How To Create More Suspense

What do the World Series and Halloween have in common? Aside from the fact that wearing a costume or a uniform is part of the deal, they are both defining events and very useful as potential "ticking clocks" in your screenplay.

In my Finish Your Script class tonight, five of my incredibly talented and prolific students had hit the mid-script wall and were struggling with what should happen next.

The answer in all five cases was to take the third act climax, go back to the first act, and to lay in hints that let the audience know where the film is headed, almost from page 1. By highlighting the amount of time that passes between the moment the event is introduced in the first act until the event occurs in Act III is a great way to add suspense, an essential ingredient in almost every film.

For example, in the film, Election, we know immediately that the big event happening in the school is the election. The action of the film is driven by the fervent desire of a teacher, Jim McAllister, not wanting an ambitious student, Tracy Flick, to win because she has wronged his friend. The lengths to which Jim is willing to go to stop her creates an organic chain of events that can create maximum suspense, and lead up to an original and unexpected crisis.

In my students case, one film was set in high school and while the election of the Homecoming King was the deadline driving the action, it hadn't been set up clearly enough in Act I. Revising Act 1 to accentuate and underline the Act III final battlefield was the solution to getting Act II to roll forward and answer the dreaded "what happens next?" question.

The point I am making is that you could replace the election with the last game in the World Series or a Halloween party and achieve a similar result. Try it and let me know how it turns out.

Look for a more in-depth analysis of this technique in my forthcoming Script Tip for www.movieoutline.com.

Borrowing Characters

I am working on a new project and haven't yet settled on my characters, so I thought I would share a technique I use when developing stories.

Take a classic story such as Cain and Abel or Romeo and Juliet and see how putting those characters into your screenplay or novel gives you a sudden insight. Does your story "pop" more when your character is more aggressive like Cain or a victim like Abel? Is your story more effective if your lead is the one calling up to the balcony or looking down at her love?

Now take a moment to consider your own favorite stories and throw one of those characters into your work. This technique can work for both heroes and villains, or love interests or buddies. The heart of drama is relationships.

Good luck and happy writing.

Vote Tonya Hurley!

You've probably had the chance to read my friend Tonya Hurley's wonderful ghostgirl books and now's your chance to tell everyone just how great they (and she) are.

Tonya has been nominated for the 2009 Favorite Paranormal Author of the Year Award!

And she needs your help.


CLICK HERE TO VOTE FOR TONYA HURLEY

IndieNights

A few weeks ago, I had the pleasure of attending a wonderful networking event for filmmakers. They've now opened it to new members. If you're interested in taking your career to the next level, please read the information below.

www.IndieNights.info

Wednesday, November 18, 6:30PM

Agave
140 Seventh Avenue South
New York, NY 10014

IndieNights creates regular gatherings in Manhattan where writers, directors, producers, actors, crew, editors, publicists, musicians, vendors exchange ideas and business cards in a comfortable and casual atmosphere. We also invite those with film finance experience and contacts, distributors, casting directors and talent representatives...all for the purpose of furthering independent film projects...and for making new friends...and new contacts

Reservations are a must - we will now be using a check-in list.

There is no fee, cover or admission - However, a 1-drink or food purchase minimum is required by the venue.

Bring plenty of business cards, 1-sheets, and other promotional materials.

Frist-time attendees please introduce yourself to your hosts, Marc Baron and Anne St. James. We hope to see you there!... Marc & Anne

Disclaimer: IndieNights accepts no liability for your decision to accept any, all, or none on the industry contacts that one makes at our events or using our services. It is advisable to seek legal counsel, and conduct due diligence before entering into any agreement or business venture.

Choose The Costume That's Right For You

I am up late worrying about possible Halloween costumes, many of which I will probably not choose, settling instead for wearing a fabulous beaded dress a friend gave me. This dress actually makes me feel more like myself than some of my other clothes, so I guess for Halloween I will be a (funny, sexy or scary) version of myself.

But if I had to pick someone else to impersonate, I realize that any choice I make will define me in some indelible way, and so I immediately panic. This is a good exercise when developing your screenplay characters.

How to do the exercise:

Step 1: Figure out whom you would choose to dress up as. Write a short paragraph about why you made this choice.

I would be The Oracle at Delphi because she was free of all the rules of her time and had a unique and helpful job to do.

My assistant Chris would be The Green Hornet because he has always loved the character and wants to "beat the 2010 rush" that will no doubt come with next year’s movie.

Step 2: Decide whom the main character of your story would choose? Write a brief first person monologue about why they made that choice.

The main character of the story I'm currently working would be Dorothy Parker because she was a successful writer known for her wit, and didn't obey any of the rules of her time.

By taking a moment to think about which costume your character would choose, you will no doubt find interesting layers of their personality you never knew existed.

Good luck and happy writing.

What to Expect When You Are Applying

My NYU colleague and good friend Adam Sexton has developed a wonderful informational meeting about what you need to consider when applying for a program in creative writing at New York University.

If you're considering applying to a master's program or just want to learn what's required, I cannot recommend this class enough. Space is very limited, so register today.

PUBLIC SEMINAR: Graduate Study in Creative Writing: What to Expect When You Are Applying

Friday, October 30, 2009 - Are you considering applying to a master’s program in creative writing? In this free, 90-minute seminar, we walk you through the process so that you can prepare an application in time for the next round of deadlines.

6:30 – 8:00 p.m.
NYU Silver Center
100 Washington Square, Room 504
New York, NY

We consider overall strategy, how many programs one should apply to, the relative merits of one- and two-year programs, and state versus private universities. We discuss the importance of college grades and GRE scores, the etiquette of requesting letters of recommendation, and the format of the all-important writing sample. Finally, the advantages and disadvantages of studying creative writing in an academic setting, and the value of the degree itself, are addressed.

If you have additional questions about this event, please contact (212) 998-7200 or e-mail the event organizer, adam.sexton@nyu.edu.

Shashi Balooja Exposed!

Exposed, a film written by my friend Caytha Jentis and produced by my friend Shashi Balooja, won the Best Picture award at this year's New York International Independent Film and Video Festival(NYIFF) and it will be screening this Sunday (October 25) at 6PM at City Cinemas Village East in New York, NY.

Seating is very limited.

PLEASE CLICK HERE NOW TO PURCHASE TICKETS

The Four Magic Questions of Screenwriting

I just had the privilege of launching my new book - The Four Magic Questions of Screenwriting - at the 2009 Screenwriting Expo. For 90 minutes this morning, I watched as writers at all levels used my new system to write faster and easier than ever before. It was an inspiring moment for me and I thank everyone who attended.

The book is now available for pre-order at Amazon.com.

Or CLICK HERE to read it now.

Hooray For Hollywood

One of the best parts about the Expo is you get the chance to reconnect with old friends that you only get to see at this event. I ran into Viorica Baln this morning and she told me that her latest short film - Hooray For Hollywood - is now up on Funny Or Die. Please support her efforts by watching the video and voting "Funny!".

CLICK HERE TO VIEW THE CLIP

Paul Shaffer on CNN.com

I'm heading out to meet with some friends for lunch soon but I wanted to let you know that our favorite CNN.com writer has scored another interview.

Check out Katie's interview with Paul Shaffer at:

http://www.cnn.com/2009/SHOWBIZ/TV/10/16/paul.shaffer.book/index.html

Words

I've spent the morning preparing for tonight's class and surfing the web and I thought I'd pass on this interesting article about a spelling bee competitor:

http://www.visualthesaurus.com/cm/wunderkind/2018/

This young man has a wall full of favorite words and it made me think about how we as writers use words.

In films like A Clockwork Orange and Serenity, the characters practically speak in their own language but even when speaking conventionally, every character uses words specific to their upbringing, education and intellectual interests.

As an exercise:
Play James Lipton for a moment and ask yourself what word(s) you like? What makes them appealing to you? Where did you first learn them? Now think of your main character. What type of language do they use?

How To Re-Examine Your Main Character

If you're at this year's Screenwriting Expo and want to take your character work to the next level, I hope you'll be able to join me for tonight's class.

HOW TO RE-EXAMINE YOUR MAIN CHARACTER
6PM
The goal of this seminar is to understand why your hero or heroine is the only character who can star in your script. By connecting the plot's Premise-Question with your character's goal can you build the rock-solid foundation needed for a strong first draft.

Participants will receive a complimentary workbook.

Screenwriting Expo Semifinalists Announced

Congratulations to everyone who moved on to the next round!

FEATURES
94 Maidens - Rhonda Fink-Whitman
Aza' Zyel -Terrence Manns
Book of the Missing -Kate Douglas
Blood and Honor - William Berezansky
Big Band Butterflies - Amy Rider
Borderland - Drama - J.R. Taylor -
Brooklynese - by Troy Ransome -
Freud -by Daniel Ragussis
Felix The Flyer- Christopher C. Canole
Horror Comic -Stephen Hoover
Ice cold feet- John Fein
Karmically Correct - Erin Donovan
Naked Lady Blues-James & Suzanne Cordingley
Premonition - David Bousquet
Roadside Assistance -David J. Sakmyster
Running Boys -Peter Kennedy
Rye and Rice -Craig Rosenthal
The Blue Planet -Svet Rouskov
The Dark Artist of Paris- John Crawford
The Life and Death of Dr. Fritz Gerlich-Paul Clingan
Minus Men - J.R. Taylor
The Phoenix Effect -Margaret M. MacDonald
The Svengali Effect -Jeremy Shipp
The Underground Castle - Jacqueline Stewart
Tii and the Kingdom of Lost Objects -Lillian Zvanovec
Wolves in the Winter - Sarah Del Collo
When Harry Tries to Marry- by Nayan Padrai &n Ralph Stein
Wither -by Evette Vargas


SUZANNE'S PRIZE
5 Dates - Kyle Michel Sullivan
A Severed Romance - Todd Rheingold
A Different Shade of Black - Dana Congdon
Alisha
Chasing Brenda - Pauline Hayton
Frenching - Maire Rose
He's the One - F. Leegh Lewis
Karmically Correct - Erin Donovan
Love & Vodka - Robert J. Fox
Love Letters - Riley LaShea
My Girl Daisy - Sue Yeats
Now You See Me - Beth Szyperski
Off Screen Romance - Theo Baynton
Strawberry Mansion - R. Scott Shields
SOPHRONIA L. - Tim Bridwell
The One That Got Away - Ryan Belenzon
When Harry Tries to Marry - Ralph Stein& NayanPadrai


WRITER'S BOOT CAMP FELLOWSHIP AWARD SEMI-FINALISTS
5-6-7-8 To Life-Ned Ehrbar
Anytown USA- Sherry Weston & Eileen O'Farrell
Ashes to Anthrax- Cat Stewart
Assigned- Andrey Soloviev
Borderland- J.R. Taylor
Boing-J.J Hillard
Chiang- B.R. Stanley
Clementine-Taste Like Sugar-T. "Teri" Robinson
Devil May Care- Stephen Kadwell
Ice Cold Feet-John Fein
Now You See Me-Beth Szyperski
Paradise City Alisha Brophy
Premonition-David Bousquet
Sex Drugs and Roc & Roll -Chris Raymond
Stones- Kal Weber
Stuffed- Carter Cammack
Teachers- Shannon Hampton
The Wicked Wynde-Carlshawn Stovall
Wolves in Winter-Sarah Del Collo


HOUR TELEPLAYS (DRAMA)
In Treatment - "Episode 75 - MIA" - Margaret Lepera
Dexter - John Raucci Jr.


HALF-HOUR TELEPLAYS (COMEDY)
Entourage - "Feng Shui'd" -by Dmitry Sheynin.
Big Bang Theory - Jenna Ryan

Screenwriting Expo

Less than a day in and I've already met dozens of people at the Screenwriting Expo ready to pitch their scripts. I was surprised that when I asked them if they were writers, the answers I got were "sort of", " I hope so" or that they were "trying" to be. Oy! As a writing coach, I know that you are the first person who must validate yourself.

My suggestion to them (and anyone who writes) is that you reframe your opinion of yourself and base it on whether or not you are actually writing. It's what you do, not the quality of a particular project that determines who you are: I am writing -- therefore I am.

I salute the writers I met today and everyone who has made the effort to attend or present at this awesome event!

ScriptDC

The Washington, DC-based group Women In Film & Video (WIFV) is one of my favorite resources available to filmmakers. The past few years, I have had the pleasure of presenting at their annual Writing Conference - ScriptDC. Due to a scheduling conflict this year, I have had to bow out but I believe in the group and the event so much that every attendee will be offered a FREE online class taught by me. [HINT: Look in your registration materials.]

So, if you're serious about being a working writer, please take a moment to CLICK HERE and learn about this terrific event.

Action!

Errol Flynn, the great Australian action movie hero died 50 years ago today, at age 50. He was the ideal 'swashbuckler.'

On the flip side, Hitchcock was a master of the unlikely swashbuckler, for example, casting an advertising executive as a spy in North By Northwest. But his influence can be seen in more recent films like Romancing The Stone and The Informant.

As an exercise:
How would your main character cope if they were immediately thrust into an action adventure movie? What adventure would your hero or heroine find themselves in? Would they take on the threat alone or with a team?

One more thing:
My favorite Errol Flynn picture was The Adventures of Robin Hood. What about you?

Hanna Bar-Bare It All

I just read that Marge Simpson is this month's Playboy cover model. This raised many questions for me but also offered up an interesting script tip.

Marge Simpson doesn't seem like a typical cover girl, what with being a middle aged (?) mother of three but who's to say there isn't a certain section of the Playboy-buying market that wouldn't want to see Marge strip down.

As an exercise:
Think of your own main character. I'm sure you've imagined which actor would be perfect for the part. But instead of a real person, I want you to take a minute to think of which famous cartoon character would be ideal to play them. Is your character like Johnny Quest or more like Scooby-Doo? Have they had power thrust upon them like Spider-Man or do they "exit stage left, even" like Snagglepuss?

After you've picked your cartoon character, think about what that character is known for. Are there any qualities/quirks that you can borrow for your script?

Good luck and happy writing!

I Feel Like Chicken Tonight

I realize Halloween is a few weeks away and this is a screenwriting blog but how could I not post this article (courtesy of The Huffington Post) about costumes?

http://www.huffingtonpost.com/2009/10/12/13-weird-and-adorable-hal_n_317271.html

How To Create More Conflict and Comedy Fast

Last night my NYU class met at a new location -- which was closed for Columbus Day! Three new members of the class also showed up, plus a fourth person who we discovered had come to the wrong class. We were lucky that our lovely classmate, Keri, had an office nearby and was generous enough to offer its use, which was great, until 4 of us got stuck downstairs at the break and almost didn't make it back to class. Whew!

Against all odds, we had a fun class and covered the material. I want to thank the entire class for being so flexible, for being great participants, asking great questions and having a sense of humor.

So when you're looking for ways to create conflict in a scene -- oh, and did I mention that in the midst of class, my phone rang after I was sure I turned it off? -- just look for the smallest details in your scene and have them go wrong, while having your characters remain intent on delivering their lines.

I must have sounded pretty funny expounding away in the midst of all this.

How To Write A Screenpl'eh

It's also Canadian Thanksgiving today and I asked Chris (a native of Brampton, ON) what's the difference between the way American and Canadian Thanksgiving is celebrated. He paused for a moment and then said:

"Maple Syrup."

He was kidding, of course, but it caused me to think about the lack of subtlety in most scripts.

A few days ago I was reading the shooting script for The Shawshank Redemption (available in most bookstores). In his production notes, Frank Darabont described how difficult it was to "establish" an office as the busy newsroom of a newspaper. Finally, after many variations, he found that the easiest way was to have one of the characters simply answer the phone and say the name of the newspaper. It was a simple solution that avoided a lot of unnecessary dialogue and exposition but it took him a few attempts.

Now using that information let's examine my question to Chris and try to determine how you could show that the Thanksgiving in your script was Canadian instead of American. Would you put a jug of maple syrup on the table? That's one possible solution - though probably not historically accurate and, yes, before you send me your emails, I know Vermont has terrific maple syrup too.

Or would you just write the scene in French?

Now it's your turn.

As an exercise:
Take any of your scenes that you feel might be too wordy. Is there an easier way to express what you mean? Do you actually have to show the exterior of the building or can you just have a passenger in a taxi direct the driver? Does your character really need to order a detailed meal, or could he just hand the waitress a laminated picture of what he wants? Does the tour guide really need to say 'Here we are in Egypt' or can you just show the Sphinx?

Don't forget that the screenplay is never the final product, it is just a plan for the movie. The clearer your instructions, the better chance of a successful film.

The Ocean Blue

Even if I don't have a particular stake in a holiday, I'm always excited when they roll around because they're a great reminder to do some quick character work for your screenplay.

Columbus Day is an interesting holiday to consider because it means different things to different people. Some people consider it a day commemorating the discovery of a new world, while others see it as the enslavement of a people.

As an exercise:
Think about what your character would be doing today? Would they be at work? Home with their family eating a big meal? Stuck in traffic as the parade goes by? In the parade? Participating in a protest? Watching a Tom Selleck movie? Watching a Gerard Depardieu movie? Or on a boat recreating a great adventure?

By taking a minute to consider how your character spends a holiday, or just what they do on their day off, you can learn important information about what's important to them.

How To Write Better Dialogue

I've been working with a writer who has been struggling with her heroine's dialogue.

The problem is that the heroine speaks in cryptic sentences that the other characters can't respond to. To correct this, I had her write an interior monologue about the heroine doing some simple task like getting dressed for work, a technique used effectively in the recent film, The Informant.

Even if you don't actually use this monologue in your screenplay, it still works as a great exercise to get a sense of what your character's thought process is like. Not only will it help your character's dialogue (you'll learn how they talk) but it will provide important insight into what they notice about an otherwise unimportant activity.

Good luck and happy writing.

Free Your Mind

This week, I spent part of my private classes explaining to my students why it's so difficult to come up with great plots. It's because our brains are hardwired to survive by seeing the general patterns in life to make sure nothing has changed, so safety can be maintained.

I spent the rest of the class introducing techniques to help students see beyond this survival zone and write more creatively. One of my students - Mikal - found these exercises very helpful and sent me this NY Times story which he saw as a continuation of what I had discussed.

http://www.nytimes.com/2009/10/06/health/06mind.html?_r=1

Take a minute to read this article, as it may suggest other styles of brainstorming to expand our plotting capabilities.

A Day In The Life

Today I spent the day working with one of my new students I met in Baltimore. These day sessions I offer exclusively to my private students are both intense and inspiring, as we take a rough idea and develop the structure for a complete first draft in a matter of hours.

Mike should be commended for all of his hard work that will no doubt result in fewer drafts as he completes a market-ready screenplay in the next few months.

Today's session made me consider what it would be like to spend time with the characters in my own films.

As an exercise:

Consider the main character of your screenplay. What would it be like to spend a day with them. Is their day a lot like your own or very different? Would you think it was a boring day or eye-opening?

Now set a timer for 10 minutes and write down on a piece of paper what you and your character would do during your day together. Did you experiment with his new powers like in Spider-Man or spend the day tunneling through his walls like in The Shawshank Redemption or have a really good day at the track like in Let It Ride?

What have you learned about your character? Did you think of something new for your character to do in your script? Does your hero need a friend like you to help create conflict in your movie?

As always I'd love to hear what you come up with.

Good luck and happy writing.

You Have Less Than 24 Hours to Register For the Expo!

Registration ends for this year's Expo on Friday, October 9th at 12PM (PST). That's tomorrow!

Today is your last chance to be a part of the 2009 Screenwriting Expo, featuring special guest talks from the likes of Alex Kurtzman & Roberto Orci, William Goldman, John Cleese, and more. You'll miss out on the hundreds of screenwriting and filmmaking seminars taking place as well!


CLICK HERE TO REGISTER FOR THE 2009 SCREENWRITING EXPO

I will be teaching two classes at this year's Expo (covering both How To Write a Screenplay in 10 Weeks and The Four Magic Questions of Screenwriting) and would love to see you there.

CLICK HERE TO REGISTER FOR MARILYN'S CLASSES

Writing In Stillness

It's always exciting for me to introduce new writing techniques and teachers to my friends and students, particularly when it's as rewarding an experience as my NYU colleague Robert Black's Writing In Stillness.

If you will be in the NYC area on October 18th and want to take your writing to the next level, I urge you to sign up for this one-day event.

At the writing of this post, there are only 3 spots left in the class and it always sells out fast.

For more information CLICK HERE or read below.

Writing in Stillness with Robert Black

In a quiet, reflective, and focused setting, this one-day workshop introduces meditation into the writing process, exploring how this particular source of clarity might inform and shape the development of narrative. Alternating periods of guided meditation instruction, blocks of writing, sharing your work and dialoguing about it, you are invited to unfold and deepen a story over the course of the day. Your “story” may take the form of fiction, nonfiction, memoir or verse, and you may arrive with a particular story idea in hand or discover it in the early—or waning—moments of writing or meditating.

This workshop is ideal for those looking to gift themselves with a day of peaceful creativity, to begin a long-considered writing project, to refine and tweak a work-in-progress, or simply to check out something new. Students should bring whatever writing implements (including laptops) will support their efforts, as well as a pillow or two if meditating on the floor would be more comfortable than sitting on a chair. The workshop will conclude with a celebratory reading of participants’ work.

Congratulations to the quarterfinalists

I will be in Los Angeles for the 2009 Screenwriting Expo next week (more on that in a later post) but in the meantime, please join me in congratulating this year's Expo Contest quarterfinalists. I look forward to meeting all of them and reviewing their material.

FEATURES
Assigned - Andrey Soloviev
Above the Sunset - Alan J. Adler
A Little Faith - Jason Headley
A Splendid Fury - Andres Anglade
Ages Trapped in Time - Jim Lion
American Child - April Rouveyroi
Anonymous Donors - Jeff DeGrand & Tina Van Delden
An Occurance of Light - Mike Dragoo
Ashes to Anthrax - Cat Stewart
Assigned - Andrey Soloviev
Aza'zyel - Terrence TY Manns
Bang Bang Butterflies - Amy Rider
Blood and Honour - William Berezansky
Book of the Missing - Kate Douglas
Borderland - J.R Taylor
Brooklynese - Troy Ransome
Brothers Mussolini - Johnny B. Dunn
Borderland - J.R Taylor
Carve - David Laughlin
Cattle Call - Schuyler Willson
Clementime Taste Like Sugar - T."Teri" Robinson
Chaing-Father and Son's - B.R Stanley
Conditional Love - Lisa Arbuckle
Criminal Minds - Christine M. Torres
Crusaders Archers - Curtis/Scott Burdick
Devil May Care - Stephen Kadwell
Dead Crows - Chris Todd
Define Benefit - Stephen Shwandt
Devil May Care - Stephen Kadwell
Dude's Ranch - Cathi Sanders
Doraybus - Beth Jay
El Coyote - David Edward Norman
Emily - Mark Clausen
Endangered - Mark Elliot Kratter
Faith - Kolby Granville
Fathers and Sons - Daniel Carlsson
Fin Chaser - Maria Cozzi
First of the Month - Robert Ward
Five Dates - Kyle MichelSullivan
Freud - Daniel Ragussis
Gift of Laughter - Robert Nash
Handicap Spaces - Clinton/Jim Braly
Hockey Wives Baby Shower - Pat Kiely
Horror Comic - Stephen Hoover
Hotel California - Darren Herczeg
Ice Cold Feet - John Fein
Karmically Correct - Erin Donovan
Kitty Love - Jane Ranson
Last Pyrate Of New Providence - John Bain
Lost Daughters - Michael W. Shaw
Love Letters - Riley LaShea
Monster Child - Mark Steven Porro
Monkey Tuesday - Bryan Carrigan
Minus Men - J.R Taylor
Miracle Man - Yvonne Borgogni
Miss Liberty - William Russell Melton
My Girl Daisy - Sue Yeates
Naked Lady Blues - James Cordingley
New Moon - Doris Gill
Noah's Cruise - Kaisa AJaye
Now You See Me - Beth Szyperski
Nursery Crimes - Greg Klein
Outrage - Goerge Diaz Evashuk
Paradise City (Genesis) - Alisha Brophy
Paradise City (The Bible) - Alisha Brophy
Premonition - David Bousquet
Quigley - Lapo Melzi
Razor Man - Keto Shimizu
Redneck of the Year - Dawson Lee Williams
Road Side Assistance - David J. Sakmyster
Running Boys the First Rebellion - Peter Kennedy
Rye & Rice - Craig Rosenthal
Sex, Drugs and Rock and Roll - Chris Raymond
Stuffed - Carter Cammack
Sweet Water - Becca Smith
Svengali Effect - Jeremy Shipp
Tesoro - Stacy Keane & Megan Feldman
The Adventure of Don Juan - John Crews
The B.E.S.T Man - Jack Davidson
The Blue Planet - Svet Rouskov
The Boys Winter - Ann Prochnow
The Code of Happiness - David Margolis
The Condemned - Debra Sharkey
The Conjur Man - Joseph Kenny
The Dark Artist of Paris - John Crawford
The Descent of a Man - Marquis Ewing
The Life and Death of Fitz Gerlich - Paul Clingan
The Moon Beam Fisherman - John Dummer
The One that got away - Ryan Belenzon
The Pheonix Effect - Margaret M. McDonald
The Rap Race - C.E Elliot
The Relevant - Christine Deither
The Templar - Matthew Dickson
The Toughest Girls - Cassidy McMillan
The Underground Castle - Jaqueline May Stewart
The United Al Queda Comedy - Charlotte Barrett/ Sean Fallon
The Way it Spins - Irvin Evers
The Wicked Wynde - Carlshawn Stovall
The Wind Riders - Jeff Ryback
Thicker than Water - Mark Kurasz
Tii and The Kingdom of the Lost Objects - Lillian Zvanovec
To Catch A Keeper - Mary Huckstep
Urbanity - Adam Taylor Barker
Warshaw Freedom - Kimberly Kaplan/ Mike Jacoby
Wash Out - Berke Karakas
Weaponized - Andrew Taylor
Windy City Story - Frank Artrage
Wither - Evette Vargas
Wolves in Winter - Sarah Del Collo
Wreckage of the heart - David M. Flynn
1 New York - Kaisa AJaye
5-6-7-8 TO Life - Ned Ehrbar
100 ways of Steve - J.J. Balczo & David Bricker
94 Maidens - Rhonda Fink Whitman



SUZANNE'S PRIZE
5 Dates - Kyle Michel Sullivan
A Severed Romance - Todd Rheingold
A Different Shade of Black - Dana Congdon
Chasing Brenda - Pauline Hayton
Frenching - Maire Rose
He's the One - F. Leegh Lewis
Karmically Correct - Erin Donovan
Love & Vodka - Robert J. Fox
Love Letters - Riley LaShea
My Girl Daisy - Sue Yeats
Now You See Me - Beth Szyperski
Off Screen Romance - Theo Baynton
Strawberry Mansion - R. Scott Shields
SOPHRONIA L. - Tim Bridwell
The One That Got Away - Ryan Belenzon
When Harry Tries to Marry - Ralph Stein& NayanPadrai



SHORTS
Ashes to Anthrax - Cat Stewart
Boing - J.J Hillard
Chucky Feast - Teri Carson
First of the Month - Robert War
Laundry Day - Aaron Kassander
Low-Grade Chocolate - Jennifer Bogush
Stones - Kal Webber



TELEPLAYS
30 Rock - Simeon Goulden
Big Bang Theory - Jenna Ryan
Bones-The Goddess Statue - Kenn Preblic
Breaking Bad - Jeffrey Lerner/ Monica Sagaser
Brothers Sisters- Broken Promises - Italome Ohikhuare
Entourage-Feng Shui'd - Dimitry Sheynin
Dexter - Andy Shrader
Dexter - John Raucci Jr.
Dexter/ Recycle - Mike Anunsen
In Treatment - Margaret Lepera
Medium- Full House - Kenneth R. Offricht

Jeff York in Script Magazine

If you're a regular reader of Script magazine, you know what a wonderful resource it can be. I was flipping through the most current issue and I was happy to see one of my friends featured on the back page as a Final Draft success story.

I'm always happy to celebrate someone's victory. Says Jeff in his email to me:

Thanks again for your help with THE CONFESSION OF LIZZIE BORDEN. Things are going in the right direction with my screenwriting career. In July I got signed by Trancas Films'talent division. They really liked both INCURABLE and THE CONFESSION OF LIZZIE BORDEN and signed me.

LIZZIE is currently with some very top people in Hollywood, and by all appearances, they seem quite interested in it. So we'll see what happens. Show biz is tricky, to say the least. And I won't count on anything 'til film is running through the camera! But it's all positive really and Trancas is very enthusiastic.

Two other bits of good news: LIZZIE was a top five finalist in The Great Lakes Film Festival this past month. And INCURABLE is currently one of five finalists in the Eerie Horror Film Festival. I only entered a handful of contests. And it was nice to see something come out of it for both.

In the meantime, I am working on two more scripts that I hope to have done by the end of October/November. It's been an exciting year and I am in it to stay, having left advertising to make a full go of this. The Script magazine article was very nice and hopefully will lead to some things as well.

I Gotta Feeling

I was forwarded this video by my assistant. It's a remarkable piece of direction and got me thinking about the effective use of one's influences.

This group of Quebec students is obviously influenced by the music of the Black Eyed Peas but there's more going on here.

The one-shot, one-take style of the video is very reminiscent of Touch of Evil and the reunion shot at the end had me thinking of the cafeteria scene from The Game.

Of course, short of asking the filmmakers, there's no way of knowing for sure what inspired them. Based on their ages, they could have just as easily been influenced by the shot in The Player, or Lisa Loeb's video for Stay.

The real fun of it is trying to guess what past greatness they sprinkled into their own work.

What other homages can you spot in this video? Which filmmakers have influenced you?