Video scriptwriting provides the action plan for video production, Particularly in the corporate world, where words need to be approved before production.

I have developed five steps to making sure my scripts help production people create best videos possible- ones that work as multimedia devices, take advantage of the medium, and motivate much the same way as a great movie or TV show.

1. You’re not on TV. And you are not the star. The least impressive form or video communications is the talking stand-up reporter approach. The writer or producer decides it would be fun to pretend they’re on 60 Minutes or CNN, hires a good voice or a pretty face to wear a trench-coat and business suit, and then proceeds to put words in their mouth telling us how great the product or company is.

How would THEY know?

Authority is important in any sale or marketing video, but authority comes from product features, end users, or company experts- not a can of hair spray. He or she might be cute, and might be the next Deborah Norville. They just don’t belong in your video.

In addition, it’s cheating. For every second they’re standing there telling us about something, we could be seeing it, hearing it, experiencing it. And the production dollars saved? Enormous. But you’re cheating the audience and the audience knows it.

2. Words only when necessary. It’s easy to write a script. Go to Word, or Pages, or some other software and create two parallel columns. At the top of one type “Audio”. On the top of the other type “Video.”

See? Two elements- what’s seen and what’s heard.

Most often, we will begin writing with what’s heard, because that’s how we think it through. But why start with words? Why not start with a visual? Music? Sound Effect?

I remember a piece we did years and years ago.

It started with a sunrise, the chirping of birds, the sounds of turbines starting, and a loading dock door being opened. That took about 15 seconds. If we had used words to paint that picture, it would have taken perhaps a minute.

But now, all the announcer had to say was…..

”Dawn. At Leeson Motors.”

And the audience knew that this company takes the workday seriously, they have a large plant (exterior shot of the sunrise had the plant in the foreground, a fleet of trucks, and a zest for life.

Contrast that with just showing the logo and hearing an announcer say,

”Every Morning at Leeson Motors in Waukeegee, Ohio, we get to work early and appreciate the sunrise, see the dew on the grass, hear the birds, fire up the engines, open our doors, begin the shipping process, and thank the almighty that it didn’t rain today.”

In short, words only when necessary.

3. Write for the Ear. When words ARE necessary, write like you talk. No not those words. What I mean is, write conversationally. As we pointed out, words take time. And people don’t speak in complete sentences.

I remember writing a commercial that was a take off on the old cop show “Dragnet”.

My first draft began….

Offscreen VOICE OF FRANK: This is the city, Los Angeles, California. A nice place, at least most of the time. But on this day, on a routine patrol, my partner Frank and I spotted a suspicious character, his arms filled with loot. Books, records, painting… it had to be a break in.

We got out of the car and I said….

FRANK (ONSCREEN): Hold it Mister, what have you got?”

There was just one problem with all this- the commercial was thirty seconds, and I had just eaten up all thirty seconds uses words to paint the scene.

After a short confab with one of my business partners, also a writer, we revised it thusly:

OFFSCREEN VOICE OF FRANK: The city. We spotted him. Books, records…. Had to be a break-in.”

FRANK, now on screen: Hold it Mister, What have you got?”

The visuals, clearly called out in the VIDEO column, told the rest of the story nicely:

Establishing Shot City

Frank and Partner in police car

Suspicious person walking down what might be a brick alley with arms loaded with Library items

Cut to Joe and Frank (head and shoulders) , with red light pulsing in background

FRANK, now on screen: Hold it Mister, What have you got?”

If you’d like to see a sample of the (ancient) Dragnet TV spot to see how sounds and visuals painted the picture, go to http://vimeo.com/1627426.

4. Give the audience a break. Every so often, take a breather. Run a short sequence of music and pictures, so they can catch up and absorb what you’ve thrown at them. This gets more complicated, but audiences can only handle so much, and if you distract them or wear them down, they won;t retain what your asking them to, or they might even rebel and turn their minds off.

5. End Big. This doesn’t mean World War II with the original cast, but it does mean to give your audience signposts so they know where they’re at in your video. I always use music to change the pace, but toward the ending, you need a finale, and finales don’t fade, they echo. A recap tells them its over, and a musical crescendo tells them it’s over. Music that ends in “threes”- restating the musical theme line three times- is pretty much a ta-da! Never leave them hanging, but always finish big, and finish before they’re bored. A good example is this opener produced for Underwriters’ Laboratories 100th Anniversary. Note the ending of the music- it uses a “triple”- this builds emotion and sends the signal to anticipate what comes next, while indicating the this part of the meeting- the opening video- is over. To view this sample, go to http://vimeo.com/452012.

Scriptwriting is the backbone of the successful multimedia project. Knowing that words are only part of the equation will help you write or review scripts on a much higher level.

You have a movie script which you believe would get the attention of movie enthusiasts, critics, eagles, pundits and record a box office hit! Where do you go from here ?, who do you submit it to? how do you ensure that you are not denied access to the door that would usher you in to glory and fame land, for one wrong move can be catastrophic ?. In Nollywood, and I’m sure it obtains in other Movie industries as well, rookies are tagged as “unknown personalities”. It is therefore risky to submit unsolicited movie scripts.

Rookies run in to brick walls based on the fact that:

1)      The producer / film maker did not request for the script, you therefore submitted at your own risk!

2)      Your name doesn’t ring a bell!, therefore it’s easy to use the scripts and cover their tracks

3)      They have so much work on their hands at the moment but they’ll try and read it

4)      They let you know they’re not interested in it, better luck elsewhere (after you’ve been there for the umpteenth time)

5)      Months later you get to see the modified version of your story on vcd/dvd produced by the company and the credits given to another. Due to lack of evidence to prosecute the erring movie practitioner, the script writer is left to lick his wounds

These few tips will come in handy when submitting scripts:

1)      There are many producers/film makers in Nollywood (charlatans and professionals), therefore deal with one who is a member of the Association of Movie Producers

2)      Make enquiries about those who have an untainted record of honesty,  integrity, transparency, diligence, commitment to excellence and uphold the Industry’s best practices, and know those who don’t

3)      Make a list of the professionals you have chosen and begin to narrow down your search to the specifics (certain producers/filmmakers are interested in a particular genre, so you’ve got to know who best aligns with your theme)

4)      Call to book an appointment (don’t just show up at the office), and don’t disclose the reason for wanting to see him as you might just be turned down instantly with the excuse of having other scripts to consider.

5)      On the set date go in the company of some one else(preferably a business colleague rather than your siblings, or  mere friend)  for credibility sake in case things go wrong

6)      Your general appearance and attitude is important (composure, posture, hair, clothes). Don’t show anxiety, fear, or desperation simply because you are seating before one who is important in the Industry. Remain cool, calm and collected

7)      Maintain eye contact , and observe his body language which is very important here. 70% of communication is non- verbal (body language)

8)      Use the rapport / mirror’s principle (you do something you see the person do with regards to body language). It generates a high level of comfort and assurance.

9)      Listen attentively to what he’s saying. Listening makes you know the kind of person you’re speaking with and what strategy to adopt. It helps you ask vital questions, gives you time to observe the body language of the person, and how you’d respond to certain issues . You’ll also get the subtle intent of where he’s headed

10)  When the conversation is over, he might ask you to drop the manuscript. Don’t ! Inform him that you’ll get another copy ready for him on “ X day”. You mustn’t  submit the original copy of the script

11)  On “X day”, don’t hand over the script to him personally, make the delivery an official one. Prepare a letter based on the discussion of both parties on “W day” (remember to include that your business colleague was there, but in a subtle way), talk about why you’re submitting it, contact details and the fact that you’re submitting a copy of the script, together with the synopsis. Most importantly, let the secretary acknowledge receipt of the letter  on the photocopy you made of the original one (for your records), then submit.

12)   Don’t forget to have a well drafted clause , invariably to protect your work. you might have to see a lawyer for that.

As a rookie you might not get well paid for your first job, but that can change if you’ve got the right story. Keep at it no matter what, and when it’s time for you to emerge in to stardom no one can stop you!  I’ll  also advice  that rookies should also learn the art of screen writing which will certainly act as a catalyst in boosting their rise to fame and fortune.

So long … auggiepo@yahoo.com

Starting a screenplay can sometimes be as hard as finishing one. Impatient to pull up to the front door of a classic motion picture, I want to get everything right so quickly. This impatience challenges my trust in the work, the creative process of screenwriting. What exactly does trust mean? If I don’t trust my writing, then what am I? Frightened. This is the battle. If I’m scared that everything I’m typing is worthless, then what? My hands find something else to do. So trust is good and important and essential to beginning this journey, alone, a trip that will eventually take what comes out of you into millions of people. But its just you now. And your trust.Now, does trusting your writing mean sitting down with no ideas, opening a new document, and starting to type? Of course. And no. What I need to do is make a decision and execute. And this decision often comes back to whether I should write an outline or treatment before I start writing my screenplay, or, with a rough idea, a shadowy shadow of something calling from my brain, start writing?I have done both in the past. When I wrote the first draft of LOVE LIZA, I really had very little idea of where the story was going. I had a few things to start off with, and somewhere I wanted to end up down the road, but that was it. It was terrifying and difficult to remain seated. But the most original characteristics of the screenplay came out of the immediacy of trying to come up with whats next, with my fingers resting on the keyboard. I became sold on this process. Outlines killed creativity, because writing an outline is not actual screenwriting. Its outlining.But then I came to Hollywood and tried to tell executives the little ideas I had. I would very proudly announce an image, a picture in my head, that I knew contained the fire of an entire epic. I was shocked when they asked, Then what happens? I didn’t have an answer. Why? Well. BECAUSE I HADNT WRITTEN IT YET. It seemed like a completely stupid question. What happens? What happens?? Did I say I had a complete screenplay to show you?!You know the rest. No phone calls and bewilderment and then I found myself in the city of pitches, and starting to flesh out things into 14 page screenplay treatments. I did so, convinced that it could never be that good, that it was forced, and staged, and predictable. I was shocked to find out that it did not destroy my creativity. I was still able to come up with interesting, original things. But deep down I knew. This was still not screenwriting. This was not the art of screenwriting. And I’m right.So now what was I going to do? What was better? If I was to sit down and spec something out, how was I supposed to go about it? First off, I’m lazy, so having a treatment or an outline sitting next to my laptop to walk me through the first draft is very appealing, despite knowing that the inspiration driving a treatment is different than the juice that comes when writing the screenplay blindly. And I have sat down and written 90 pages, trying to find the story, only to simply start over. This is a lot of work, but I’ve come to recognize that this work is not lost. This is the path. It hurts, it kills, it bludgeons, it fatigues, it flattens, but its the road. Believe me.But what about a heist movie, or a mystery? A thriller with twists? Aren’t movies sometimes puzzles? Can we find this stuff without a plan? Don’t you have to figure this stuff out? Yes and no. Flying by the seat of your pants often produces jaw-dropping turns the audience will never see coming. Why? The writer didn’t. This is the largest reason why studio movies are predictable—-the fabric of the script is shot through with the knowledge of the ending of the story.If we are to plot out the map of our movie with a treatment, beat sheet or outline, we better be damn sure its the real thing. Putting our best foot forward with a very strong outline is only the start of what will end up as a screenplay. Despite putting that golden outline next to our keyboard, we will find that turning it into a screenplay is still, I’m awfully sorry, a lot of work. Scenes that we imagined to be amazing will suddenly be impossible to write. And why does that upset us? Why does that frustrate the writer?Well, we thought we had a short cut. We thought we were going to sneak into the back of a classic movie. My journey as a writer has been marked by the learning and relearning that all that wood has to be cut out there in the back yard, whether I like it or not. If I wanna do this, I have to swing the axe.But we know, if we trust our gift, that something beautiful is coming, regardless if we have an outline or not. Perhaps the writers who work from outlines should throw them out. Perhaps the writers who write like the house is on fire, with nary a note within miles, should sit down and write a treatment. Treatments are fun, too.I do both, switching back and forth when I need to. When I’m writing and I start to feel blindfolded, I turn to jot down a few notes, sketch a few ideas, track a character arc, reorder an act. But when I think I’m caught up in pitches and notes and beat sheets and the safety of plans, I chuck it all and write like I did when I was a kid.Did we use notes when we were kids?

Article URL: http://www.bluecatscreenplay.com/About/how_to_start_a_screenplay.phpCopyright © 2006 BlueCat Screenplay Competition

Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA , Gordy Hoffman has written and directed three digital shorts for Fox Searchlight. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno International Film Festival. He is also the founder of the BlueCat Screenplay Competition. Dedicated to develop and celebrate the undiscovered screenwriter, BlueCat provides written screenplay analysis on every script entered. In addition, Gordy acts as a script consultant for screenwriters, offering personalized feedback on their scripts through his consultation service, www.screenplaynotes.com. For more articles by Gordy on screenwriting, visit www.bluecatscreenplay.com.

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. 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!

Audience of the products of entertainment industries all over the world and people who are aspiring entertainment industry wannabes and workders if not the professionals in almost all parts of the globe have developed the habit of using the terms screenplay and script interchangeably with the later one most frequently used. This, however, is an errorneous custom and needs to be changed as to depict our correct understanding of the two terms as well as leading the people who are unconnected to the industry terms to quote the terms appropriately.

Let’s begin to understand the difference between screenplays and scripts by having a look at the definitions of the terms used to refer to the writing tasks of the two types of entertainment industry documents.Screenwriting (not Screen Writing):

Screenwriting, sometimes written as Screen Writing, which is no more a valid method of writing the term in almost all of the Hollywood but in few other parts of the world, is the term given to the task of screenplay writing. Scriptwriting or Script Writing:

Scriptwriting or Script Writing is the term given to the task of script writing.

What most people should not do, but do is confuse screenwriting with scriptwriting or script writing. Although screenwriting and scriptwriting are not totally different, they are still two different mediums of media writing.

A script for a talk show, news, infotainment program, etc, whether on TV or radio, cannot be termed as a screenplay. On the other hand, a screenplay of a movie or TV program that is presented in a dramatic narrative with scenes and dialogues can be termed as a script. Why? Because a screenplay is a form of script and not opposite is the case.

Here is what Film Terms glossary of the Babylon dictionary says about a screenplay:

A document text in a specific format which contains the dramatic elements of the film, as well as indications of other elements such as setting, light values, action, and, in general, everything which it is essential to see on the screen from the point of view of the whole narrative; in its relationship to the completed film, a screenplay is sometimes described as being analogous to a blue print of a structure. The analogy is true up to a point, but in fact there is no other kind of text which has the specific characteristics and constraints of a screenplay. And no other text which, when successful at attaining its goal–i.e., the finished film–effectively ceases to exist except as a historical and critical curiosity.

And here is what the Babel glossary says about a script:

A general term for a written work (and with special reference to the entertainment industry) detailing story, setting, and dialogue. A script may take the form of a screenplay , shooting script , lined script, continuity script , or a spec script.Copyright (C) 2007-2008 M.d Tabish Faraz. All Rights Reserved.