Writers Store: Articles

Articles - Gatekeeper Q&A

Agent, Manager or Both?
by Fran Harris
Reader Melissa Gallardo from San Francisco, CA asks:

Do I need an agent or a manager or both?

Expert Fran Harris replies.

Cutting Scenes from a Screenplay
by Martha Alderson, M.A.
Reader Alexa Adams from Milford, CT asks My scene count is making my screenplay too long, but I can’t see cutting any of the scenes I’ve written. What should I do? Expert Martha Alderson replies.

Writers and Directors
by Jack Rothman
Reader Gail McCall of Toluca Lake asks: What attributes do directors believe writers need to have for good collaboration to take place on the set?
Expert Jack Rothman replies.

Write a Worthy Script
by Richard Walter
Reader Jimmy Pearson of Minneapolis, MN asks:I've got 3 scripts under my belt. How can I get someone to read my work?

Professor Richard Walter, longtime Screenwriting Chairman of the
legendary UCLA Film School, answers.

Adding Depth to Villains
by David Freeman
Question: My villain is a bit too one-dimensional. Any tips for fleshing out a character who’s not the protagonist?

Unique Speak
by David Freeman
Question: My dialogue sounds flat and indistinguishable between characters. How can I work on writing more engaging dialogue?

Writing Effective Query Letters
by Marc Hernandez
Our reader Sanborn from Costa Rica asks:
Why is there so much fuss about writing query letters? I always thought it's my story or script that counts, not my cover letter. Please advise.

Collaborating on Documentaries
by Sheila Curran Bernard
A writer may be asked to write a shooting treatment, a sort of preliminary script that can be used to 1) ensure that a baseline story and structure are present before shooting begins, 2) budget the project, and 3) communicate the project to others, including potential sponsors and crew people.

Literary Manager or Agent: Which is Right for Me?
by Marc Hernandez
Our reader Seth from Colorado asks: What’s the difference between an agent and a manager?

Pop Culture to the Rescue
by Richard Walter
Our reader, Kathy from West Hollywood asks: How I can hold the executive’s interest who’s already read a million screenplays? By now, most probably hate to read!

Richard Walter replies: Place yourself in the mind of the reader. That’s what you do when you write, isn’t it? You create persons and place them in situations, and also give them words (dialogue) to say, right?

Moving on from Square One
by Steven D. Katz
A reader asks: I have developed an idea into what needs to become a film treatment. Can you suggest how I can take what I've got into a piece of work that can be properly used to apply for funding for the expedition/ documentary? Do I need an agent? Steven Katz, filmmaker and author, responds.

Winning Spec Scripts
by Richard Walter
It's not at all unusual for writers to write several - even 12 or 15 - spex before they're 'discovered.' But what happens if/when you craft that spec, send it out, and in the marketplace you hear nothing but the 'sounds of silence?” What now? When a spec script does not sell, it is not the end but only the beginning. Some of the things that might happen as a result of your efforts are - in declining order of likelihood - the following:

Hang Out With Writers To Succeed!
by Richard Walter
Richard Walter, Chairman of UCLA's Screenwriting Program, responds to this reader question from Mark McC of Canyon Country, CA:
Coming to L.A. has not at all been what I expected. I've tried to follow the experts’ advice, like get a job in a production company, but that was impossible. My boring job in property management is not why I left St. Louis. How am I going to morph into a working screenwriter?

Quirky or Plain Crazy - Where Do I Draw the Line for My Character?
by Dr. Howard Gluss
Lynn, a Writer/Producer from Palm Springs, CA Asks: In your book REEL PEOPLE you talk a lot about characters that seem to be quite disturbed. Can the theories of personality types apply to characters that are just quirky or eccentric rather than mentally ill? And are there specific personality types that are just plain funny?

Capturing the Reel Racist - A Debate
by Howard Gluss, Ph D
The roots to violent acting out are understood by defining panic. In a panic state, the person believes that they are in danger, whether it is real or imagined. The Jew, in the case of The Believer, is seen as the enemy and must be destroyed. Danny, in desperate confusion, living in world that polarizes experiences into feminine and masculine characteristics, attempts to dilute any forces that may interfere with his hyper-masculinity or macho-ness. The Jew, seen possessing the qualities of pacifism, intellectualism and feminity, is reviled.

I Want My Rights Back!
by Larry Zerner, Esq.
I sold a five-year option to my screenplay three years ago, and it appears that we're going nowhere with the company that bought it. I recently 'pitched' my story to a well-heeled friend in the film business, and he showed interest, which waned immediately when he heard about the option. Is there a cool way of having the first buyer releasing his rights without having to pay back any of the (very small) option price?

Taking the Leap to Playwriting
by Jonathan Dorf
I'm currently doing research for a creative nonfiction book but the more I delve into the subject and characters, the more I feel it should be written as a stage play rather than a book. My gut feeling is that it would make a great play, which is very frightening to me because I've never written a play in my life! Are newcomers pretty much locked out of the drama market? How would someone with no track record write and market the 'book' for a musical?

Do I Need to Obtain Rights to Portray the Ex?
by Larry Zerner ESQ
I have the rights to do a screenplay on the life of a person, but how do you handle the right to include other people in the main character's life, like an ex-wife and others who may be important to the story. Do you need to get their rights also?

Can Sinatra Get Me Into Trouble?
by Larry Zerner ESQ
Patrice from Los Angeles asks:
I'm currently writing a screenplay that I'll be directing myself in about 10 months. I would like to use a Frank Sinatra look-alike to sing 3 ORIGINAL songs in the STYLE of Sinatra. Is that a copyright violation? Do I need to get approval from the family of Sinatra before I can use his likeness?

Action vs. Dialogue
by Jeffrey Alan Schechter
The first five pages of my script contain a lot more movement than speech. Because of this, it's exceeding the one-page-per minute 'rule.' It just seems to take me more pages to describe action than it does for dialogue. Is this a common problem? Do readers take this into account? Can you give me a bit of advice to either put my mind at ease or teach my to overcome this?

Are Sequels Fair Game?
by Dina Appleton & Daniel Yankelevits
I am interested in writing a sequel to someone else's movie. I was wondering, do I need permission from the original filmmakers, or can I just write the screenplay and market it as one of my own spec scripts?

Who'll be Reading my Script?
by Larry Brody
Who will be reading my script once it's in the hands of a production company? I don't want to leave the house anymore in order not to miss the phone call from the producer.

An Agent, An Agent, My Kingdom for an Agent
by Howard Meibach
I have a powerful email logline and message which I would like to send to agents etc. How do you suggest I shop my idea around Hollywood?

How can a great 'non-formula story' get past the Gatekeeper?
by Marisa D'Vari
Stuart Goldberg wrote that while he understands the standard structure formula, his story has a broader canvas ('best handled as an ensemble piece a la Diner.')

How DOES a Story Analyst become a Story Analyst?
by Marisa D'Vari
Is it worth developing a relationship with a Story Analyst? How crucial can knowing a Story Analyst be to a screenwriter's career?

How can I protect my script in the USA?
by Marisa D'Vari
A writer in Turkey asks: How can I protect my script in the USA? I mean how can I take the 'all rights reserved' for my script? I am afraid to (have my script) copied and stolen!! What is the best way to protect my script?

What is a Query?
by Christopher Wehner
Is a Query the same as a Treatment?

Who will buy my Television Script?
by Hans Tobeason
I know how to reach feature producers, agents, etc., I'm not sure how to contact places like Lifetime, Fox Family, etc.

What's going on in Episodic Television Writing?
by Hans Tobeason
Some random comments about the ins-and-outs of the business of one-hour episodic drama television shows by a seasoned and working television producer and writer.

What are the Rules of Adaptation?
by Linda Seger
I know how to adapt a work of fiction into a screenplay, but whom do I ask whether I'm even permitted to write the script?

My Work has International Appeal! What now?
by Karl Iglesias
What is the foreign market like for screenwriters? How does a screenwriter approach foreign directors and production companies?

How do I Format Simultaneous Dialogue?
by David Trottier
How does a writer denote in a spec screenplay the fact that a character has a double identity and is known to individual characters under two separate identities?

Is Film School Really Necessary?
by Skip Press
It's not just what you learn while in film school, it's whom you meet while you're there.

How Much Description is Too Much?
by Jeffrey Schechter
Is it safe to say that a well-established screenwriter can get away with more description than than someone who's trying to break in? Jeffrey Schechter, author and instructor of the TotallyWrite 3-Hour Screenwriting Workshop gives us the scoop from his point of view.

What’s the Scoop on Writing Contests?
by Larry Brody
Screenwriting contests often serve as screening devices for new writers. Should you enter your masterpiece in a contest? Here are some thoughts by someone who conducts a contest himself.

Can I Keep the Rights to my Characters' Images?
by Dina Appleton and Daniel Yankelevits
Is it possible to retain the rights to your characters -- names, appearance, etc. -- once you have sold your screenplay?

Where Does My Story Fit - TV or Big Screen?
by Larry Brody
Television movies are more issue-oriented than theatrical features. Theatrical releases are usually action, adventure, comedy or very specific ... Whom do you pitch your story?

Creative Rights of Writers
by Ron Suppa
How much creative control can a writer expect to have once a script has been
submitted?

Deal Terminology: What's 'Against' Mean?
by Skip Press
What does it mean to be offered $XX 'against' $YYY, for your screenplay?

Frustrated Selling My Spec Script
by Howard Meibach
I’ve finished my spec script, entered a couple of contests and sent out a zillion query letters by mail and email. The only response I received was from an agent who will represent me if I shell out $25 for every submission. I’m willing to invest the time and energy, but just don’t know what ‘creative’ steps I can take next. Help.