Announcing results is the tough bit… especially at the Quarter-Final stage, where we have the most decisions to make, and the most people’s to disappoint about their writing submissions. At WriteMovies we make it our job to constantly open a door for writers and push their work to the next level, and take the ones that are ready into the international industry – but everyone is starting from a different place and whatever level a writer reaches they always have further steps to take to succeed and sustain themselves in the industry. To help you understand our logic and tips for how to make your work stand out to us, our Director Ian likes to write articles about “What Your Writing Has Been Telling Us” over this time. (more…)
Feature films tend to get most of the glory among filmmakers, but that doesn’t mean we should ignore short film as a medium! In a new series of Insights articles, Ian Kennedy looks at the benefits of writing in this format.
There’s a reason there’s not just one but two categories for shorts at the Oscars: one for live-action and another for animated. They can be a great way of telling stories that a lot of filmmakers overlook – and that includes writers!
So why write a script for a short film? Why get one made? Well, there are actually quite a few good reasons…
- You’ve got an idea for story that doesn’t suit feature length – sometimes, even the best concept can’t be spun out into a longer screenplay! That doesn’t have to a negative, though. Use the opportunity to tell the story in short form instead.
- To improve your skills by writing under constraint. All writing is done under constraint of some kind – of format, style, etc. – but the additional restrictions of length and budget with short film can be a great chance to prove yourself. Learning to write under constraint can actually be a great way to improve your writing!
- As proof of concept for a feature film. Making feature films is an expensive business, so why not show how well your idea works by making a short based on the same idea?
- To get a production credit. Getting a script produced can take hard work, but if you’ve already got a track record in short films, it can look great on your writing CV and give producer’s faith in your abilities.
- As a personal project – just because you love your idea or are passionate about filmmaking! Be careful, though; if you’re making a short film for personal reasons, make sure that everyone on the production knows what your motives are.
Making a short film brings all sorts of challenges of its own. You’ll still need a unique concept, a well-structured story, and characters that audiences can fall in love with – but you’ve got to get it all into a much smaller space! That’s why it can be such a great test of your skills as a storyteller.
Whatever your reasons for making a short film, make sure you know exactly what they are before you begin, whether you want to use it to take the next step in your career or just because you’ve got a story you’re desperate to tell!
WriteMovies Director Ian Kennedy explores the works of Stan Lee and why superhero stories unleash our imaginations better than any other kind of stories…
At the heart of every superhero story is a central question that fires our imaginations every time, and nobody took it further than Stan Lee. The extraordinary array of well-known characters he brought into the world, which return again and again across many formats and platforms, is testament to that.
Cosmic stories like the creation of the universe are just too big to really relate to as stories, at least in the scientific telling – but many mythologies and religions make these stories relatable by ascribing these vast events to recognisably humanized figures. Gods like Zeus/Jupiter and Odin/Woden are presented like more powerful versions of human beings, able to shape the world with their powers and the sometimes arbitrary logic of their choices and lives; ancient heroes like Hercules and Beowulf are humans but given extra powers or significance. Superhero stories are clearly following in this tradition – and grasp towards almighty powers at times (DOCTOR STRANGE, CAPTAIN MARVEL, The Phoenix in X-Men).
By bringing these forces down (or up – SPIDER-MAN!) to our scale, we get to explore how people like us would act if they were capable of so much more than we are. It’s no coincidence that the modern superhero genre and many of its biggest characters have their origins in the Great Depression – when ordinary people were powerless against global economic forces. The flimsy justifications that the storytellers find for giving these figures their powers, are really just an excuse to let our imaginations run riot, and are quickly delivered and forgotten about in most of the origin stories, so that we can get onto the fun and exciting bit.
Nobody grasped the potential of these stories more, or took them further, than Stan Lee and the teams of writers and illustrators and filmmakers who he has worked with – the list of now-famous characters he created is vast. But at the heart of all these stories is just one very powerful central question, which is deceptively simple but really fires our imaginations. “What would you do if you could…?”
Superheroes and supervillains both play out these powers and their potentials and hazards throughout every story. Here are some of our favorites at WriteMovies from Stan Lee’s creations.
If you could… move and sling webs like a spider!
On the one hand, Peter Parker is just an ordinary teenager, worried about the same kind of things as any other teenager – on the other, he finds himself equipped with the awesome powers that make him SPIDER-MAN. We can all relate to his troubles at school while rooting for him to become a true superhero as he learns an important lesson: “with great power comes great responsibility”.
If you could… fly around in an armored suit!
IRON MAN’s Tony Stark is basically another Bruce Wayne, but with much quirkier personality. As an outright arms manufacturer, he’s also more morally compromised than Wayne. While Wayne has an orphan sob-story, Stark has an ego. And unleashing an ego that size, on a suit that powerful, creates excellent conflict throughout – so much so that in CAPTAIN AMERICA: CIVIL WAR, he can fight against many of our other heroes, without losing our empathy.
If you could… use you other senses to fight despite being blind!
DAREDEVIL has found immense success on Netflix, and with good reason. Matt Murdock is a deep, conflicted character, living in a world of darkness after being blinded as a child. With his other senses heightened, the Devil of Hell’s Kitchen is so captivating because he doesn’t just overcome his physical disability but turns it into a strength, proving that anyone – even someone who is blind – can become a superhero.
If you could… shrink to the size of an ant!
Scott Lang may be a former criminal, but his desire to reform himself makes us support him all the same. As ANT-MAN, he proves that even the smallest person can make a huge difference – and all while showing us a crazy world around us too small for us to even see!
Stan Lee has given us plenty of amazing creations over the years, and the world is a lesser place without him. Take a look too at our thoughts on two films based on his other superheroes, THOR: RAGNAROK and BLACK PANTHER!
How to give Producers, Executives and Publishers what they say they want
In the first part of this article, Ian Kennedy wrote about how stories always show us an important aspect of life. Finding your voice as a writer involves recognizing the aspect you’re exploring and expressing it through the choices you make in your story…
This is a key tool in focusing your script – to ensure that everything that’s in it shows clear choices by the writer which each reveal different, important and often subtle features of that aspect of life which they’ve decided to explore. What choices you make, and how you present them (i.e. your style, another little-understood word that is often used by producers, execs and publishers), gives your writing its voice.
Here are some examples, they’re all just my own interpretations and summations of the stories mentioned but you’ll get the idea:
- “It’s about how life can be brutal and cruel.” This leads us to: “GAME OF THRONES explores a vivid fantasy world that is brutal and cruel, but where you can thrive if you’re tough enough, whether you’re a man or a woman.”
- “It’s about how life can be threatened by chaos and injustice.” This leads us to: “BATMAN battles a world where criminals and injustice threaten to turn our civilization to chaos.”
- “It’s about how life can be determined by what’s in your heart.” This leads us to: “STAR WARS is about how even the biggest cosmic battles come down to the goodness or darkness in people’s hearts.”
- “It’s about how life can be trapped in eternal childhood for some people.” This leads us to STEPBROTHERS, and other comedies.
- “It’s about how having the biggest brain doesn’t always make life easier.” THE BIG BANG THEORY.
- “It’s about how some people have special abilities or powers and have to decide how to use them right.” – Any superhero story. (Technically, Batman doesn’t have any superpowers, but hey, he’s rich and runs a huge tech-innovation company, so that’s the next best thing.)
For me, it’s both the choice of the aspect of life they want to explore, and the way that they then go on to explore it, which gives the writer their “voice”. Make a conscious choice about the aspect of life you want to explore, the many forms it takes and how you can dramatize those in a way that feels convincing (within the internal logic of your story world – even if that’s a silly or surreal one like MONTY PYTHON), and show how that aspect of life creates dilemmas and issues with important repercussions for your characters and their story world, which you can resolve in a way that shows your conclusions about these questions, and give us an answer we can go away with. As McKee explains, it could be a “This means that this”, a “This means that this, but also means this”, etc.
So for choosing your ending, this comes down to the ‘moral of the story’: your ending should reflect the message and new understanding you want us to take away from the story about life, particularly about ‘life in a world like the one we see in this story’. A message like, “in a world like this, hope always triumphs” or “in a world like this, hope is an illusion”. And you should focus your story on exploring all the features of the aspect of life you’re exploring, and bring us to a conclusion that’s both dramatically, emotionally, and intellectually satisfying conclusion which gives an answer to the big questions you’ve asked.
I believe that all great writing teaches us something about the world, that we didn’t already know or hadn’t understood in this way before. That’s why we want to live out alternative lives through characters and worlds that – if we’re honest – we’d run a mile away from ever having to live as. From their struggles and dilemmas, we take back lessons that enrich and inform our lives, for the better. Even grim stories, enrich our understanding of life for the better, and help resolve us not to let our world turn out that way.
In all of this, the writer’s voice is revealed, and proves itself to be unique. So. Focus your writing on what I’ve explained here, and as you’re applying it to every passage of your work, ask yourself whether your telling of this is fully convincing. Because that’s then the main obstacle to getting greenlit, once you’ve found your voice and proven yourself as a writer.
How to give Producers, Executives and Publishers what they say they want
When they’re answering questions about what they’re looking for in a script or book, you’ll often hear producers, execs and publishers claiming that the vital quality they look for in writing is the unique voice of the writer. I’ve heard this one a lot, and even when asked what they mean, they’ve rarely given any kind of definition to help writers go away with confidence of what they need to do.
But I read hundreds of scripts a year, watch plenty of productions in lots of genres, and help other writers improve their work every day. So here, I think, is a useful definition of where a writer’s voice comes from in their writing, and how they can “own it” and come across as unique and commissionable.
Firstly, it’s vital to recognize that all stories show us an aspect of life – hopefully an important or stimulating/entertaining one. (Why does nature reward us with laughter for recognizing things that are counterintuitive, ie funny? Because it’s stimulating and therefore expands our understanding of the world – which better equips us to survive and thrive in it. Comedy is not frivolous, it’s vital.)
So, recognizing the aspect of life you’re exploring in your story, can be expressed in one simple sentence:
“It’s about how life can be (funny/perverse/brutal/arbitrary/beautiful/whatever!)”
You should be able to pick a word or phrase to finish that sentence, which encapsulates the theme, tone and underlying logic of what kinds of thing happen in your story and why they happen. This is a key tool in focusing your script – to ensure that everything that’s in it shows clear choices by the writer which each reveal different, important and often subtle features of that aspect of life which they’ve decided to explore.
What choices you make, and how you present them (i.e. your style, another little-understood word that is often used by producers, execs and publishers), gives your writing its voice.
Stay tuned for the second part of this article, in which Ian goes into ever greater depth about a writer’s voice, the moral of a story, and how to write a great ending…
In films such as AVATAR, THE PLANET OF THE APES, and even the recent BLADE RUNNER 2049, not to mention TV series like WESTWORLD, we are starting to see that more and more humans as bad guys. In cinema’s constant hunt for new villains, stories reflect how we’ve banished the monsters and hazards from our real world, only to find our worst demons in the mirror and deep inside ourselves.
But why are big Hollywood companies risking hundreds of millions on films where the main villain is, well, us? Why would they risk it all, on us paying to go and blame ourselves for what’s wrong in their fictional worlds? Cinemas are usually the place we go for escapism – to get away from what’s happening on the news. If people are causing so much bad news, why would we want to see that amplified on screen?
In AVATAR, we enter an idyllic eco-topia where all nature – however scary – turns out to be symbiotic, and the threat comes from the human invaders who are determined to ravage the planet for its resources. Our protagonist is human – but lives most of his life in the film as a Nav’i and joins with the planet’s forces against the humans.
In the most recent PLANET OF THE APES trilogy, the human-centric story of the 1968 original – which saw humans struggling to survive in an society ruled by apes – is not merely discarded but inverted. We now find ourselves primarily following the ape CAESAR, who fights to lead his people to safety in a world where they are hated and feared by human beings.
And in BLADE RUNNER 2049, Ryan Gosling’s character – like Harrison Ford’s before him, we finally confirm – is the latest in a long string of replicant assassins employed to kill his own kind, to protect humans from the repercussions of their own creations. The story’s sympathies are clearly with the replicants, not the humans, taking the established Blade Runner theme of ‘what it means to be human’ to a new level.
Just watch a news broadcast, and ask yourself ‘who are the villains here?’, and ‘what’s causing the problems here?’. Apart from earthquakes and volcanos, you’ll usually only get one answer: people. Even when the problem is ‘nature’, like fires and hurricanes, we’re slowly having to admit that actually yeah, we are making things worse, putting ourselves in the firing line when we could live in safer places, and even causing many problems in the first place. A constant flow of research articles and bad-news stories tells us that we humans have enormous influence over the world around us, even if we can’t control it or ourselves.
This is reflected – unsubtly – in AVATAR. Like the earthly colonialists of recent centuries, the humans in AVATAR arrive under the guise of exploitative “trade”, backed up by formidable military intent. Like Vikings and colonialists of our world in past centuries, they are determined to get their way – whether peacefully or by violence. They come to a thriving tropical word, and pillage it for their own needs – sound familiar? The devastation caused by the humans is felt equally by the native species, the animals and even the plants, and this causes some humans to change sides and help the victims, like how people today try to help ‘save the rhinos’. The rest of the movie is totally told from the side of the natives, who our protagonist joins and even becomes.
In the news, we’ve also seen the tribal biases of the past starting to give way to a more balanced view. News stories used to put us solidly on one side of the important divides of the time (humans good, nature dangerous; ‘Western countries’ good, ‘Eastern countries’ bad; ‘civilization’ good, ‘primitive’ cultures bad…). But decades of peace in most of the world have given us the time to take a better look at ourselves, instead of ganging up together against the ‘other’. In fact, these days the news agenda and emphasis is mostly on the victims of war, crimes and abuse (such as sexual harassment or other cruel things done by ‘bad people’ to ‘innocent people’), and we’re much more suspicious than supportive of our leaders and politicians.
In most countries, the news media now is much more likely than before to take the side of victims, and even to fight to tell their story, rather than helping governments and powerful people cover up their abuses and mistakes – even if it often takes famous cases to bring much more widespread everyday abuses into the public eye, such as the Hollywood sexual harassment revelations focusing on the “big name” perpetrators and victims. In the past, history was always written about ‘great men’ who dominated their times. But these days, we emphathize more with the victim than the powerful aggressor. Filmmakers are using this angle in their films to reflect this concern by giving center stage to the victim of a story as opposed to whoever is causing the damage.
Top filmmakers will take the element of escapism and use it to reflect what is going on in the real world. They’re just tapping into the underlying messages behind our modern world and the news we consume every day. These films work because they tap into what we’re preoccupied with, what we now recognize, or think we understand, about the real underlying logic of our world. Filmmakers and production companies have to respond to our modern fears, expectations, preoccupations and feelings in order to tap in to them, get ahead of the curve, and create a cinematic experience that will stick with us. People who aren’t interested in GAME OF THRONES mostly assume it’s ‘just a fantasy story’, when actually it takes the world of fantasy and spins it, to tell vivid stories about some very modern preoccupations – female empowerment, and the brutality of fate – that they’d probably be a lot more interested in.
Why, though, are we happy to go see a film that villainizes humans rather than the aliens or monsters of past films? Well, nowadays people are more open minded than we used to be – peace makes that possible. Where we used to see other cultures as dangerously different, we can now recognize them as the victims of our own culture and values.
THE DARK KNIGHT trilogy mostly works well as a piece of superhero escapism and a reflection of our fears of domestic chaos and terrorism. AVATAR succeeds with its outlandish sci-fi setting and the eco-allegory about rainforests and nature in a symbiotic but fragile harmony.
So, like us, many Hollywood and filmmakers have recognized that humans are the problem – that we are the only real bad guys in this world, now we’ve crushed the monsters and natural environments that created so many threats to us in the past. They are now using this to tell stories from the point of view of humans’ victims, to create compelling stories where we can empathize with the characters victimized by people like us, and recognize the demons and drives within ourselves that cause problems for others in the world.
Then again, maybe it’s just because humans have got so powerful in our own world that we don’t have many other places to turn when we’re looking for villains and excuses for blockbuster mega-stories. Either way, it works.
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.
Even our winners’ fine scripts usually have a few important question marks in them, from a producer’s point of view. (If you would lose your job and your reputation for greenlighting a project that bombs, you’d feel the same.) So we use all our expertise and industry experience to feed back studio-quality reports and guidance for our winners, for a year, for free. It often takes that long – sometimes even longer – to get the script so sharp and convincing that producers can’t use easy excuses not to greenlight.
The process can even go beyond the one-year mark. One of our early winners has been very ill for much of the time since his prize; another – who is aiming high – decided to give the script a big review when I fed back to him my concerns that the things I felt producers would be wary about when I gave him the prize, still hadn’t noticeably progressed in his script. The writer’s approach to feedback, and their general responsiveness and promptness of redrafts, makes more difference than the guaranteed year-long timeframe: some scripts and writers are ready far sooner, others never convince us they’d reply promptly enough to a concrete offer from a serious producer.
Remember, WriteMovies have been pitching scripts to the industry for twenty years, and launched two Oscar-nominated writers into the industry. Things are ready when they’re ready. We don’t take any cut of option fees whatsoever – so we’re prepared to put in as long as it takes to give our winners the best chance of breaking through. When we succeed in doing that, everyone wins.
STEP TWO – THE ONE-PAGE PITCH
We’ll show you more about these and why you might want to make one, in another article soon. But these are meant to be a short, snappy, visual teaser of what this script would FEEL and LOOK like to the viewer. In an industry where the real decisionmakers are often hard to get on the phone, it’s important to present your script in the most professional way possible – that clearly shows how this movie could be SOLD to top talent and audiences. Getting our one-page pitches right is an important way to show that we, and our writers, mean business.
In the Terms & Conditions of entering our main contests, you’ll see a promise of ‘intensive pitch coaching’. This is it. We coach our winners to prepare their logline and one-page pitch, guiding them through multiple drafts as we get this right with them. At the end of it, the writers are far better placed to present and pitch their scripts in future.
And you know what else? More than a few have found that the process of presenting their script in a one-page pitch, has made them sharpen and focus and intensify their script more effectively. Everyone wins.
Meanwhile, we often give our Elite Mentors the chance to feed back on the scripts on our slate – and the writers love getting feedback from top industry pros like them. Sometimes the Elite Mentors even get involved and help push the script forward towards production themselves, which is the best of all worlds.
STEP THREE – RESEARCHING WHO TO TARGET
From quite an early point, we’ve already warmed up the industry to the projects on our slate, because of the promotion we give our winners in the weeks after their win, and consequently when their logline is promoted extensively to the industry through InkTip. We also sometimes use our dedicated Industry Newsletters (which go out to hundreds of producers and agents) to promote scripts more widely too. But these methods are only a small part of the real pitching process. The world is busy and full of competition, and everyone you want to reach out to needs treating as an individual.
Lots of writers take a scattergun approach, approaching as many producers, directors or actors as possible. Lots of writers think the world OWES them for creating their scripts, and should now bow down before them. Good luck with that. If you don’t understand the real life of producers and talent, you’ll need a totally world-changing script in order to break through with that attitude. And, if you’re so oblivious to the individuality and business needs of the people you’re approaching, you almost certainly won’t have achieved a script that good anyway.
So, between us and the writer, we compile SHORT lists of producers or talent who we think could really go for this project (exploring all sides of my motto: Aim High, Use Allies, or DIY – Do It Yourself). We research them properly, their track record and preferences, and how best to reach them. We then make our approach on whatever platform, opportunity or situation is the one they’d be most likely to favour. With our track record and polished scripts and one-page pitches, we’ve got a good chance of getting in the door. If we’re then invited to send the whole script, awesome. From that point, it’s up to the writer and producer/talent: we keep the line open and follow up until there’s a result, for better or worse. And then seal the deal or get proper feedback that we can use to improve the script or our understanding of its prospects, and then move on to the next on our shortlist.
Wherever possible, of course, we pitch in person, or failing that on the phone. Most people prefer doing business with strangers by email, but building their trust and their image of us gets us in a lot of doors that writers alone couldn’t. Our in-person pitching in the last two years has got many of our scripts read by leading players and has earned us important new allies, some of whom put us in touch with other people who’ll read the script now it’s been recommended by someone they trust and rate.
Getting a ‘no thanks’ often isn’t a closed door, if we’ve handled the approach right. It’s just a no to this script at this point in time. But with the range of our slate – now and in the future – and all the other services we offer, we always look to keep the door open for mutual support in the future. We keep in regular touch with all producers or agents who are happy for us to, such as through our industry newsletters.
It’s often frustrating how little of all this activity we get to share with you publicly. For obvious reasons, producers and talent wouldn’t want us to share the detail of what we discuss with them. But believe me, if you become a winner in one of our main contests, we’ll be working furiously behind the scenes to take your script as far as it can go.
While many agents and writers would be annoyed to learn that the company we approach have already got something similar on their slate (maybe worried they’ve been plagiarized!), personally I welcome it. Why? Because it shows we really did get this to the people who’d be interested in it. And the praise we often get back from them is great momentum to take into our next approach.
© WriteMovies 2017. Exclusive to WriteMovies – To syndicate this content for your own publication, contact ian (at) writemovies dot-com.