Tuesday, May 31, 2011

Back on my job

Okay, I haven't updated in a while. I have not come up with any new script ideas in a while. But I have been dilligently skimming the fat from A BULLET FOR MY BEST FRIEND. I went from 124 pages (OMG) to 110 pages, and now I'm at 106 pages. Pretty good, huh? My goal is to cut to 104 pages before I send out for notes. At which point people tell me that major plot and character points don't work, and I realize I have only just dipped my feet into the pool of shit that will be my life as a screenwriter.

Wednesday, May 25, 2011

script idea

two twin brother plastic surgeons decide to alter their appearances in hopes of forming stronger personal identities.

Tuesday, May 24, 2011


1. Producer lady finally emailed me back. She hasn't read my shit yet, but at least she remembers who I am.

2. Bullet is going to be the screenplay I look back on and hate in two years. That's okay. It's getting better the more bullshit I shear from it.

Sunday, May 22, 2011

script idurrrrrrrs

A bedroom farce about 3 young professional couples who live in the same apartment building. A comedy of misunderstanding and infidelity.

Friday, May 20, 2011


Bullet For My Best Friend Draft 3C is 124 pages. 3D needs to be 105, but I like every scene. This is going to be a serious exercise in discipline. Also, hopefully, I will mine out a screenplay tighter than Mary's virgin butthole.

Wednesday, May 18, 2011

scipt idear

a james bond type secret agent is everything a spy should be: intelligent, strong, fast, an expert marksman, proficcient in many languages and a master of camoflouge. The only thing is, he's deathly afraid of women, and looses his composure whenever an attractive female speaks with him.

Tuesday, May 17, 2011

it's 3:15, i have to get up at 10 and I'm not tired. So I'm spitting out ideas for Sweet Lou.

He has seven days to organize a party for a local female radio celebrity. Tasks include:

-contacting an acquaintance who manages male strippers for entertainment
-booking a popular hip-hop act to perform (even though they are notorious for causing problems with their venues)
-choosing a caterer (one of his relatives wants to cater, but for some reason, this won't work)

other professional issues include:
-the city is cracking down on clubs in the area -- the liquor authority is harassing him, the fire marshall is citing him for safety violations.
-delegating between two spiteful ex-lovers who both work as bartenders
-an asshole customer who continually gets drunk, buys people drinks and then debates the credit charges when he sobers up
-the club owner wants to sell the club to Lou and make him the owner, but  Lou knows that he cannot take on that responsibility.

personal issues:
-pressure from his wife to spend less time at the club
-also, his anniversary is coming up
-managing a flirtatious relationship with a beautiful liquor saleswoman who is always trying to solicit him
-a daughter who begins dating one of the bouncers
-he is developing panic attacks, and the head bartender (his good friend) wants him to see a therapist.
-he is drinking too much to manage the stress


Monday, May 16, 2011

script idear

A night porter befriends a prostitute who works the hotel. When she ends up dead, he begins asking questions and becomes embroiled in a cover up involving local politicans and the police department.


(to be fair, I've been writing this story on-and-off for the last 3 years, so its not really a new idea)

Jonathan Franzen’s 10 Rules of Writing

  1. The reader is a friend, not an adversary, not a spectator.
  2. Fiction that isn’t an author’s personal adventure into the frightening or the unknown isn’t worth writing for anything but money.
  3. Never use the word “then” as a conjunction– we have “and” for this purpose. Substituting “then” is the lazy or tone-deaf writer’s non-solution to the problem of too many “ands” on the page.
  4. Write in the third person unless a really distinctive first-person voice offers itself irresistibly.
  5. When information becomes free and universally accessible, voluminous research for a novel is devalued along with it.
  6. The most purely autobiographical fiction requires pure invention. Nobody ever wrote a more auto biographical story than “The Metamorphosis”.
  7. You see more sitting still than chasing after.
  8. It’s doubtful that anyone with an internet connection at his workplace is writing good fiction.
  9. Interesting verbs are seldom very interesting.
  10. You have to love before you can be relentless.

Friday, May 13, 2011

script iderrs

a small town is thrown into pandemonium when crop duster plane crashes, enveloping the town in a deadly chemical.

Tuesday, May 10, 2011

script idea

a married couple go to a murder-mystery party on a cruise ship and find themselves becoming seduced by the game, to the point of obsession.

Monday, May 9, 2011

script idea

when the neighborhood finds out that their beloved local ice-cream truck driver is a non-offending pedophile, he is thrown into the national spotlight as a reluctant advocate for "pedophile's rights".

script idea erryday

Six long-time friends reunite at a lakeside cabin. When one attendant's identical twin sister shows up unexpectedly, shit goes bad.


Friday, May 6, 2011

Go Into The Story: 'Bad Guys,' saving the cat, and whacking the cat, ...

Go Into The Story: 'Bad Guys,' saving the cat, and whacking the cat, ...: "I'm following up on this post with a reprint of a previous article to drive home a point: The best way to make a reader feel anything at a ..."

This character is simply the most important figure in your story world. S/he is your Hero, the one through whose experience you tell your story. Therefore, it is imperative to make the audience/reader identify with your Protagonist. How do you do this? Following the following five guidelines is a good start.


If the reader shares some common experience with the Protagonist, then it helps because you now have the reader using their memory/experience to solidify a bond.


If your Protagonist is perfect, you not only give them no room to grow, you distance yourself from the audience because people aren’t perfect. Your Protagonist has to have flaws to make them identifiable.


There is possibly no better way to establish a connection with your Protagonist than dumping a load of problems on them right from the start, almost forcing the audience to feel sorry.


Make sure to look for personal qualities in your Protagonist which lure the reader warm up to them.


People love others who are funny; use that to your advantage with your Protagonist. The funnier the Protagonist is the more distasteful a character you can begin your story with.


Your Nemesis exists because they are in direct opposition with your Protagonist. Their goal is almost always the same – whatever the Protagonist wants to achieve or possess, the Nemesis struggles to prevent the Protagonist from succeeding.

Without a worthy adversary, there is no conflict. And with no conflict, you have no story.

Where you want to create audience/reader identification with the Protagonist, you want to create fascination with the Nemesis. How to do this. Again, the five guidelines:

Go Into The Story: 'Bad Guys,' saving the cat, and whacking the cat, ...

Go Into The Story: 'Bad Guys,' saving the cat, and whacking the cat, ...: "I'm following up on this post with a reprint of a previous article to drive home a point: The best way to make a reader feel anything at a ..."


All too often, I read scripts where I can not relate to the Nemesis. That is not a good thing because it keeps this character at arm’s length, making them more of a concept than a real “person.” As a writer, you must tap into something human in the Nemesis to provide a point of connection.


In trying to create a “formidable foe,” too many writers go too far, making the Bad Guy invulnerable. This makes the Nemesis inhuman and distances them from your audience.


By humanizing the Nemesis, you make the reader squirm, forcing them to pay attention to the story which has laid out a negative character to whom they can relate. This also makes for a much more fascinating character


Many Bad Guys out there in the world rely on their charm in creating situations to their benefit - gaining the trust of a victim, winning them over… then striking.


To make your Nemesis distinct and interesting, give them a sense of humor.

In the best of all story worlds, you want your Protagonist and Nemesis to have an equal chance to succeed in achieving the goal they share. This does not mean they have to have the same power, resources, or skill-sets; indeed, you will almost invariably want to begin your story with the Protagonist in an inferior position to the Nemesis. What it does mean is that the Nemesis is not simply a straw man – they must be genuine and worthy foes, equal to the task of pushing your Protagonist to the absolute limit of their capabilities.

Go Into The Story: Writing Tips: Neil Gaiman

Go Into The Story: Writing Tips: Neil Gaiman: "Here are some tips on writing from novelist and screenwriter Neil Gaiman : 1 Write. 2 Put one word after another. Find the right word..."

1 Write.

2 Put one word after another. Find the right word, put it down.

3 Finish what you're writing. Whatever you have to do to finish it, finish it.

4 Put it aside. Read it pretending you've never read it before. Show it to
friends whose opinion you respect and who like the kind of thing that this is.

5 Remember: when people tell you something's wrong or doesn't work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.

6 Fix it. Remember that, sooner or later, before it ever reaches perfection, you will have to let it go and move on and start to write the next thing. Perfection is like chasing the horizon. Keep moving.

7 Laugh at your own jokes.

8 The main rule of writing is that if you do it with enough assurance and confidence, you're allowed to do whatever you like. (That may be a rule for life as well as for writing. But it's definitely true for writing.) So write your story as it needs to be written. Write it ­honestly, and tell it as best you can. I'm not sure that there are any other rules. Not ones that matter.

Wednesday, May 4, 2011

script idea erry day

A government agent is sent undercover to infiltrate a criminal organization. As he goes deeper and deeper, his deciet grows more elaborate, and dozens of agents become involved, working to maintain a cover that includes a fictional family, friends, and  hometown.

Tuesday, May 3, 2011

Go Into The Story: Writing Tips: David Hare

Go Into The Story: Writing Tips: David Hare: "Writing tips from playwright and screenwriter David Hare : 1 Write only when you have something to say. 2 Never take advice from anyone ..."

1 Write only when you have something to say.

2 Never take advice from anyone with no investment in the outcome.

3 Style is the art of getting yourself out of the way, not putting yourself in it.

4 If nobody will put your play on, put it on yourself.

5 Jokes are like hands and feet for a painter. They may not be what you want to end up doing but you have to master them in the meanwhile.

6 Theatre primarily belongs to the young.

7 No one has ever achieved consistency as a screenwriter.

8 Never go to a TV personality festival masquerading as a literary festival.

9 Never complain of being misunderstood. You can choose to be understood, or you can choose not to.

10 The two most depressing words in the English language are "literary fiction".

Monday, May 2, 2011

Go Into The Story: Writing Tips: Billy Wilder

Go Into The Story: Writing Tips: Billy Wilder: "You've probably seen this. If not, here it is. If you have, a good reminder of some basic stortytelling principles from a master of telling ..."

1. Grab 'em by the throat and never let go.

2. Develop a clean line of action for your leading character.

3.The more subtle and elegant you are in hiding your plot points, the better you are as a writer.

4. If you have a problem with the third act, the real problem is in the first act.

5. Tip from Ernst Lubitsch: Let the audience add up two plus two. They'll love you forever.

6. The audience is fickle. Know where you're going.

7. In doing voice-overs, be careful not to describe what the audience already sees. Add to what they are seeing.

8. The event that occurs at the second act curtain triggers the end of the movie.

9. The 3rd act must build, build, build in tempo until the last event, and then...

10. ...that's it. Don't hang around.

script idea

It's promotion time in hell, and Satan's 3 best understudies have an assigment: be the first to collect 1000 new souls and get the promotion.