screenplays, presented with the secrets that led to their creation. Through hours of exclusive interviews with George Lucas and others involved in crafting the original trilogy, Laurent Bouzereau has uncovered the complex process through which life was breathed into the legendary Star Wars saga.

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LESSON #1 – Intrigue!

A movie must deliver a lot – people want the drama, the thrill of the ride, the love interest, the mystery to solve, and some comedy thrown in to boot! That’s a tall order to fill! But if your script can seamlessly integrate all of the above you’ve got a hit on your hands!

Now the romance doesn’t have to be full blown just indicated as an attraction between two people. Star Trek did an excellent job of this between Spock and Uhura.

LESSON #2 – Characters Who We Care About

They brought to life characters!

What makes a character worth watching?

1. They are consistent – they consistently have the same reactions.

2. The way the characters interact with each other is what makes us want to watch.

One way to create a character we care about is by having him experience some form of suffering – because pretty much every person has had some type of suffering  in his/her life and in a sense can relate to his story even though they’ve never fought in a galactic battle or lost a father the way Capt. Kirk has. It’s the emotional storyline that captures the audience.

LESSON #3 – Respects the Audience

The writers creatively came up with a solution by making the story occur in an alternate timeline. Proof that simple is the way to go.

This movie doesn’t talk down to the audience – it respects our need for logic. The alternate timeline means that anything that happens here that didn’t or couldn’t happen in previous episodes/movies of Star Trek can be done here! What a fantastic approach to make it work for us! It’s a great way to handle what definitely would have been a daunting task.

LESSON #4 – Survival Plot

We identify with suffering in general and especially survival as these are common experiences for most people. Do you know why your movie should be a survival plot?

Let me start by citing the evidence:

Out of the Top Grossing Movies 35 are survival plots! and the top ten movies on IMDB are all movies on survival.

Because so many top movies are about survival it stands to reason if you write a movie based on survival you have a chance for it to succeed in the box office.

LESSON #5 – Traceable Hero

The audience has to easily be able to identify which character is the hero of the story, what he wants (his motivation), the problem the hero must face, and how he overcomes the problem. If we can follow the hero this means there is a clear sense of continuity in the script.

LESSON #6 – Emotional Storyline Incites that Action and Drives the Plot Forward

Each character has to have something he/she desires. This desire is connected to something which has an emotional meaning to them. This desire is called the B Storyline and it is what creates the actions the character chooses to take – the A Story Action line.

The reason the hero is tossed out of his familiar life must be connected to the emotional line (B Story Line). The predicament the hero ends up in stems from his inherent problem, the thing he has to face in his life that he has not yet faced until this point. It’s quite clear that for the Hero, Kirk, it’s facing his past.

For Spock it’s obviously the loss of his home planet, Vulcan, it’s people and more specifically heart wrenching for him is the loss of his mother.

Both Vale and Truby discuss this. Truby, author of The Anatomy of Story: 22 Steps to Becoming a Master Storyteller says “One of the most important blockbuster elements is what I call the ‘double track line.’ Hit films always have a character line and an action line, or, to put it another way, a personal story and a case to be solved.”

LESSON #7 – Animosity is necessary between the Hero and the Bonding Character

Think of it this way – you’ve got more than one person jockying to be heard. Each has his own view on how things should be done and it can’t be identical – you miss a whole level of tension if you eliminate this!

If you compare any big movies you’ll see animosity exists between these characters:

Kirk vs. Spock
Luke vs. Hans Solo
Wolverine vs. Cyclops

There’s a great moment in the movie when Young Spock is confused and appalled when he realizes his older self not only feels a great camaraderie with his adversary but that somehow Capt. Kirk has rubbed off on him changing how he handles things! He never would have expected himself to cheat (not tell Kirk the truth that he could meet himself and it wouldn’t cause a paradox). Because cheating is the major reason why young Spock disliked Kirk in the first place. It’s these moments that makes the relationship between the characters sparkle.

LESSON #8 – Characters are Contrasted

Kirk vs. Spock!!!!! Each one is so different it makes the other stand out. Contrast helps give a clear picture of what each character stands for.

LESSON #9 – The Characters Get to Practice Before They Engage in a Life or Death Battle

The “team” gets to practice before the big threat! Important element! This happens in Star Wars where Luke has his training with Yoda. It also happens in Lord of the Rings where the Hobbits practice their sword skills. And it obviously happens in Star Trek where we see Dr. Mccoy learning how to practice medicine on Kirk, and of course the big scene where Kirk cheats on the test Spock designed.

LESSON #10 – An Incident Forces them to Act Before They Are Ready

We got to see the dire straits these fresh, still in training, young people had to face. They were thrown into positions of responsibility and they assumed them because basically they had to if they wanted to survive

They were called upon to fulfill their duty before the expected time because of an inciting incident.

LESSON #11 – The Characters Demonstrate Intelligence

Eugene Vale, who wrote an excellent book for screenwriters called “The Technique of Screenplay Writing” in which he discusses how as an audience we have an intellectual need – it’s a craving we have from movies but hardly ever get satisfied. We usually get people in the movies telling us the entire backstory or how some scientific concept works as if we’re not intelligent enough to figure it out ourselves.

It was great to see the main characters come up with ideas and solutions some which worked and some which did not work.

And we got to see them put those ideas into action.

LESSON #12 – Moral Decisions to be Made

Write this part still*

LESSON #13 – Humor Through Characters and Situations

How do you know something is funny? Every time you think about it it makes you laugh again.

As a writer you get to determine the sense of humor for each chara: funny, playful, sarcastic, etc. We see this humor in Dr. McCoy’s character.

Humor isn’t an afterthought you try and squeeze into your script. It is something that will develop out of your characters’ sense of humor. Here’s where you step outside of yourself for inspiration and look to those you surround yourself with – friends, family, interesting people you meet, etc. Your characters will have a sense of humor that is not like yours. They will say something funny that makes you laugh and you know that’s not something you’d say or think of. It’s pretty interesting to see your characters take off like this. Sometimes you’ll be able to pinpoint the influence of your character’s sense of humor – “Hey my friend would have made a joke like that!”

Humor – one time everyone in the theater simultaneously laughed in unison – it was when the voice recognition software didn’t recognize the Russian Guy’s command because of his accent. It was clear that the reason everyone laughed was because each of them has had a frustrating experience with voice recognition. In fact on the way to the movie theater I didn’t know the address so I called a toll free directory to get it and the damn machine couldn’t understand what I was saying. After four attempts I finally hung up and went to a different theater. It’s the universal experience that strikes a cord with the audience.

Funny: when spock says It’d be self-serving to say to his younger self “Live long and prosper.”

LESSON #14 – Life or Death Time Crunch

They didn’t have the luxury of time to sit around and contemplate – they had to move now as it was a life or death situation not only for themselves but for their civilization which would be destroyed if they failed.

LESSON #15 – Theme!

Spock’s intimate moments with each of his parents. The writers took excellent advantage of this opportunity for getting across the theme of the movie (the message that’s important to them that they want us to learn).

LESSON #16 – Keep Audience Engaged By Not Answering All their
Not knowing what’s happening.

ex. we knew the bad guy is out to get Spock but we didn’t know why – and this intrigued us.

As a writer it’s your job to dole the information out a little at a time.

LESSON #17 – Unexpected Twists

Example: The Hero doesn’t get the affection of his love interest. And we definitely don’t expect old Spock to be waiting in a cave for young Kirk at that moment. Fun!

LESSON #18 – The Audience Has to Believe for Moment the Hero is Going to Fail!

It was a little over the top when the villain, Captain Nero, blatantly says I’d rather face a harsh death than accept your help – pa-lease – and even though kirk offered to help it seems a shade unbelievable as kirk couldn’t possibly extend such help when he can barely save his own ass from being sucked into the black hole! I can see why the writer/direct put this into the movie though because it serves to give us a moment where the ROLES ARE REVERSED suddenly kirk is the moral one and Spock still pissed about his mother’s murder is revengeful and says that he wouldn’t have extended a helping hand to the villain.

When they were just sitting around at the edge of the black hole for no apparent reason I was “like what are they doing? This black hole is going to suck up anything in the nearby vicinity haul your asses out of their you morons!” Then they start shooting at the damn ship that’s being sucked into the black hole – pretty silly. Unfortunately I felt this was all at the expensive of the credibility on the part of Capt. Kirk’s character. Somehow in a dazed state he was able to piece together from a phrase he heard through the loudspeaker that the Romulans have used the Vulcans to plant a trap for the starfleet yet suddenly he can’t spot the imminent and must I say OBVIOUS threat of a black hole EVEN though old Spock just finished telling him how he himself got sucked into a black hole!

Of course then you get to see them scramble to safety and there’s a moment where you think Shit they’re not going to make it (which of course is why it was left in – that’s a point that a movie must nail). But our rational mind tells us of course they make it or there wouldn’t have been any future stories for these characters which have already been written and viewed!

LESSON #19 – Hero Saves the Day!

Save the day – you feel like you’re there with them – that’s something many movies fail to provide and it’s such a necessary element that the movie-goer seeks! These were the moments in the film when I wanted to belt out “Whoooo!!!”

LESSON #20 – Characters Learn Something From Each Other

Characters learn something from each other even though they don’t want to admit to it because they are adversaries.

For example, Spock doesn’t want to admit he learned anything from Kirk – but in the end he asks for permission to board the ship as his first mate and says he can provide references – hilarious! Because obviously the best reference he could have given was his older self speaking to young Capt. Kirk about their friendship in the future.

So there you have it 20 lessons Star Trek taught us about how to write a blockbuster movie! Right now I’m writing a book called “7 Steps to Create a Marketable Script” and you can see for yourself how these seven steps work by testing these steps with any blockbuster hit. And check out my article on my website of how I use Star Trek 2009 to illustrate how the seven steps work.

Screenwriting in The Land of Oz: The Wizard on Writing, Living, and Making It In Hollywood

Set your sights on a screenwriting career–and you know you’re not in Kansas anymore. With some 100,000 original screenplays vying to be among the 7,000 few made into movies every year, craft is key and competition is fierce. Enter the Wizard: Award-winning screenwriter and playwright and acclaimed writing instructor Richard Krevolin, who shows you the way to turn your good ideas into great stories, and your great stories into compelling scripts.With the writer’s gift for storytelling and the pr

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