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Author: Mike Boas

Scriptitude 2019 Wrap-Up

Scriptitude 2019 Wrap-Up

Thanks to everyone who attended our 2019 Scriptitude table read event at RIT! We had great performances and some valuable Q&A time with our winning screenwriters.

Photos by Noel Bastien

The short screenplays read were the following:

“The Frame-Up”by Patrick Harney
A wizened, young detective gets herself pulled into a dangerous squeeze-play while trying to locate her client’s lover.

“Homefulness”by Dan LaTourette
A father takes his ailing mother and spitfire son for a drive down memory lane… in a 1963 Studebaker.

“Someone”by Brian VanDenBergh (co-written by Nick Pasquarella)
After his appendix bursts, a young man is held hostage by the software technology employed to run his home.

Congratulations to Patrick, Dan, Brian, and Nick for their amazing scripts!

Announcing SCRIPTITUDE: Best Short Screenplays of Upstate NY

Announcing SCRIPTITUDE: Best Short Screenplays of Upstate NY

ATTENTION SCREENWRITERS!

The Rochester Association for Film Arts and Sciences presents a short script competition open to all residents of upstate NY. Enter to win one of three copies of FINAL DRAFT, as well as a table reading of your script by experienced actors before a live audience.

This is a great opportunity to hear your work and the scripts of other writers performed by dedicated actors!

Write something new, or fix up a screenplay you’ve had in the drawer. But don’t delay! Deadline for entry is February 28. Table reading will be scheduled for an evening in April.

AWARDS AND PRIZES

Each screenplay submitted will receive a written critique of their work. First, second, and third place winners will have their screenplays presented at a public table read at the Wegmans Magic Spell Theater at the Rochester Institute of Technology. In addition, the three winners will receive a copy of Final Draft 11.

ENTRY FEE

The cost for each entry is $25. Proceeds go to Rochester Association for Film Arts and Sciences, a not for profit educational corporation run entirely by volunteers.

RULES

For full rules, see our listing at https://filmfreeway.com/scriptitude

For more about the Rochester Association for Film Arts and Sciences, visit http://rafasny.org

SCREENWRITING QUESTIONS?

RAFAS is an educational organization, and we believe in sharing our knowledge with those interested in all aspects of filmmaking. Through the Rochester Writers Workshop, we meet with writers and discuss screenwriting in depth. If you are in the Rochester area, come to one of our Wednesday night meetings! Details are at http://rwwny.org

Deadline for Entries is February 28, 2019


Submit your screenplay PDF at https://filmfreeway.com/scriptitude

Writing a Horror Script

Writing a Horror Script

In honor of Halloween, here’s an article by Karina Wilson posted on the Bluecat Screenplay website:

http://www.bluecatscreenplay.com/the-bluecat-screenplay-competition-blog/writing-genre-screenplay-horror/

“The final stage of the action should go all out, with the protagonist drawing on every resource they have to escape — or defeat — the Threat, which responds by attacking with a viciousness we haven’t seen before.”

The Mission Impossible Spoilercasts

The Mission Impossible Spoilercasts

Empire Magazine has a pretty terrific podcast, as I’ve just discovered. And one thing they’re making a habit of is long-form interviews with writer/director Christopher McQuarrie.

You can listen to him discuss (at length) the making of Mission Impossible: Fallout for nearly 6 hours! Most of it is gold. These were two separate interviews, so I forgive him for repeating one or two stories.

From a screenwriting point of view, it’s interesting to discover how much they back into, based on the globe-trotting action set-pieces. For example, they knew they wanted a helicopter chase. They found a country that would let them do it, then they came up with a plot reason for the characters to be there. So the screenplay was secondary to the locations.

McQuarrie’s approach to the villain was similar. Find out what he wanted him to do, then write the plot and motivations to support the end result. Not always the way screenwriters work.

Here’s Part 1.

Here’s Part 3. (There is no Part 2. Well, there’s a Part 2 episode, but it’s the Empire journalists gabbing, with a preview of the Part 3 interview.)

And if that’s not enough, you can go back in time and listen to McQuarrie talk Mission Impossible: Rogue Nation here.

Beware giant blocks of description!

Beware giant blocks of description!

Don’t get carried away with description. Remember, a page should equal about a minute of screen time. If you have a lot of action, be economical with how you describe it, and break up the key moments into new paragraphs.

Also, don’t let those characters monologue too often. There’s a difference between the style of speech in plays and movies.

Read more about “white space” at Screencraft.org

Your character’s voice

Your character’s voice

Each of your characters should have a unique way of talking. Writing a British character? Get the language right! Here in the USA, we might say elevator, apartment, and flashlight, but across the pond it’s lift, flat, and torch. This video from Vanity Fair gets into some other saucy slang: