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How we’re pitching our winners…

How we’re pitching our winners…

How we’re pitching our screenwriting contest winners to the industry…

Since our relaunch in February 2016, we’ve gained a wonderful, varied slate of award-winning scripts and writers, many of which have now completed their year of free script development as we prepare them and their writers for the pitching process. As our campaign to pitch them gathers momentum, I thought now would be a great time to show you what we’ve been doing for our winners and the great responses we’ve been getting. We can’t reveal the confidential details of course, but there’s plenty we can show you as this gains pace. (more…)

Our Wall of Fame: 2017’s Featured Script of the Month winners!

Our Wall of Fame: 2017’s Featured Script of the Month winners!

Our Wall of Fame 2017: We have more winners than ever to celebrate from 2017 than ever! With 18 winners in total, we’ve seen an increase in quality from 2016, and we’re looking for that trend to continue…

Today, we’re honoring our Featured Script of the Month winners in this very special infographic (click on it to see it in all its might!) More to be revealed shortly…

Learn all about each of our Featured Script of the Month winners and their loglines:

  • GAMERS by Travis Lemke – “A man child who has lost love finds new love, but then has to kill that love after he and his Dungeon and Dragons buddies fall into possession of a magic book and summon a mysterious “protector” from hell. Shenanigans and hi-jinks abound in this contemporary comedy.” Read more
  • MARIGOLD by Lisa J. Cristoforo – “When a woman realizes her dreams are a window into her past lives connecting her to a famous actor and an 18th century Irish house servant, she embarks on a clandestine adventure to Ireland to discover the truth behind the connection.” Read more here
  • THE CHERRY ROOM by Christine Stevens DeLorenzo – “THE CHERRY ROOM (Inspired by true events.) – An undercover cop, a writer, and the owner of New York City’s most famous gentleman’s club discover a sophisticated baby-making network that supplies elite pedophiles and satanic cults with prepubescent children.” Check out more here
  • IDLE OF MAN by Joseph Campbell – “IDLE OF MAN follows the life of a depressed psychiatrist who is all of a sudden abducted by aliens and returns seeking a new perspective on life.” Read more
  • LAST RIDE OF METRO 313 by Michael Neyland – “Passengers on a commuter bus become stranded during a storm and must work together to survive strange and unnatural creatures.” Learn more
  • QUEEN OF HEARTS by Ethan Westgate – “In a world where everyone is united by a global thought-network, a small minority of people are unable to access this network. Molly Dark must lead others of her kind in a race to survive as the Network turns violently against those Unconnected.” Read more here
  • SEEMINGLY HARMONIOUS by Dengxian Cao – “When terrorists use a Mind Transfer Device to control the bodies of US officials, including the president, a Secret Service agent must battle against his seemingly own people to prevent a nuclear war.” Learn more
  • DEAD POSSUM by Jared Wayne Raun – “A boy discovers he is dead, but resists leaving his body so he can save his living girlfriend from a gang of zombie bikers, despite protestations from his spirit guide.” Read more
  • DEAD MAN’S HAND by Ronald L. Ecker – “When the hypnotist dies during a past life regression, it leaves a present-day schoolteacher and an Old West gunfighter trapped in each other’s body and times.” Read more here

Wouldn’t it be great to see your name up there next year? Well, you can! Enter the Winter 2018 Contest by the 14th January and you could see your name, face and script up in the 2018 Wall of Fame…

INSIGHTS: How people will be different in the future – a writer’s guide…

INSIGHTS: How people will be different in the future – a writer’s guide…

In Ian’s previous articles, we’ve seen how technologies of the future (and present!) can quickly invalidate our future-writing efforts. But the easiest thing for writers to misjudge is how people themselves will be different, within the future worlds we create.

We may be very happy to accept any implausible or kitsch elements in your future-writing if they make for a more vivid and exciting world than our own – but if people (and the way they live) don’t seem to be changed, then you’re missing out on one of the massive appeals of writing the future: that it offers audiences a vision of how we could be different if we lived in such a different world, and how we could make different choices in life if they see life in that new light. The future is, ultimately, a place to play out our dreams of what life today really could, or should, look like, if only we had the chance. Future-writing creates a rare, neutral space in which to play out our conflicting visions, and fears, for the present and the future, all within the safety net of someone else’s story about a totally different world to our own.

If our technologies – or destructive tendencies – smash the way of life we know, then the post-apocalyptic visions of many popular future-stories (MAD MAX, THE BOOK OF ELI, etc etc) may prove a good guide – because people whose lives are a step backwards from ours, are likely to play out in ways that life and history can help us recognize today. So I’ll focus instead on how people are likely to change if that doesn’t happen, and if other historic trends continue instead. Here are some trends I’ve noticed which are extremely likely to continue to change our personalities and choices. If you’re looking for subjects to inspire your next script, the answer might be somewhere here!

  • Ever-presents of human nature, like family bonds and tribalism and attraction, will continue to forge our key relationships and allegiances and priorities – far more than rational reasoning would like to admit. We will never actually want to be “one unified world community” – whatever we might tell ourselves, we’ll choose to keep dividing ourselves into tribes and sub-tribes. I’ll write about these in more detail another time.
  • Almost every medical condition will become treatable, and most will be fully curable. People will develop ever-more-perfectionist expectations of themselves and others for their health, capacities and looks. Technologies will become better integrated within people’s bodies too, with far-reaching implications, first for treatments and then for enhancements. These trends will create losers as well as winners, mainly due to economic factors that give or limit people’s access to these treatments.
  • Almost every conceivable aspect of life and the world will become connected to, or monitored by, our grand digital networks. Going ‘off the grid’ will get harder and harder, with important consequences for thriller stories in particular – many scripts we receive feel quite dated to me already with this in mind. The ‘internet of things’ will pose significant risks for privacy and security, with our everyday lives utterly interconnected with single networks that put us all at risk of having our lives invaded.
  • The culture war of the 21st century will continue to be that between fundamentalism (of all kinds), against relativism and tolerance. Western countries may need to start reining in more of the free-for-alls that have risen since the 1960s – because if we can’t, fundamentalism may offer many people a much more reassuring vision than the issues that they perceive in the world around them. I notice that few sci-fi writers want to embrace religious believers into ‘their’ visions of the future. But those people will be there anyway – how will they feel about the world they’re living in? How many of those wonderful 1960s visions of the 21st century (THUNDERBIRDS, etc etc) predicted a global surge in religious fundamentalist terrorism? Perhaps, comparing modern trends to the worldview and expectations of religious fundamentalists, we should have seen it coming.
  • War will also be designed to keep actual human beings (from our own country, anyway) completely remote and safe from the intrinsic dangers of the battlefield. This is already basically the case for headline conflicts, we just haven’t invented a way to occupy hostile territories without ground troops yet. I reckon the next major war between global powers will be won or lost by technology (such as cyberattack) within hours without a single bullet being fired. All this has big implications for action stories – where we want to see our heroes put their own lives on the line for the story, without getting immediately cut down by some drone-robot fly.
  • Power and knowledge and the ‘moral high ground’ will continue to decentralize away from governments and religious institutions, through technology and the continued trend towards individualization of modern job roles. Improved technologies will also make it harder and harder for anyone to maintain lies and secrets (and foment conspiracies successfully). However, at the same time, we will all be relying on common technologies and platforms, such as the internet, ever more, and so the risks will grow that would-be tyrants and hostile powers will turn our powers and everyday devices upon us.
  • Supposedly ‘ignorant’ patterns of thought and behaviour (from racism to superstition to religious bigotry) will continue to decline, but will keep persistently recurring in new forms in every generation, and the continued migration and tourism of people to other countries will ensure that old issues like these will never become ‘a thing of the past’ anywhere.
  • Controversial cases that come to light in the news will continue to stiffen public opinion and the law against people who create injustices and avoidable suffering for other people (from our own culture or countries!). Proliferating devices like smartphones will continue to make it easier for victims and others to record and prove that these injustices are happening – albeit via networks and platforms that many governments and others may be demand to control.
  • People will continue to intensively map, scan and explore any areas of life or the universe that could be described as ‘the unknown’. Fewer people will believe in the possibilities that rely upon it (such as magic, monsters, aliens and direct ‘divine intervention’) – though interest in stories about them might conversely rise as a result of their ‘otherness’! But people will continue to interpret things in the ways that feel most natural to themselves, so don’t expect religion and superstition to die off anytime soon.
  • Automation and robotizing of all aspects of life will continue to render more and more job roles obsolete. The more this continues, growing numbers of people may lean towards anti-globalization movements, backward-looking politicians or authoritative voices. Meanwhile educated, versatile people may find themselves in a minority for remaining economically active and having a secure sense of their own identity and purpose in the world. Which impacts significantly upon my next point…
  • While globalization will continue to make countries ever more interdependent, but sociopaths will continue to find ways to take power (click HERE to understand what I mean by ‘sociopath’ – it’s perhaps a much more widespread personality type than you realize). Pacifism will remain naïve in the face of this, and the proliferation of technologies that can empower them in new and ever-more-pervasive ways. But in economic terms, centralized nation-states will be unable to keep up with those that don’t try to maintain full control of all aspects of the economy.
  • The environment everywhere will continue to be carved up and predominated by human activity at an escalating rate, until technological changes make it possible (and convenient) to live far more efficiently than people currently choose to. Changes of power and circumstance will keep upsetting whatever is agreed to protect the environment; people will have to innovate within their own spheres of influence instead, to make any difference, but this won’t change the overall direction of travel. Anything that environmentalists achieve can be easily reversed by breakdowns in international or local law and order, and crippling population pressures on resources, not to mention reverses of government policy.

Here are some things that could go either way, but won’t just stay the same.

  • Our attitudes towards the suffering of other people (especially those we don’t have any connections to) and animals or nature. – Humans would mostly like to be compassionate, but they would also like to be able to take things for granted so they can get on with life uninterrupted. Economics and politics play a massive role here – and people who are struggling to maintain their way of life have a much less compassionate attitude towards outsiders and those whose inferiority makes their own way of life possible.
  • The spread of decentralized media platforms such as the internet means new challenges for debate and decisionmaking. ‘Truth’ and ‘lies’/’fake news’ are heading for an interesting clash which may set in law what ‘truths’ or ‘accuracy’ can be stated or published, and what the punishments will be for those who go against that. This will be an interesting showdown between delusionals, tyrants, sociopaths and their allies (click HERE to see who I mean), and the institutions of the 20th century liberal West. It may have different results in different places, influencing the ideological wars of the century ahead.

Alright, so there’s my two cents. Hope it helps you future-proof your writing and keep clear of some of the mistakes that we see so often. Maybe you can even find the central question of your next script here! If so, let us know where you take it and how you get on…

Read more of Ian’s insights right here and check out the previous entries to this future proofing series…

© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

Free Writing Contest – Featured Script of the Month for October/November – DEAD MAN’S HAND by Ronald L. Ecker

Free Writing Contest – Featured Script of the Month for October/November – DEAD MAN’S HAND by Ronald L. Ecker

Featured Script of the Month for October/November – DEAD MAN’S HAND by Ronald L. Ecker

We chose Ronald’s script from a host of October and November submissions for its intriguing concept – which is what this free contest is all about! We combined the Script of the Month to include both October and November entries because of the off-period between our Summer Contest and current Winter 2018 Contest (enter here!) to give everyone the best opportunity possible.

 For winning the Featured Script of the Month, Ronald now receives free Judging Feedback and publicity on our website, Twitter feed, and Facebook page. Ronald will also get the chance for a free resubmission of his script to our current main screenwriting contest! A great set of prizes for a free writing contest!

Here’s Ronald’s summary of this interesting script…

When the hypnotist dies during a past life regression, it leaves a present-day schoolteacher and an Old West gunfighter trapped in each other’s body and times.

Check out a short biography on Ronald, too!

Born and raised in Florida, Ronald L. Ecker received a B.A. in English at the University of Florida, and spent two years as a Peace Corps Volunteer in Arequipa, Peru. He earned a Master of Library Science degree at Florida State University, and worked as a librarian at Barry University in Miami and with the state of Florida until his retirement in 2000.

He is the author of five published books, including the Dictionary of Science and Creationism, selected by the review journal Choice as one of the Outstanding Academic Books of 1990. His complete modern-English translation of The Canterbury Tales (with Chaucer scholar Eugene J. Crook) was a widely adopted text in college and university literature courses, and is now available free in an online edition.

He also writes screenplays and songs. His scripts have been in the Winners category in four screenplay contests (e.g., 2nd Place Winner in the 2014/15 Comedy Screenplay Contest, and a Winner in the 2016 True Story Screenplay Competition) and finalists in 14 others.

Enter our Featured Script of the Month Contest with any contest entry or by purchasing any one of our top, studio-quality mentoring services.

New Hollywood Virtual Film School Launch!

New Hollywood Virtual Film School Launch!

So you want to be a screenwriter, huh? Well, we want you to be, too! For nearly 20 years we’ve been developing writers with our mentoring services and contests with the aim of getting writers’ scripts produced. And now we’re going that step further… our Hollywood Virtual Film School is here!

WriteMovies Academy: Hollywood Virtual Film School

The WriteMovies Academy is introducing a brand new Hollywood Virtual Film School for all you aspiring writers and producers.

This 6 month academy will put you through your paces with courses on how to crystallize your concept, how to put that down into a script, and how to sell it and work with the production and distribution – all taught by our top, experienced script analysts, producers and writer mentors.

You invest months of your life on a script in the hope that it will sell. There is nothing sadder or more defeating than a script that has not sold. You owe to yourself to give your projects the best possible chance of getting made. We provide that to you. For a few cents for every hour of your life you have or are about to invest, we will provide you with not only a safety net, but a support system that will always be there for you. You cannot make it on your own, the odds are totally against you. Let us help you: THIS IS WHO WE AREPEOPLE WE HAVE HELPED, and FEEDBACK.

Don’t blow $100,000 to go to film school and be taught by “has beens”. We can teach you to become a professional screenwriter or writer-producer for $3000 and you will be taught by successful working professionals! Let us know about your own personal situation and WriteMovies will adopt a specific plan of action to take your script or idea to the next level.

Book your place on the first Phase of the course, or all six right here!

The Phases of the course, and their launch dates, and prices are shown below:

  • Phase 0 (Project Selection, Additional consultation & notes): $250 (or free if you buy all of the Phases 1-6 for $3000!)
  • Phase 1 (concept & development): $500
  • Phase 2 (development & outlining): $500
  • Phase 3 (1st draft & coverage):
    $500 
  • Phase 4 (writing is rewriting & 2nd draft coverage): $500 
  • Phase 5 (pitching and promoting your script): $500 
  • Phase 6 (that’s a wrap): $500 per year for ongoing support
  • Or, book your place on every Phase at once for just $3000, which includes Phase 0 absolutely free!

For more info on each Phase just click here, or to book your place for Phase 1, go right HERE.

ScriptPipeline’s November 2017 Script Sales review

ScriptPipeline’s November 2017 Script Sales review

Tarantino to do his thing with Charlie Manson, while DC has The Rock and a writer set for BLACK ADAM. As we wind down to the industry Christmas break, the script sales in November step it up with some very interesting pieces of news.

A Hitchcock-esque sci-fi, thriller, Sandra Bullock in a medicinal marijuana con story and much more. There’s plenty of room for sci-fi and techno styled spec scripts as reported in Script Pipeline’s November 2017 Script Sales – and that could provide an opening for you. With STAR WARS re-heightening the interest in sci-fi, the genre has had a bit of a renaissance (see ARRIVAL and PASSENGERS).

But the eye-catching news is elsewhere…

Quentin Tarantino is set to write and direct (the Tarantino way) about the Charles Manson murders – that seems right up Tarantino’s street. After the success of AMERICAN CRIME STORY season 1, which dramatized the O.J. Simpson trial, it seemed only a matter of time before a story about Manson came about. But with this being Tarantino’s first biopic, it’ll be interesting to see what comes of this…

Finally, Dwayne “The Rock” Johnson not only has his DC film role, but also a writer for the script. The BLACK ADAM film set in the DCEU seems a-go… but for how long? Will this be a stand-alone film? Will this even get into production? The Rock has been pushing for this for a while now, but I don’t see a good outcome coming from this…

Check out the other script sales news from November with Script Pipeline here. What will December bring for script sales?

View our review on the Octboer script sales here.

© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

INSIGHTS: Nothing dates faster than the future, part 2 – How to get the details right in your sci-fi script

INSIGHTS: Nothing dates faster than the future, part 2 – How to get the details right in your sci-fi script

ALIENS fired imaginations in 1986, and remains a touchstone for screenwriting. So why does it look a bit dated now, and what lessons does that reveal for writers today? Ian Kennedy looks at how to get the details right in your sci-fi script.

 

So really, as we saw in my last article, most sci-fi is just fantasy, in a different setting, where we pretend that technology and scientific possibilities (rather than magic) are the reasons why things work differently from how they do in our world. And that’s fine by me. I’m writing this article to help writers avoid future-writing which is already suspect, and very unlikely to look plausible in the real future. Let’s start with ALIENS – which was directed with great vision by James Cameron, after all, building on excellent work by Ridley Scott and the team of the first ALIEN film. These filmmakers stand the test of time, and their stories too. So where did its details go wrong for me now from a modern point of view?

  • The screens. There a lot of very analogue screens in ALIENS. It’s always tempting for filmmakers to load their future-visions with the best technology that the present has to offer. But there’s a lot that’s already very dated about these screens themselves. We see them close-up. A lot. They are split into very analogue patterns and none are remotely High Definition, never mind Retina quality. Pretty dated already. How many centuries in the future are we supposed to be? Nope. We’re three decades back in time here.
  • Then there’s the stuff that’s on the screens. Nearly all of it is flat. And monotone in colour. Some of the photos are even black and white. Very little is moving. And the video feeds show the kinds of interference and distortion and low quality that nobody has experienced since DVD replaced VHS. When digital signals cut off, you get nothing, not static. The blueprint-like maps that the Corps use in ALIENS are also flat and two-dimensional – which even in the movie turns out to be woefully inadequate, when the aliens are able to get above and below them to breach their security. So again, in ALIENS we’re 30 years ago, not even now.
  • There are the haircuts. Not much vision of the future going on there. I’m not in any way ruling out a lengthy revival in all-80s haircuts in future centuries. It could happen. But let’s be honest. It won’t. (In 1991, the original KNIGHT RIDER was forward-tracked for a TV movie set almost 20 years after the original series – KNIGHT RIDER 2000. But all the haircuts and moustaches don’t even belong in the 1990s, let alone the 2000s. We’ll amuse ourselves with some of its other errors later.)
  • The tech used by the (apparently elite) Corps of marines in ALIENS also looks pretty suspect. Sure, the human soldiers are teched up by helmet cameras and gyro-stabilised machine guns, and other stuff. The cameras and other kit in the film look pretty clunky now, and Ripley even uses duct tape to bind guns together at one point, but all this we can OK for the time being; manufacturing standards are gonna be different in hostile deep space territories, and 3D printing and nanotechnology aren’t fully proven alternatives just yet. Mainly I’m bothered that these marines are still using their own actual bodies – not even under protective clothing on their faces and arms – to do most of the work. I don’t know about you, but I think the public horror whenever US troops get killed abroad, and the growing significance of air strikes and drone warfare, in our own time, is all pointing in a different direction. There’s no way human beings will be directly fighting our own battles unshielded, even in the medium term, let alone the distant future. Ethically and legally, this creates plenty of issues, but compared to having actual people actually die (and their relatives sue the government), it’s clear that non-human combat is going to be the future of warfare. (If our next major war doesn’t bomb us all back to the Stone Age in the meantime.) ALIENS even has a ready-made answer to this, in the creepily competent androids it gives other roles to. An android medic? While the humans go to war and die horribly? Who signed off on that?

I could go on endlessly about other visions of the distant future and how kitsch they look in hindsight, but FUTURAMA has basically done all that for me. Clever and deliberately backdated in its detailing, this funny show imagines that the year 3000 might have more in common with the kitsch, dated sides of the 20th century, than anything else. It’s no sillier a vision of the future than the ones it endlessly satirizes, and at least it knows it.

NEXT UP – WRITING THE NEAR FUTURE (AND THE FUTURISTIC PRESENT DAY)! Check out part one here: https://writemovies.com/insights-nothing-dates-faster-future-wheres-going-next/

© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.

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