Established by Alex Ross in 1999 alongside WriteMovies, TalentScout International Management is the agency that helps us get our winners’ scripts out there. That’s why we’re happy to announce that it’s recently undergone a relaunch, with a brand new website!
To this day, we work closely with TalentScout International Management (TSIM). The company is our closest partner; using WriteMovies as its main talent pipeline, it represents writers across the globe. When we’re looking to pitch our winners to industry – as we do with everyone who places in the top three in our contests – it’s TSIM we turn to first.
And as WriteMovies moves forward and continues to celebrate great writing, with our 20th Anniversary Year just completed, it was time for TSIM to get rejuvenated too. With a newly designed website, it can now help us represent our winners better than ever.
We’re looking forward to continuing our partnership with TSIM for a long time still to come. If you’d like to be represented by them, the best way is through WriteMovies by submitting to one of our current contests: the Romance and Comedy Award 2020 or the Winter 2020 Screenwriting Contest!
And in the meantime, click here to take a look at the new website and let us know what you think about it! More content will be added in the months to come as it’s updated with details about our winners and their scripts…
The winner of our Horror Award 2019 was also the Grand Prize Winner of our Fall 2019 Screenwriting Contest: MONGER by David Axe!
Having already introduced it here, we thought we’d get a more in-depth look at the project with a Q&A with David…
To find out what inspired the project, how he went about writing it, and his advice for writers, take a look below. And if you’d like to give yourself a chance to follow in his footsteps and win our Grand Prize of $2000, enter our Winter 2020 Screenwriting Contest by March 1st!
What was your inspiration for writing MONGER?
I borrowed from my own experiences. I was a war correspondent for many years and spent time with combat troops in several war zones. In 2011 I was riding in a U.S. Army vehicle in Logar province in Afghanistan when a bomb exploded underneath it. I was fine but many of the soldiers in the vehicle were not. More generally, I’m no stranger to trauma, guilt and alcoholism. I wanted to write about these things while also giving them substance. As in, a monster.
Why did you choose to write a horror movie?
Horror stretches the rules of everyday life, allowing a writer to play in a much wider space than, say, a strictly naturalistic drama would do. I wanted to give form to guilt. I wanted my characters to literally fight a monster that embodies their worst trauma. Hence horror.
What was the writing process, and how long did it take?
I write steadily, from beginning to end, over a period of a couple of months. Once I’ve got a solid first draft, I get some notes from readers I trust. In the case of MONGER, I hosted a table read that was very helpful. Then revisions lasting a few weeks. The whole process of writing MONGER took maybe four months.
How have your own experiences as a filmmaker informed your writing?
I’ve made a few indie features, most recently LECTION. The more I direct, the more I simplify my writing. As a director, I want a very clean script with clear conflict and strong characters. The texture and nuance come from performance, photography and production design. The writing should be a robust, strong framework. In other words, the director in me wants the writer in me to not overthink it.
What would be your advice to other screenwriters?
Write like it’s your job and you’re going to die soon, which you are. Get used to rejection and being ignored. Don’t be shy about showing your work. Be humble when people offer notes but also learn to smile and nod and ignore bad notes. Try everything you can think of to con someone, anyone, into producing your script. And if no one will shoot your script, consider doing it yourself. At the very least, you’ll learn a lot. Then sit down and write another one. And another. And another.
In Part 1 of this Writing Insights series, we discussed how exposition is often a necessary evil in scriptwriting for conveying information that your audience needs to know, and how sometimes it’s better to use the visual medium of film instead.
But what happens when visuals aren’t enough? What do you do when you have to use dialogue instead? The answer is to make exposition so interesting that the audience doesn’t notice that it’s there – they’re too engrossed to get bored by the dreaded “info-dump” or feel that the characters are speaking in a way that might otherwise seem unnatural.
There are quite a few different ways to make exposition interesting, though. Here are a few of our hints and tips on how to go about it…
- Ignite the audience’s curiosity about what you’re about to reveal. Pose it as a question – for example, THE MATRIX‘s famous: “What is The Matrix?” – and make the audience want to know the answer. Then, when the answer is given, they’ll already be interested!
- Another trick used by THE MATRIX is including exposition in situations that are exciting – containing striking visuals and action – so that the dialogue is enhanced by what’s going on around it. Morpheus could have explained the rules of The Matrix to Neo over a nice cup of coffee – but instead, he does it through a demonstration of kung-fu.
- Make your protagonist be an outsider. As mentioned in Part 1, we don’t tell people things that they already know – but if there’s someone who doesn’t know the world or situation, then you’ve got a good excuse. And that means that it no longer feels unnatural!
- Think about what else you might be able to convey through the exposition itself. Character is best revealed through action – the things we choose to do, the decisions we make – so consider what you might be revealing about the character who is talking. The titular character of the TV show SHERLOCK comes out with huge amounts of exposition, but it feels fine because it’s in character to show off and it tells us a lot about who he is.
So there are our hints and tips to make exposition interesting. Keep these in mind the next time you’re writing a script, and make sure that your dialogue shines!
A claustrophobic survival story: a small but strong woman is the only chance for a man trapped miles underground. THE PINCH by James Raynor is a gripping script that took a very worthy 2nd place in our Fall 2019 Screenwriting Contest!
When you need to convey information in your script – about characters’ backstories, their relationships, the setting or story – it’s a natural instinct to turn straight to exposition, telling the audience what they need to know through dialogue.
And there’s no doubt that exposition is a necessary evil in scriptwriting. There are always going to be things that need to be established for the audience to understand what’s going on in your story!
Exposition is almost always a problem, though. Firstly, people don’t really talk in an expositional manner – stating a whole load of facts, one after the other – and they don’t tell people things they already know. So exposition often feels fake or forced, seeming to be there just for the audience’s sake.
The other problem is that it often has a negative effect on the story. An “info-dump”, as it’s often known, slows the narrative, putting the story on hold so the audience can learn things. But, overwhelmed by the amount of information being thrown at them, they’ll often just switch off!
So how do you get around this problem? How do you communicate the information the audience needs without boring them, overwhelming them, or making your characters talk like aliens trying (and failing) to impersonate human beings?
Well, the first thing you can do is to fully utilize the visual medium of film, and forget about dialogue entirely…
As a screenwriter, looking at the page all day, it can be easy to get stuck in a world of words. “Surely,” you think to yourself, “if I want to get some information across, someone has to state it out loud.”
But sight is the sense that human beings use the most, and it’s possible to communicate a huge amount about all kinds of things through nothing but visuals. An actor can tell us a lot about a character’s feelings with just a glance or an expression – or even by doing nothing at all!
The famous “Married Life” segment from UP is a great example of how to use visuals well. Decades of marriage are summarised – complete with information about the characters, their relationship, their families, and the things they go through – in four short minutes, and without a single word being spoken.
The power of visuals applies to world-building, too. The famous opening shot of STAR WARS sees Princess Leia’s tiny ship being pursued by the massive Star Destroyer of Darth Vader, and the difference of scale immediately tells us a lot about the two sides. Darth Vader and the Empire are powerful and dominant, while Princess Leia and the Rebel Alliance are the underdogs.
So whenever you think you need to use exposition to get some information across, stop for just a minute and think. Maybe there’s a way to get things across without anyone having to speak a single word. Try to picture things instead. Don’t forget – fundamentally, you’re not just writing a screenplay, you’re writing a film as well!
Keep an eye out for Part 2 of this article, where we’ll be talking about those times when you can’t use visuals – and how to make exposition interesting, so that the audience won’t even notice it’s there!
In a good year for horror here at WriteMovies, the 3rd Place Script is a classic haunted house story. With a gripping plot and a fantastic lead character, HAVENWOOD by Jai Brandon gave us all the spooks, thrills, and excitement we could have possibly hoped for!
Le nombre de suites et de remakes continue de grimper en flèche, comme le prouvent les ventes de scénarios des mois de septembre et d’octobre, telles que rapportées par le site Script Pipeline… Et il y a d’autres choses intéressantes à noter.
- Après un bon début, la série des PIRATES DES CARAÏBES a eu tendance à s’essouffler ces dernières années. Disney prévoit maintenant une suite de la série. L’écrivain Ted Elliott étant rejoint par le créateur de CHERNOBYL, Craig Mazin, ils cherchent maintenant à développer une nouvelle histoire, sans Jack Sparrow.
- Il pourrait ne pas avoir le même succès au box-office, mais il y a une autre franchise Disney qui a obtenu une suite : c’est INSPECTOR GADGET. Les écrivains de SNL, Mikey Day et Streeter Seidell sont prévus.
- Et si vous en avez déjà assez des remakes, nous en avons malheureusement un autre pour vous. Paramount a commencé à travailler sur une nouvelle version de FACE / OFF, le thriller d’action de 1997 réalisé par John Woo.
- THE PRESENT ressemble à un scénario qui montre qu’il y a un nouveau potentiel même dans les anciens concepts. Malgré des similitudes avec GROUNDHOG DAY, cela donne une nouvelle tournure à l’histoire – tout comme HAPPY DEATH DAY l’a fait – en faisant revivre à plusieurs reprises à un jeune garçon le jour où ses parents se sont séparés.
- Bret McKenzie de FLIGHT OF THE CONCHORDS a remporté un Oscar pour THE MUPPETS en 2011, et revient maintenant dans la compagnie de Jim Henson. Il écrira le scénario et la musique pour EMMET OTTER’S JUG-BAND CHRISTMAS.
Cliquez ici si vous souhaitez voir le rapport complet du mois de septembre ou cliquez ici pour celui d’octobre. Et si vous pensez avoir un scénario plus original que tout ce que vous voyez ici, envoyez nous le et participez à un de nos concours ici!