Writing Insights: Your Script’s Budget
With films from Marvel, Star Wars, and other big franchises dominating the box office these days, a lot of screenwriters are left wanting to write big budget films. You have to spend money to make money, right?
With films from Marvel, Star Wars, and other big franchises dominating the box office these days, a lot of screenwriters are left wanting to write big budget films. You have to spend money to make money, right?
An historical drama set in Roman Britain adapted from the novel by Rosemary Sutcliff, OUTCAST captured us from the first page to the last with its superb world-building and dramatic story. Congratulations to its writer, Sarah Bellwood, for placing 3rd in our Spring 2019 Screenwriting Contest!
It’s one of the most exciting moments of the year for us here at WriteMovies… Yes, it’s the moment we get to announce the winners of our most recent competition: the Spring 2019 Screenwriting Contest!
We’re celebrating our new Horror Award with a series of articles about our favorite films and TV shows in horror. Find out what scares us the most… and what we’re looking for from a horror script! Next up: THE HAUNTING OF HILL HOUSE… (more…)
To say that book adaptations are popular would be an understatement. Stephen King received no fewer than four in 2017 alone, and has the same set for this year (although only PET SEMATARY has so far seen a release). But what’s the best way to write an adaptation?
There are a few key things if you want to write an adaptation. The first is the big difference in length between a book and a screenplay! The average novel is approximately 90,000 words (with something like WAR AND PEACE getting up over 580,000!), but the average screenplay is only about 15,000.
That means a lot of words need to get cut! A lot of things won’t make it from the book into your screenplay, so don’t try to include everything. But how do you know what to leave in and what to take out?
Here are our tips…
There are plenty of other things to think about if you want to write an adaptation, but we’d suggest this is where you start. Novels and screenplays are very different mediums – and that is a fact that shouldn’t be forgotten!
One other thing before you start writing: make sure you pick your project carefully. Some novels rely very heavily on interior thought and description to tell their stories, and won’t translate well to film which (as mentioned above!) is primarily visual.
And above all else, make sure you love the book you’re turning into a script! There’s nothing worse than getting halfway through a project before starting to regret it.
Already finished your script, adaptation or otherwise? Think you’ve got what it takes to impress us? The WriteMovies Fall 2019 Screenwriting Competition is now open for submissions – click here to find out more and enter today!
It’s a big day for us here at WriteMovies as we announce the Quarter-Finalists from our Spring 2019 Screenwriting Contest – and what an amazing group of scripts this has turned out to be!
The bar continues to rise for us with each competition. The response to this contest has been genuinely fantastic, with people submitting right up to the final deadline – and many more taking advantage of our one-week extension!
It’s hard to think of a time when the standard has been higher. We’ve had screenplays from all kinds of genres, ranging from serious drama to children’s animation, from horror to comedy to romance and everything in between!
And of course, fuelled by our inaugural Sci-Fi and Fantasy competition – with every submission also receiving free entry to the Spring 2019 Contest – we’ve not only been taken to countless new worlds, but we’ve had even more high quality scripts to judge than ever before!
If you’re disappointed that you haven’t made it onto our list of Quarter-Finalists, just keep in mind how tough the competition was this time. And don’t give up! If you want to go further but aren’t sure how, we’d recommend making use of one of our Script Report services to get the feedback you need that will take your script to the next level.
You’ll also get free entry to our next major Screenwriting Contest when you buy a Script Report: the Fall 2019 Screenwriting Contest is already open for submissions. Click here to find out more!
But for now, well done to all of our Quarter-Finalists, and keep an eye out for Semi-Finals on August 2nd. Hit the button below to find out who made the Quarter-Finals!
| Quarter-Finalists | ||
| BISCAYNE, Adam Hersh | THE ENCHANTED OPAL, Alan Smith | CARAVAGGIO, Alasdair McMullan |
| TORONTO THE GOOD, Andrew Moodie | SURVIVAL, Anne Raitt | EPSILON, Anthony Etherington |
| GLEIS DER VERGELTUNG, Astrid Korten | LADY IN RED, Astrid Korten | DIE TRANE, Astrid Korten |
| MADE IN AMERICA, Rikki Rivera | STARRING… JOHN DILLINGER, Bill Walker & Brian Anthony | DON’T TELL A SOUL, Dan Stone |
| MARS GENESIS, Don Ternyila | THREE DAYS, Emilio Santin | APEX VANISHED, Eric Barcley |
| RACE MUSIC, Eric Weber & Hasan Oracius | THE CRAWL UP, Gabriell DeBear Paye | OMEGA POINT, James Bingham |
| FABLE OF THE JADE TIGER, Jason Fisher | IN THE GAME, Jason Fisher | ITER APOCALYPSE, Jean-Francois Oviode |
| A CHANGE OF PLANS, Jeffrey Ward | MONSTER, Jennifer Carta | UN CRIME PLUS QUE PARFAIT, Joel Prost |
| CHANNEL THIRD, Jonathan Murnane | GODLESS SKIES, Joshua David Harris | SUNSHINE STATE: DUENDE, Kai Thorup |
| DOUBLE FF, Karl Mather | CAROLINE BUXTON’S LIPSTICK POSSE, Kelly Karam | KID SOLDIER, Kelly Karam |
| LENA’S RULES, Ken Comer | ANCIENT DEMONS, Kushagra Kundra | PLANET SPARTA, Link Miller |
| THE TIME-TRAP, Mark Flood | ENDANGERED SPECIES, Mark Flood | PRODOMICA, Matt Lewis |
| INCIDENT AT PINEY HOLLOW, Michael Neyland & Susan Neyland | THE REVOLT OF THE WALES, Michael Rhodes | VOYAGE DANS L’HISTOIRE, Nanny Silvestre |
| CINQUIEME ETAGE, Natacha Astuto | KATHARINE TO TESLA, FAITHFULLY YOURS, Natalie Paige Bentley | THE MERMAID, Natalie Paige Bentley |
| THE SAX, Pascal Kulcsar | SHIRO, Pascal Kulcsar | SURGEON HONG, Paul Gross |
| THE LAST PRISON, Richard Geiwitz | DARWIN RISING, Richard Geiwitz | TALES FROM MYSTERION: THE HIDDEN ISLAND, Richard Garcia Morgan & Ryan Jaroncyk |
| SUPREMACY, Rosalyn Rosen | HIGHLAND DRIVE, Rosalyn Rosen | OUTCAST, Sarah Bellwood |
| FRESH START, INC., Scott Taylor | THE CHEESE DANCE FILM FESTIVAL, Steven Bednar | A TASTE OF PRIVILEGE, Steven Bednar |
| HUNT FOR THE LOST SECRET OF EDEN, Tom Zmiarovich | APOCALYPSE, Tyler True | LOVE IS EVERYTHING, Tyler True |
| DER LETZTE BUS, Urs Aebersold | THE M&M BOYS, Gino DeMarco | COYOTE WARRIOR, Roberta Rovner Pieczenik |
Semi-Finalists are due to be announced on August 2nd and Finalists and Winners on August 16th – keep an eye out for those!
If you can’t write dialogue, you can’t make it as a screenwriter. In a medium where it’s all but impossible to show thoughts and feelings, it’s dialogue that drives the plot, demonstrates who the characters are, and makes up most of the word count.
The average novel runs to about 90,000 words. The average screenplay? Just 15,000. That’s 75,000 words of description gone missing, leaving the dialogue to do most of the heavy lifting.
Okay, there are films that have succeeded, against the odds, using only a few spoken words: ALL IS LOST is a great example. But for the most part, knowing how to write dialogue is a key skill for any screenwriter. Here are our tips…
So there you have it – now you should know how to write dialogue in your screenplay, and make it stand out over the competition. But of course, this is just one of the skills you’ll need. There are a great many more things to learn…