Story. Screenplay. Sale.
To be a working screenwriter, one needs to write AND sell.
In Part 2 of the distribution journey, we hear about the distribution options facing a new film. If you missed Part 1, you can read it here. by Signe Olynyk There are more and more options all the time, but at the time, these were the primary distribution options we were considering: 1. Producer’s Rep … Read more
With the fall season on us (well, that is for our fellow southern hemispherians), ‘harvest’ is an appropriate theme. For a filmmaker, distribution is the equivalent of reaping a crop. But how do you ensure that you have a bountiful harvest, and not just a gathering of rotten fruit? The answer comes from the expert … Read more
This week we continue with part four in a twelve part series of JT Velikovsky’s doctoral thesis: “Understanding And Exploring The Relationship Between: Creativity; Theories Of Narratology; Screenwriting; And Narrative Fiction Feature Film-Making Practices.” By JT Velikovsky Taking up from last month, we move on to – Why it’s good to be a produced screenwriter. … Read more
Writing loglines is an essential skill for screenwriters, from early development through to the pitch. In this section, we review the loglines and short synopses of the screenplays that made it into the Blacklist 2012. Learn from the feedback and perfect your own loglining skills. by The Judges FLOWER “A coming of age story about … Read more
Writing loglines is an essential skill for screenwriters, from early development through to the pitch. In this section, we review the loglines and short synopses of the screenplays that made it into the Blacklist 2012. Learn from the feedback and perfect your own loglining skills. by The Judges CLIVE “After an accident causes a successful … Read more