Friday, August 19, 2011

Queries/Loglines for BULLET

I'm going to make a concentrated effort to pull together a shitload of emails for various agencies and managers from the blacklists. Then I am going to drop a fucking QUERY BOMB. But I must perfect my logline. I'm going to try to cram as much info into it as possible.

"When her little brother is murdered by the leader of her former gang, Dakota sets out on a quest for bloody vengeance." This ignores the most interesting elements of the story: the girl-gangs, Val and Jake.

"Dakota vows to kill her ex-best friend for murdering her little brother. When she meets Val, a single mother who's infant son has been kidnapped, and Jake, a sixteen year old male prostitute, she is forced to decide between avenging her old family or creating a new one."

"Dakota must avenge her brother's murder, safe her friend's kidnapped infant son and baby-sit a sixteen year old male prostitute, all in time to make her high school graduation."

Still like #2, will wait to hear what Tyger thinks.

Tuesday, August 16, 2011


THEME of episode: privacy/trust/technology

Claire thinks that Haley has been sexting on her cellphone, so she takes away everyone's laptops and  smart phones and makes them use the family computer and landlines, which she monitors. This opens a huge can of worms...

Cameron and MItchel make Lily a twitter and fight over the tweet content of it.

Manny wants to meet a girl he's been talking to online. Gloria and Jay have to figure out if they should let him.

Sunday, August 14, 2011

Go Into The Story: Video Interview: Billy Wilder

Go Into The Story: Video Interview: Billy Wilder: "My favorite writer-director, the late great Billy Wilder. These clips from a 1986 appearance at AFI: Part 1 Part 2 Part 3 ..."

Thursday, August 11, 2011


The top-secret drug Simon and Verona are stealing is the first legit penis enlargement medication.

Bada-bing bada-boom

Ian Flemming on writing

By Ian Fleming
People often ask me, “How do you manage to think of that? What an extraordinary (or sometimes extraordinarily dirty) mind you must have.” I certainly have got vivid powers of imagination, but I don’t think there is anything very odd about that.
We are all fed fairy stories and adventure stories and ghost stories for the first 20 years of our lives, and the only difference between me and perhaps you is that my imagination earns me money. But, to revert to my first book, Casino Royale, there are strong incidents in the book which are all based on fact. I extracted them from my wartime memories of the Naval Intelligence Division of the Admiralty, dolled them up, attached a hero, a villain and a heroine, and there was the book.
The first was the attempt on Bond’s life outside the Hotel Splendide. SMERSH had given two Bulgarian assassins box camera cases to hang over their shoulders. One was of red leather and the other one blue. SMERSH told the Bulgarians that the red one contained a bomb and the blue one a powerful smoke screen, under cover of which they could escape.
One was to throw the red bomb and the other was then to press the button on the blue case. But the Bulgars mistrusted the plan and decided to press the button on the blue case and envelop themselves in the smoke screen before throwing the bomb. In fact, the blue case also contained a bomb powerful enough to blow both the Bulgars to fragments and remove all evidence which might point to SMERSH.
Farfetched, you might say. In fact, this was the method used in the Russian attempt on Von Papen’s life in Ankara in the middle of the war. On that occasion the assassins were also Bulgarians and they were blown to nothing while Von Papen and his wife, walking from their house to the embassy; were only bruised by the blast.
So you see the line between fact and fantasy is a very narrow one. I think I could trace most of the central incidents in my books to some real happenings.
We thus come to the final and supreme hurdle in the writing of a thriller. You must know thrilling things before you can write about them. Imagination alone isn’t enough, but stories you hear from friends or read in the papers can be built up by a fertile imagination and a certain amount of research and documentation into incidents that will also ring true in fiction.
Having assimilated all this encouraging advice, your heart will nevertheless quail at the physical effort involved in writing even a thriller. I warmly sympathise with you. I too, am lazy. My heart sinks when I contemplate the two or three hundred virgin sheets of foolscap I have to besmirch with more or less well chosen words in order to produce a 60,000 word book.
One of the essentials is to create a vacuum in my life which can only be satisfactorily filled by some form of creative work – whether it be writing, painting, sculpting, composing or just building a boat – I was about to get married – a prospect which filled me with terror and mental fidget. To give my hands something to do, and as an antibody to my qualms about the marriage state after 43 years as a bachelor, I decided one day to damned well sit down and write a book.
The therapy was successful. And while I still do a certain amount of writing in the midst of my London Life, it is on my annual visits to Jamaica that all my books have been written.
But, failing a hideaway such as I possess, I can recommend hotel bedrooms as far removed from your usual “life” as possible. Your anonymity in these drab surroundings and your lack of friends and distractions will create a vacuum which should force you into a writing mood and, if your pocket is shallow, into a mood which will also make you write fast and with application. I do it all on the typewriter, using six fingers. The act of typing is far less exhausting than the act of writing, and you end up with a more or less clean manuscript. The next essential is to keep strictly to a routine.
I write for about three hours in the morning – from about 9:30 till 12:30 and I do another hour’s work between six and seven in the evening. At the end of this I reward myself by numbering the pages and putting them away in a spring-back folder. The whole of this four hours of daily work is devoted to writing narrative.
I never correct anything and I never go back to what I have written, except to the foot of the last page to see where I have got to. If you once look back, you are lost. How could you have written this drivel? How could you have used “terrible” six times on one page? And so forth. If you interrupt the writing of fast narrative with too much introspection and self-criticism, you will be lucky if you write 500 words a day and you will be disgusted with them into the bargain. By following my formula, you write 2,000 words a day and you aren’t disgusted with them until the book is finished, which will be in about six weeks.
I don’t even pause from writing to choose the right word or to verify spelling or a fact. All this can be done when your book is finished.
When my book is completed I spend about a week going through it and correcting the most glaring errors and rewriting passages. I then have it properly typed with chapter headings and all the rest of the trimmings. I then go through it again, have the worst pages retyped and send it off to my publisher.
They are a sharp-eyed bunch at Jonathan Cape and, apart from commenting on the book as a whole, they make detailed suggestions which I either embody or discard. Then the final typescript goes to the printer and in due course the galley or page proofs are there and you can go over them with a fresh eye. Then the book is published and you start getting letters from people saying that Vent Vert is made by Balmain and not by Dior, that the Orient Express has vacuum and not hydraulic brakes, and that you have mousseline sauce and not Bearnaise with asparagus.
Such mistakes are really nobody’s fault except the author’s, and they make him blush furiously when he sees them in print. But the majority of the public does not mind them or, worse, does not even notice them, and it is a dig at the author’s vanity to realise how quickly the reader’s eye skips across the words which it has taken him so many months to try to arrange in the right sequence.
But what, after all these labours, are the rewards of writing and, in my case, of writing thrillers?
First of all, they are financial. You don’t make a great deal of money from royalties and translation rights and so forth and, unless you are very industrious and successful, you could only just about live on these profits, but if you sell the serial rights and the film rights, you do very well. Above all, being a successful writer is a good life. You don’t have to work at it all the time and you carry your office around in your head. And you are far more aware of the world around you.
Writing makes you more alive to your surroundings and, since the main ingredient of living, though you might not think so to look at most human beings, is to be alive, this is quite a worthwhile by-product of writing.

Sunday, August 7, 2011

spy script

1) I am starting a new outline for my spy script. I still don't have a third act, but the first and second are definitely filling out. I've added 2 new characters (Simon's accomplice Legrosse, and a new assasin named Ellis). Next order of business is doing an "emotional outline", because like, emotions are cool and shit.

2) I need titles. All I have so far is "A pervert, a whore and the cure for cancer/AIDS/whatever the mcguffin is.

Saturday, August 6, 2011

TrackinB/BULLET logline

So I need a logline for BULLET for Trackingb

"Dakota must avenge the murder of her little brother, save her friend's kidnapped infant son and babysit a sixteen year old boy prostitute, all in time to make her high school graduation"

that's pretty much the same one I've been using for months now, so there you go.

Thursday, August 4, 2011

"Great scripts find their way to the top. Great material always gets read and passed along and careers start. It all starts on the page."

Wednesday, August 3, 2011

The Big 100

I'll (privately) celebrate my 100th post by unveiling a potential log-line for my newest script.

"A sex addict and a prostitute team up to steal a hugely important (and valuable) document from a major pharmaceutical company. A dark romantic comedy with a hearty dose of gun play."

Now I have a lot of research to do on a) sex addiction b) identity fraud c) money counterfeiting and d) escort services (in that order).