Submit a screenplay or short story that is only 1 page long and have it performed at the Writing Festival by professional actors. Also garner FULL FEEDBACK on your work.

(NOTE: The screenplay submission must be properly formatted. The short story submission is a maximum of 400 words.)

Deadline Aug. 25th. Submit for only $10. Most of the stories will be accepted and performed. If there is a beginning/middle/end, and the grammar is sound, we will perform it.

A great way to get your words out there, obtain the Agent you’re looking for or just get your story seen by more people. If you win, your story will be seen by 100,000s of people when it’s read online using a top professional actor. It’s a rush you’ll never experience in your life seeing it come to life that way.

The RULES are simple:

1. Write a story that is 1pg…

PLOT WRITING
FILMMAKING NOTES

How to Write a Screenplay? PART 3 – PLOT Screenwriting

For most writers, PLOT is the most interesting part of screenplay writing, and why they begin to write to write the script in the first place. They have a good idea for a story, and they want to write it.

PLOT Screenwriting is a mixture of two things:
1) What happens to the characters
2) What they do because of WHO they are

Most PLOTS wouldn’t happen if it wasn’t for the CHARACTERS. A CHARACTER(s) should drive the story, and vice versa.

You always know you’re watching a BAD FILM when any human being can insert themselves into the film. The UNIQUE character has to drive the PLOT.

The last thing you want is for you, the writer, to be a character in the plot.

“The stuff that I got in trouble for, the casting for…

HOW TO WRITE A SCREENPLAY
FILMMAKING NOTES

SCREENPLAY WRITING

When writing a SCREENPLAY, it’s all about CHARACTER, PLOT, and THEME – the three cornerstones to telling a great story.

Below is Part One of NOTES you need to think about when writing a script. Whether you’re a seasoned script writer or just a beginner, these notes should be insightful for all – and it beats reading those long drawn-out books on the subject.

“A good film script should be able to do completely without dialogue.”-David Mamet

FOUR STAGES OF ANY SCREENPLAY.

1. THE STORY CONCEPT – A single sentence telling who the hero of the story is and what he/she wants to accomplish
2. THE CHARACTERS – The people who populate the story
3. PLOT STRUCTURE – The events of the story and the relationship of the characters; determines what happens in the story and when it happens
4. THE…

NEGOTIATING
FILMMAKING NOTES

How to Negotiate – Every aspect of producing involves negotiating, in one form or another. You always need to go in with the attitude that people already want to work with you.

12 MAJOR POINTS TO REMEMBER IN NEGOTIATIONS

1. PLAN WITH YOUR LIMITATIONS IN MIND

Know you limitations. In poker they call it knowing your hand and understanding what you really have. Be ready to respond to the unexpected reaction.

2. ESTABLISH RAPPORT

Have a relationship with the person you’re negotiating with. Know what they like and dislike. Find that common bond. There’s always one. Relationships are established by conversations and talking about things outside the project.

3. PITCH THE ELEMENTS

Paint a visual picture – describe the elements.Who is directing? Who wrote the screenplay? What’s the story? What’s the story behind the story? Why is the film getting made? Where will it be shot? What…

DEADLINE August 15th: 1st CHAPTER/FULL NOVEL Festival.
http://www.wildsound.ca/book_contest.html

Get your story performed at the Writing Festival. FULL FEEDBACK on all entries.

Read the best of NOVEL Loglines from all over the world:

RESCUE, by Colleen Mooney
http://www.wildsoundfestival.com/rescue_by_a_kiss_by_colleen_mooney.html

SURFACE BELOW DARK SECRETS, by Leeah Taylor
http://www.wildsoundfestival.com/surface_below_dark_secrets_by_leeah_taylor.html

ARA, by Haidar Hashim
http://www.wildsoundfestival.com/ara_by_haidar_hashim.html

CURSE STORY, by Melouka Khadir
http://www.wildsoundfestival.com/curse_story_by_melouka_khadir.html

Deadline: TV PILOT/SPEC Script Festival – Get FULL FEEDBACK. Get script performed by professional actors
http://www.wildsound.ca/tvscreenplaycontest.html

Read the best of TV Show Pitches from all over the world:

LENA AND THE KING OF HEARTS, by Alicia Lee
http://www.wildsoundfestival.com/lena_and_the_king_of_hearts_by_alicia_lee.html

OPEN KITCHEN, by Ellis M.
http://www.wildsoundfestival.com/open_kitchen_by_ellis_m.html

PATRYONYMIC, by Manmohan Kumar Rana
http://www.wildsoundfestival.com/patronymic_by_manmohan_kumar_rana.html

5 TO 20 REASONS TO LOVE, by Dorcas S.
http://www.wildsoundfestival.com/5%20reasonss_to_love_again_by_dorcas_s.html

REVENGE ON THE HIGH SEAS, by Robert Greely
http://www.wildsoundfestival.com/revenge_on_the_high_seas_by_robert_greely.html

PREPPED, by Madeline Nehlen
http://www.wildsoundfestival.com/prepped_by_madeline_nehlen.html

OPEN KITCHEN, by Ellis Michelle
http://www.wildsoundfestival.com/open_kitchen_by_ellis_michelle.html

PAPER HEARTS, by Zane Hill
http://www.wildsoundfestival.com/paper_hearts_by_zane_hill.html

ARTIFICIAL, by Carter Kustera
http://www.wildsoundfestival.com/artificial_by_carter_kustera.html

WORK IN PROGRESS, by Stephanie Yuhas
http://www.wildsoundfestival.com/work_in_progress_by_stephanie_yuhas.html

Deadline: Screenplay Festival – Get FULL FEEDBACK. Get script performed by professional actors
http://www.wildsound.ca/screenplaycontest.html

Read the best of Short Film Pitches from all over the world:

THE FEDERAL DEPARTMENT, by Sam Thorpe-Spinks
http://www.wildsoundfestival.com/the_federal_department_of_meaningful_existences_by_sam_thorpe-spinks.html

THE RICE COOKER, by Christopher Vance
http://www.wildsoundfestival.com/the_rice_cooker_by_christopher_vance.html

HAVEN FOR GRIT, by Michael Saintil
http://www.wildsoundfestival.com/haven_for_grit_by_michael_saintil.html

ANONYMOUS, by Banksia Lebel
http://www.wildsoundfestival.com/anonymous_by_banksia_lebel.html

THE THREE LODGERS, by Bayo Baker
http://www.wildsoundfestival.com/the_three_lodgers_by_bayo_baker.html

THE DIFFERENCE BETWEEN CARE AND DEATH, by Yetunde Ayodele
http://www.wildsoundfestival.com/the_difference_between_care_and_death_by_yetunde_ayodele.html

WHO IS NEXT, by Deepa Dharmaraj
http://www.wildsoundfestival.com/who_is_next_by_deepa_dharmaraj.html

SPITTING IMAGES, by Jenn Ekeoba
http://www.wildsoundfestival.com/spitting_image_by_jenn_ekeoba.html

Deadline: Screenplay Festival – Get FULL FEEDBACK. Get script performed by professional actors
http://www.wildsound.ca/screenplaycontest.html

 Read the best of Feature Film Pitches from all over the world:

THE BLACK FOREST HAM, by Matthew Heinze
http://www.wildsoundfestival.com/the_black_forest_ham_by_matthew_heinze.html

HER DAGUERREOTYPE, by Jim Starr
http://www.wildsoundfestival.com/her_daguerreotype_by_jim_starr.html

BLUE COVE DAY, by John Robert Jolley
http://www.wildsoundfestival.com/blue_cove_day_by_john_robert_jolley.html

THE PREY, by Luca Alfaroli
http://www.wildsoundfestival.com/the_prey_by_luca_alfaroli.html

FOXHUNT, by Emily Schooley
http://www.wildsoundfestival.com/foxhunt_by_emily_schooley.html

HOLY-WAR, by Joseph D. Shellim
http://www.wildsoundfestival.com/holy-war_by_joseph_d_shellim.html

DREXLER, by Carlton L. Winston
http://www.wildsoundfestival.com/drexler_by_carlton_l_winston.html

O CRY AFRIKA, by William Teller
http://www.wildsoundfestival.com/o_cry_afrika_by_william_teller.html

THE CANCUN INCIDENT, by Lynn Winiarczyk
http://www.wildsoundfestival.com/the_cancun_incident_by_lynn_winiarczyk.html

BHUNDU, by Tawanda Mudokwenyu
http://www.wildsoundfestival.com/bhundu_by_tawanda_mudokwenyu.html

SHADOW BROTHER, by George Tysley
http://www.wildsoundfestival.com/shadow_brother_by_george_tysley.html

SALVAGE AND RECEOVERY THE HEIST, by Lynn Winiarczykt
http://www.wildsoundfestival.com/salvage_and_recovery_the_heist_by_lynn_winiarczykt.html

CARROW, by Kimberly Tompkins
http://www.wildsoundfestival.com/carrow_by_kimberly_tompkins.html

BLOTEFLY, by Vaughn Jennings-White
http://www.wildsoundfestival.com/blotefly_by_vaughn_jennings-white.html

THE ANTI-CHRIST, by Thomas Williams
http://www.wildsoundfestival.com/the_anti-christ_by_thomas_williams.html

TWO FINS ON A FISH, by Kent Flaagan
http://www.wildsoundfestival.com/two_fins_on_a_fish_by_kent_flaagan.html

CALLALOO AND COLLARD GREENS, by Chrisana Noel-Paul
http://www.wildsoundfestival.com/callaloo_and_collard_greens_by_chrisana_noel-paul.html

ASCENT FUSION, by Ruslan Tlif
http://www.wildsoundfestival.com/ascent_fusion_by_ruslan_tlif.html

NILE, by Peter Mbulo
http://www.wildsoundfestival.com/nile_by_peter_mbulo.html

We’re telling stories. Every scene is a piece of that tapestry. Every shot is like a thread in that tapestry. How do those individual threads work best to tell the story of that scene? What are the objectives of that scene? That’s what I’m trying to figure out. I hope to take an audience on a ride when I cut action. I think the best way to do that is by keeping track of the characters in the midst of whatever action is going on. What are they doing in the scene? How are they reacting? If you connect the audience to the characters, it becomes an immersive experience. I think every film, doesn’t matter what genre, succeeds when it gets to that level.

– Greg D’Auria. On his editing process.

Read the entire interview with the editor at http://www.matthew toffolo.com

Interview with Editor Greg D’Auria (Star Trek Beyond, Fast…