News of my latest project just dropped! My husband Jonathan Black is producing with Bob Yari, with my company Chair 10 Productions providing production services. We start shooting in Connecticut in a few weeks!
The Boomer mentality of “you don’t deserve things if you can’t afford them” doesn’t take into account that Boomers wouldn’t have been able to afford them either, if they’d been born a generation or two later.
Anyone else get annoyed by people shaming other writers for not constantly writing?
If I am not writing, it’s because:
- I am working a full-time job
- I am taking care of two small kids
- I am trying to survive two years into a global pandemic
Have some grace.
Unsolicited screenwriting advice: have your characters DO something besides just having a conversation. Use the scene setting and action to reveal character. So much more interesting than a couple talking heads.
Offhandedly mentioned to my boss (at the day job) that I write scripts on the side and he was like, “I’d love to read your script, we also have a feature division.”
If you’re a screenwriter looking for a way into the industry, I want to suggest a job that might not be on your radar:
Story/Post AP in unscripted television.
Short 🧵 1/
@clairewillett
I spent six months casting the new season of Homestead Rescue for Discovery and my major takeaway was that homesteading is challenging if you know what you’re doing and next to impossible if you don’t.
At the risk of creating more drama…
A short🧵about slug lines, particularly as they pertain to independent features.
If your script makes it to a producer, one of the first things they will want to know is the budget: how much will this film cost to make?
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One suggestion I have for screenwriters hoping to get produced (as opposed to repped/staffed) is to have at least one script with minimal cast, minimal locations and minimal set pieces that can be shot for less than $2m ($3m if you factor in tax incentives).
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If the studios’ business model is failing, that on them. The writers, actors and crew are paid to create the product. It’s the responsibility of the C-suite execs to figure out how to make it profitable. And they should be the ones to pay if they can’t make it work.
@blgtylr
My almost 4-year-old re: our neverending kitchen remodel: I’m not mad about it. I’m not mad at you. I’m not frustrated. But I am a little sad.
Me: Me too, kid.
Are we back to arguing about slug lines?
Because I want to point out that at some point, if your slug lines are not formatted correctly, someone will need to do that before the script can be broken down for scheduling and budgeting.
Right now that someone is me.
I’ve been feeling creatively blocked for a while but I just had an idea for a new screenplay while driving my little one to a doctor’s appointment. It’s high-concept (ish) and I’m kind of excited about it.
#Screenwriters
How easily do you switch between projects? I just finished polishing two scripts and all my other stuff is still in the ideas phase. I’m having trouble changing gears and getting in the headspace to work on something new.
Here is my cancellable screenwriting take:
If you’re relatively new to the game, you want to put your best foot forward. Make sure the script you’re sending out is one you’re proud of. Better to get it right than rush it out before it’s ready.
You can find jobs at , the premier job site for reality television. They also post jobs for production assistants and other roles all over the country. 4/4
I’m late to the party on the latest Screenwriter Twitter drama, but I am pretty sure this was the same person who said a few months ago, “I will totally steal your script idea. If you pitch me, it’s fair game.”
Exciting news! I have just joined
@Stage32
’s roster of professionals and will be giving feedback on scripts and reality pitch decks through
@Stage32Scripts
. Looking forward to reading!
More unsolicited screenwriting advice: if your script is mostly dialogue, ask yourself if you can take some of the things the characters are talking about and turn them into their own scenes.
“Show don’t tell” may be cliche but it’s cliche for a reason. 1/2
I’ve been a little AWOL on here but I’ve been producing a movie! Being on set has given me such a different perspective on writing but I’m hoping to get those creative juices flowing again soon on my own scripts.
For context: we are working on a reality show, he mentioned my “way with words” as we talked through the umpteenth revision of a pitch deck, and the prodco has a movie currently in theaters.
Instead of working on any of my current WIPs, for some reason I have decided to resurrect a script a friend and I were writing a decade ago. It’s a literal mess but I think the story is solid. Hope it’s not more trouble than it’s worth.
I want to call this out because when it comes to script formatting, there’s a distinction between things done for style and things that are practical for production.
O.S./O.C. means the actor has to be scheduled on set for the day. V.O. can be added in Post.
I'm curious... when you're writing a scene that includes a phone call, do you use V.O. or O.S/O.C for a character on the other end of the call who we don't see?
Would people be interested in an online workshop on writing for production? Mostly from an indie film perspective. Like, what to do when your producer says you only have 20 shoot days, or how to trim the script to cut the budget.
Trying to gauge interest.
Just found out a show I cast got nominated for a daytime Emmy, so that’s cool.
I was working on this during the last months of my pregnancy with my 2yo. Literally went into labor the day after I wrapped.
Serious question: Easter was more than a week ago and my children (ages 1 and 3) seem to have forgotten about the chocolate bunnies I got for them. Is it okay for me to eat them?
The barrier to entry is lower than in scripted, the pay is decent, and a lot of Post jobs are currently remote and likely staying that way.
It’s a great way to learn story, especially for episodic television, and you will gain valuable insight into the network notes process. 2/
What advice would you give someone trying to break into Hollywood?
Mine is: People can seem totally legitimate and also be totally full of shit.
And you can know better and still fall for it.
@keakealani
@Dtheman53
@mollypriddy
I had good insurance and was close to hitting my deductible, and my C-section still cost me $5500 for the hospital bill - which apparently is covered under a separate deductible.
@KameronHurley
Some of these bans are so extreme that pregnant people will be forced to sacrifice their lives for a fetus that is already dead, or in the case of ectopic pregnancies, that never had the potential for life.
@davidhalchester
V.O. It matters for production. Will the actor be needed in the scene or is it something that can be recorded after the fact in ADR? If they’re not physically present in the scene it should just be V.O.
As a bonus, you will likely learn Avid (or Final Cut or Premiere, but most likely Avid), as well as discovering why “We’ll fix it in post” isn’t always a great solution.
Plus you’ll gain valuable understanding of rights and clearances. 3/
⁃If filming in multiple locations within a larger location (KITCHEN, LIVING ROOM), indicate the primary location first (HOUSE - KITCHEN), so that the scenes will be grouped by the larger location in the schedule.
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How many hours do you spend scrolling social media in the morning before you feel ready to start the day?
Because it’s 10am here and I haven’t been able to start working yet…
Things that will add money to a script that you might not expect:
- Unnecessary speaking roles
- Lots of extras
- Driving scenes
- Big locations
- Animals
- Children
- Big builds
3/
Adding: once you get into pre-production and you’re dealing with real money, you will almost certainly be asked to cut the script to make the numbers work.
So, expect that, and be flexible. If something’s got to give, chances are it’s not going to be the budget.
The first three are contained in the slug line and scheduling software like Movie Magic will use them to automatically sort the schedule.
So above everything else, slug lines are mainly a practical tool for production. With that in mind:
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@AshLazerWrites
👋🏻 Screenwriter and reality TV producer here! Relocated to Connecticut 3 years ago after 16 years in LA and now my husband and I have a production services company. Simultaneously working on a Shark Week show, in prepro on a feature and raising two young kids. So, chaos.
Finally resurfacing after a crazy month of film production and simultaneously wrapping on my Shark Week projects.
To transition back into writing mode, I’m offering notes on TWO scripts. Any genre!
If interested, drop a cute animal pic or GIF and I’ll let my kids pick.
⁃Specific time of day only matters if it affects when the scene must be shot. MORNING and AFTERNOON are largely indistinguishable from DAY but DAWN and SUNSET requiring filming at particular times that should be scheduled accordingly.
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@keakealani
@Dtheman53
@mollypriddy
A repeat C-section because my OB told me that if I tried for a vaginal birth there was a slim but very real chance it could kill me, or the baby, or both of us.
In order to do a proper budget, you need a proper schedule. A schedule will tell you how many locations you need, what those locations are, how many days you need the locations and how many days you need the actors.
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In order to build a schedule, you need the following information for each scene:
⁃Where it will be filmed
⁃Whether it’s inside or outside
⁃Whether it’s day or night
⁃Which actors are in the scene
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⁃Different locations require different names in slugs. If you have two restaurants, it should be FANCY RESTAURANT and CASUAL RESTAURANT, rather than just RESTAURANT.
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So take a second look at your script and see if there’s stuff that adds to the budget but not the story, and find ways to streamline it. A line producer will thank you for it later.
4/4
⁃You should have new slugs for every camera setup. Don’t use CONTINUOUS if the scene could theoretically be shot on a different day.
⁃Keep slugs clean, clear and consistent.
8/
Hi everyone, unfortunately we got caught up in the frenzy of AI. For the past 25 years we have been working for writers. Bad decisions were made to run with this. We apologize. We stand with writers and the WGA.
I am not one to listen to music when writing but my latest WIP is about a female-fronted rock band and I could use some inspiration!
My brain lives in a late-90s alt rock headspace so anything new and fresh is welcome. Drop your faves here.
Yes, it’s about a great script, but it’s also about BUDGET.
Unless it’s a tentpole film, producers at all levels are concerned about the bottom line.
2/
Four days at Disneyland with the kids = no time for Twitter. Had a pair of amazing meetings in LA yesterday and, despite the exhaustion, am looking forward to jumping back into the swing of things next week.
THIS. I was told once that physical descriptions in a script limit the actors you can go out to, and - as with everything - you should only include those details when they’re relevant to the story.
Reading the Saltburn script.
Emerald Fennell's character descriptions are glorious.
Nothing about height, weight, size or physical appearance. Just WHO that person is.
Two thumbs up.
Jumping on the bandwagon.
Offering 2+ pages of script notes plus an hour phone call or Zoom to chat through to one lucky commenter. I’ll read anything!
New logline:
When a local cop shoots a beloved black bear, his neighbor launches an all out crusade to save the bear’s orphaned cubs before it’s too late.
Oh wait, that’s not my WIP, that’s my real life.