"One Page per Minute" = SUCKS!!

[Birdman]

Whose idea was this anyway?

I'm having difficulty with this brutally severe "1 page per minute" philosophy regarding writing a screenplay. I envision scenes within my head and I try to convey these images within my script. I'm on page 19 right now, but it doesn't seem like 19 minutes of film footage has passed by. I fear I'm looking at a 3-hour butt-nummer of a movie when I'm finally finished. Here are my issues:

(1) In "Lord of The Rings" we have a spectacular scene where Gandalf races down the side of a mountain with a huge army of horse-bound soldiers in a surprise attack on the attacking enemy. He has the sun at his back creating an extremely memorable scene with amazing special effects. Any movie goer would be truly amazed at the scene in a theater. Here's my issue:

To keep with the "page-per-minute" dogma, one might write this scene as done here:

=========================================

EXT. SIDE OF MOUNTAIN - DAY

Gandalf and a legion of horse-mounted soldiers race down the side of a mountain with the sun blazing behind them. They attack the unsuspecting enemy.

=========================================

So here we have a small, emotionless, robotic section of screenplay script depicting one of the most powerful cinemagraphic scenes in movie history. It's quickly spat out in a couple of fairly unflattering sentences. To read the two sentences written above in no way adequately depicts what happens in the movie ...but if you start adding in any extra detail to try and emphasize the importance of the scene you endanger breaking the "page per minute" rule. ....What do you do????

In contrast:

(2) If you have a back and forth conversation going on between two characters you could end up with several pages of script that only translates to 20 seconds or so of film footage. For example:

====================================

INT. KITCHEN - DAY

JOE

You suck!

SAM

No I don't

JOE

Yes you do!

SAM

Screw you!

JOE

NO! ...Screw you!

SAM

No, Go screw yourself!

etc.

etc.

etc.

So here we have a scene with a quick, rapid fire verbal exchange. Your text quickly moves down the page much faster than a second hand on a clock. This exchange could easily eat up three pages of script but only translate to 20 or so seconds of film footage. ...What do you do?



Is the overall idea that everything will balance out in the end? In other words, some pages exceed the "page per minute" rule but they end up being balanced by scenes with quick exchanges that use much less script time?

-Birdman

P.S. I am very disappointed on how restrictive these scripts become based on the "page per minute" rule. I don't see how anyone could ever truly understand what I'm seeing within my mind based on the extremely limited amount of script space I'm allowed to use for communication what I see. I'm finding that a script for a typical 105 minute movie that is now ready for production is ending up 187 pages long. The rule doesn't seem to apply here. ...Why is that? .......Also, if you are a well-known script writer you get to exceed the "page per minute" rule. Why is one "equally creative" person allowed to blatantly break the formatting rules whereas another is not?

 

[ahennessey]

Birdman,

Don't worry about things that are out of your control. It will go a long way towards helping you in your career.

You cannot control if somebody buys your screenplay or not. And even if they buy it, guess what, you can't control whether or not they actually make a movie out of it or not. And on, and on it will go.

What you have to focus on is becoming the best writer you can be. That you can control. You can read a lot of screenplays, see a lot of movies, read widely in your genre. Find other writers you trust to give you feedback, join a writers group.

Business wise, you can find out agents and producers that make and package movies like the ones you are writing. Once you have a really good script you can do everything you can to get that script in front of them. These are things in your control.

These and many more things are things you can control. But, as JoshL said, many things regarding your destiny in the industry are out of your control.

 

[Birdman]

ahennessy,

What a great thread this has become!

You wrote: "However, in the second example I have written, you can SEE the movie and you get a feel for what is going on in the scene. Jack is more of a living breathing character. ...Now, you may, in the first draft, write the first example. However, I would suggest, when doing rewrites that you should flag things that read like the first example and think about them. If it is an important scene, (Jack gets confirmation that his wife is seeing another man,) write it like it is an important scene. Bring the reader on the journey that the character is going through."

...I think I've been doing my script the opposite of how you are suggesting. I have been adding in all of the color during the first pass and stripping it down later. I will take your suggestion seriously as it would probably get me closer to a more accurate "minute per page" scenario. It's just so hard not to write in the extra stuff. The cursor is right there flashing at the first point of entry ...taunting me for details. It's impatiently waiting for me to type in a breathtaking description of someone or something. ...I feel like I'm disappointing my cursor by typing in such brief, limited descriptions.

Surprisingly I 'm not adding very much detail on the fight scenes except for the key blows., like if one character picks up a hammer and wedges it in side of his opponent's head. There are industry experts who choreograph fight scenes and frankly I'd rather them decide how the blows get delivered ....as long as the other guy ultimately gets whacked with the hammer, of course!

Thanks for the input!

-Birdman

 

[ahennessey]

ahennessy,


Surprisingly I 'm not adding very much detail on the fight scenes except for the key blows., like if one character picks up a hammer and wedges it in side of his opponent's head. There are industry experts who choreograph fight scenes and frankly I'd rather them decide how the blows get delivered ....as long as the other guy ultimately gets whacked with the hammer, of course!

Thanks for the input!

-Birdman

This is good though. This is what I was talking about. Writing the fight scene blow by blow concisely, not in any elaborate detail, but enough for the reader to see the fight happening and go on the journey.

 

[Birdman]

Actually, that's more or less what happens. The art world in all aspects (including music and film) is not a meritocracy, and that's why especially in visual arts, most artist die broke and unknown, their paintings only worth something after their death. A skilled gallery owner is trying to make a living like the rest of us, and a painting by an unknown artist no matter HOW good, isn't going to sell for much. But if you put together a full show, a smaller gallery will sell your stuff on consignment (which is how it works). You do that over and over and over until your name starts to be a thing, and THEN you get invited to bigger shows, bigger galleries, etc.

I'm not saying this to be discouraging; in fact, the opposite. If you knock it out of the park on your first try, but you don't sell a single copy, that doesn't mean you failed. It's a step on a long road, and if you keep your expectations realistic, you can make it.

...I fully agree with the bolded part.

Actually I am an artist and that's why I use art so many times as an example. I have been told by gallery owners and college professors that my work is very sellable and to go and sell it. I am a painter (oils). I have some who check in from time to time asking if I've ever gotten a completed series together so that they can show them. ...and I'm still alive! Gallery owners not only want to market established artists, but also want to be the first to discover a NEW artist. Just like with the stock market, there's money to made at ground level if you make the right pick.

Is my scenario typical of most artists? ...No! But what it does say is that it's still very possible to be an unknown in the industry and still have a desire for your work ...whatever that work may be. It all depends on how seriously you take what you do and how realistically you are setting your goals based on they quality of work you can put out.

The thing that seems to be the focal point of this entire thread is the single word ...."HOPE".

Anytime you choose to try and make it big in anything you "Hope" your dreams will come true. "Hope" is found in just about any good movie. It's the cornerstone of life! Everyone writing a spec script in some way "hopes" that their movie idea will be made into a major motion picture. Anyone who stumbles into this thread is "hoping" they will write something that ultimately gets recognized. But "Hope" comes at a cost.

Just as soon as you start trying to make your dreams come true in whatever path you take, in come all of the "common sense" people telling you that you're just a dreamer. You're not being realistic. The odds against your success are overwhelming. They tell you, "Only a select few can actually pull it off". ...the list goes on and on. But strangely enough, it's the people who don't listen to this reasoning that end up being the "select few" who actually DO end up pulling it off. THEY end up being the oddball examples everyone else posts about in forum threads.

This is how "Hope" works:

Right now, an unknown aspiring script writer could stumble into this thread and start reading all of these posts. S/he could have an epiphany and write a spec script about an unknown script writer trying to create a blockbuster movie and battling the reality of insurmountable odds. S/he could have all kinds of characters acting as obstacles to achieving this goal. Friends, college professors, producers, agents ...everyone saying it's just not going to happen.

The movie could be named "Mogul" and the premise of the movie is based in "Hope". The main character rises above everything to see his movie blazing up on the silver screen with the irony being that the unknown script writer who initially stumbled into this thread is now living out the movie in real life.

True, the odds of this happening in real life are slim, but NOBODY can say it isn't possible. ....That's just how crazy life can be!

-Birdman

P.S. Just like Indie, ...I'm off to work on my overly word-saturated movie script.

 

[ahennessey]

As an example, here is an action sequence from the spec script that was sold and eventually became the movie Three Kings with George Clooney and Mark Whalberg.

Notice that you can feel the momentum, and although it has little asides here and there, they help you get the feel of what is happening.

Epps, Wes and Jaeger sprint for the opening at the far end of
the passage as a missile rockets from the gunship's pod.
With a wild whine it rides the wind like a deadly arrow
straight into the passage. Slamming into the ground it
sprouts a terrific fireball that rides on a massive
explosion. It races through the passage, lifts our boys from
the ground and tosses them out into the open like they were
nothing more than discarded ragdolls.

Jaeger takes cover and cowers. He puts his panic into
overdrive.

Wes pulls his rifle. Grunting like an animal he sprays
bullets at the chopter, but it's like throwing snowballs at
an elephant. The gunship turns on Wes and fires in his
direction. It doesn't hit him, but it sends him running.

Epps has had enough of this shit. He scrambles to load a
grenade in his launcher as the gunship comes about. It races
for him, cannons at the ready. This one is going to be
close. Epps locks and loads just as the chopter swings down
on him. Epps fires, but the gunship simply jukes up and away
from the grenade the way someone might step over a bug. The
grenade impacts the rock face behind the chopter exploding
harmlessly. The chopter returns the favor by reining down a
hail of shells that kicks Epps back FLIPPING HIM UP AND OVER
the edge of the plateau. His M-16 goes flying, smashing into
the ground far below. Epps manages to grab hold of the
plateau lip with one hand. It swings him around, slamming
him hard against the cliff face. He hangs there, suspended by
his weakening grip, far above the ground.

 

[Metrostar]

I got a 90 minute feature from a 52 page script. There was a montage at the beginning that just said 'Montage' in the script. Later, the words 'Road trip' appeared in the script. We had to make all that stuff up on the day and it's a total of 8 minutes of the film.

 

[time2focus]

Hi Birdman,

Very interesting thread you have started here. I am also currently working on my first feature length screenplay. I would like to pass on some advice from my experience and that is to read some successful screenplays, especially in your genre (screenplays that have been filmed). See if you can find something in your genre that has been nominated or won an Oscar for best screenplay. I think it's easier to see hoe some things work or don't work in screenplays by doing this. I need to read some more myself. I think it helps answer so many questions.

Of course, pro writers can get away with more things that newbies cannot but don't let that stifle your creativity. You just have to be strategic about where to try something different and know that as a newbie it is in your best interest to be conservative. At the end of the day if tight writing and other commonly accepted "rules" or principles don't negatively impact your story, then why reject it? Other professions have their stamp of professionalism; in screenwriting, that is ours.

 

[directorik]

Problem is that when I finally submit my script to an agent, they might say, "Crap this sucker is heavy!" and pop it into the trash can thinking it's over two hours long.

Is this the one and only script you will ever write? Is this the one and
only script you will have finished when you submit to an agent?

Now, I fully see what you are all saying, but in reality, are the key people in this industry going to be so kind and understanding regarding my script length as you all are?

People in the industry are not kind and understanding. They are
looking for a script that will inspire a movie that millions of people
will pay to see. If you find an agent who believes your 130 page
script will attract top talent and a studio deal she will take you on
as a client. If a producer with a studio deal believes your 130 page
script will inspire a movie that millions of people will pay to see
then he will buy the script and make the movie - even at 130 pages.

Is your script that good? I'm not asking if you hope it's that good,
I'm asking if your script at 130 pages is so damn good that key people
in this industry will know the movie will get millions of people to pay
to see it.

It should be. If it is then 130 pages is fine and no agent will say, "Crap
this sucker is heavy!" and pop it into the trash can thinking it's over
two hours long. They will say, "Crap, this sucker is amazing!"

 

[Birdman]

As an example, here is an action sequence from the spec script that was sold and eventually became the movie Three Kings with George Clooney and Mark Whalberg.

Notice that you can feel the momentum, and although it has little asides here and there, they help you get the feel of what is happening.

This is more wording than I am using. I would much rather read a script written this way than with the chopped up sentence structure. How many pages in the script for the movie?

-Birdman

 

[Birdman]

Is this the one and only script you will ever write? Is this the one and
only script you will have finished when you submit to an agent?

That is 100% correct! Just this one. I am NOT a writer. I hate writing most of the time, but in this case I am unable to separate my fingers from the keypad. I had an epiphany and the movie plays out in my head every day. I don't see myself ever writing another even if this one did sell (unless I had another epiphany - which is doubtful).

People in the industry are not kind and understanding. They are
looking for a script that will inspire a movie that millions of people
will pay to see. If you find an agent who believes your 130 page
script will attract top talent and a studio deal she will take you on
as a client. If a producer with a studio deal believes your 130 page
script will inspire a movie that millions of people will pay to see
then he will buy the script and make the movie - even at 130 pages.

Is your script that good? I'm not asking if you hope it's that good,
I'm asking if your script at 130 pages is so damn good that key people
in this industry will know the movie will get millions of people to pay
to see it.

It should be. If it is then 130 pages is fine and no agent will say, "Crap
this sucker is heavy!" and pop it into the trash can thinking it's over
two hours long. They will say, "Crap, this sucker is amazing!"

I ABSOLUTELY DO believe my script is great! I love seeing it in my mind, writing it and reading it. I KNOW that if it were made into a movie it would be a serious hit! I'm 52 years old and watched movies all of my life. I know the good ones from the bad. Barring poor production, bad acting, low budget and cheesy special effects, if done properly it would well be worth the seven figure investment required to produce it. ..."E.T." would damn well have a run for its money! I have never had a better feeling about one of my artistic creations than this script. Everything falls into place perfectly. My fingers can't keep up with my thoughts. The plot and sub-plots have a wonderful relationship with each other. Wild action!, intense fight scenes, tears, romance, sex, humor, special effects, ...a rags-to-riches Sci-Fi story all wrapped up in an apparently "wordy" spec script of universal proportions.

What I don't understand is .........doesn't everyone else feel the same way about their own spec script?

-Birdman

 

[rayw]

What I don't understand is .........doesn't everyone else feel the same way about their own spec script?

Everyone feels that way about their first spec script.

But after you read about two-hundred of them, then write your fifth script, then you go back and reread your cherry-popper you go "EGAD! WTH was I thinkin'? LOL. Nube."

Don't mistake story for execution.
The story may be a dandy.
But it's how it's executed in writing that makes or breaks any potential it has.

Stick it in front of some coverage readers.
Pay to see what they have to say.

 

[Birdman]

Everyone feels that way about their first spec script.

But after you read about two-hundred of them, then write your fifth script, then you go back and reread your cherry-popper you go "EGAD! WTH was I thinkin'? LOL. Nube."

Don't mistake story for execution.
The story may be a dandy.
But it's how it's executed in writing that makes or breaks any potential it has.

Stick it in front of some coverage readers.
Pay to see what they have to say.

I agree with this 100%. My weakest area is execution as I am not a script writer. I'm sure I could re-manage screen headings in a better way. I'm constantly hitting Google on how to handle crap like "phone conversations" and "Interior/Exterior" issues. I have characters on headphones in a helicopter communicating with people on the ground ...some in cars, others not. It's tough!

I have bookmarked several links posted on this website regarding script analysis firms and no doubt I will be using them. One of the links I posted was pulled from one of these firms. But in reality, what I have been typing has been in line with what I'm seeing in other online scripts.

I have a personal style in my paintings that I feel is unique. I get better and better with each painting just by way of experience and execution. When I go back and look at my first paintings I can see the difference in both technique and substance. ...But at the same time my first paintings hold their place with the others. They dictate the style just like the later ones. Picasso's first abstract paintings were a lot different than his later ...but they still have their own personality, hold their own and are highly regarded.

I think the key is "How far are you willing to push for a quality product?". This applies to anything you do in life. How many rock bands have outstanding debut albums only to follow-up with mediocre albums at best. Groups like "Foreigner", Alice in Chains" and "Guns and Roses" never managed to beat their first musical endeavors.

If someone ends up looking at their first script that they LOVED and now feel that it is had sub-par execution ....then they simply didn't push it far enough. They compromised on quality. The talent and skill was obviously there ...it just didn't get the technical effort that it deserved.

-Birdman

 

[rayw]

Bookmark this for a formatting guide: http://www.scribd.com/doc/12721428/Professional-Screenplay-Formatting-Guide

And I'll hazard a guess from your verbose answers in this thread alone that this 130pg whopper could probably be pared down by a third.
Just a guess.

Not being ugly. Just read that statement dry as cold toast and that'll be my delivery.
No sarcasm. No ill will.

Doesn't matter what my guess or opinion is.
Get some coverage.
Believe what they report.
Move onto your next screenplay.


BTW, what screenwriting program are you using?

 

[Birdman]

Bookmark this for a formatting guide: http://www.scribd.com/doc/12721428/Professional-Screenplay-Formatting-Guide

And I'll hazard a guess from your verbose answers in this thread alone that this 130pg whopper could probably be pared down by a third.
Just a guess.

Not being ugly. Just read that statement dry as cold toast and that'll be my delivery.
No sarcasm. No ill will.

Doesn't matter what my guess or opinion is.
Get some coverage.
Believe what they report.
Move onto your next screenplay.


BTW, what screenwriting program are you using?

...Haaa! You are absolutely correct! However, I DO go back and nix the extra words in my script. I don't do that type of editing here in this forum. But I DO recognize that I tend to use a lot of words. Dry as cold toast is tough for me.

I'm using "Final Draft". ....End there won't be another script.

-Birdman

====================

Here's my "Dry as Cold Toast" Spec Script response to your post:

Yes, I agree. Too many words. Final Draft.

-Birdman

 

[Sweetie]

I ABSOLUTELY DO believe my script is great! I love seeing it in my mind, writing it and reading it. I KNOW that if it were made into a movie it would be a serious hit! I'm 52 years old and watched movies all of my life. I know the good ones from the bad. Barring poor production, bad acting, low budget and cheesy special effects, if done properly it would well be worth the seven figure investment required to produce it. ..."E.T." would damn well have a run for its money! I have never had a better feeling about one of my artistic creations than this script. Everything falls into place perfectly. My fingers can't keep up with my thoughts. The plot and sub-plots have a wonderful relationship with each other. Wild action!, intense fight scenes, tears, romance, sex, humor, special effects, ...a rags-to-riches Sci-Fi story all wrapped up in an apparently "wordy" spec script of universal proportions.

I've only glanced over this thread. If I was considering your movie, I may have issue with the description in what you have written here. It kind of appears like you don't know what your movie is. Is it a sexual sci-fi action romantic comedy drama?

For instance, take a look at The Island (I think this is the name of the movie I'm thinking about). Ewan McGregor etc. It starts off as a Sci-Fi movie, switches genre half way and becomes a chase movie. Your movie may be too complicated and need to switch gears too often, which may confuse or lose the audience.

The problem you may have is a producer looking at it and asking, "Who is my market?".

On top of that, Sci-Fi these days tend to need to be 4 quadrant films due to the high costs of production. I may be misunderstanding what you mean by sex, but you may lose your PG/G rating, and a lot of your market at the same time.

It doesn't mean you're wrong either. Matrix is a good example of a movie that combines 4 story threads. Slightly similar to what you're describing.

I'd be interested in hearing the logline.

Before you pitch the logline, remember producers/executives tend to be rather simple people. It's like this, but different tends to work well. Timing it also important. Just don't make the mistake of saying, it's like [this exceptionally expensive unsuccessful] movie. Learn to do some basic research of the Box Office numbers.

And to answer your question. Not every writer thinks their script is the best script ever. It comes down to the writers personality type. Some are over confident, some are under confident, some are right on the money and have an amazing sense of perspective. Most writers I've come across tend to fall in the "It's the best goddam cracker ever" category.

Good luck! I wish you all the best success in your writing!

 

[IndiePaul]

I ABSOLUTELY DO believe my script is great! I love seeing it in my mind, writing it and reading it. I KNOW that if it were made into a movie it would be a serious hit! ... I know the good ones from the bad. Barring poor production, bad acting, low budget and cheesy special effects, if done properly it would well be worth the seven figure investment required to produce it.

It would likely need an eight figure investment and a high-eight figure one to get it made. That's a seriously huge hurdle to overcome.

Anyway, your best hope is to write it the best you possibly can.

But do you read lots of professional screenplays? Newbie writers should. Most don't and they write how they want to write with little thought to professional screenwriting technique (or sometimes format) - that's a huge mistake.

I'm filming again today so need to be out of this thread.

I'll leave you with:

Screenplay Format guides
http://reelauthors.com/script-analysis-coverage/watch-your-formatting.php

Keep Descriptions Brief and Tight
http://reelauthors.com/script-analysis-coverage/keep-descriptions-brief-and-tight.php

Size matters: Keep to 95-110 Pages For Spec Screenplays
http://reelauthors.com/script-analysis-coverage/size-matters-keep-within-95-to-110-pages.php

Screenwriting is Not Novel Writing
http://reelauthors.com/script-analysis-coverage/screenwriting-is-not-novel-writing.php

Stay in Present Tense and Active Voice
http://reelauthors.com/script-analysis-coverage/stay-in-present-tense-and-active-voice.php

.

 

[Birdman]

It kind of appears like you don't know what your movie is. Is it a sexual sci-fi action romantic comedy drama?

...It's a Space oriented Sci-Fi Adventure, with most of the action happening on Earth. All of the other elements I mentioned just happen to be in it.

Your movie may be too complicated and need to switch gears too often, which may confuse or lose the audience.

...I absolutely HATE movies that are so complex that I am left totally dumbfounded as to what is going on. I end up just sitting back waiting to see what happens because I'm completely lost. The first Star Wars movie was fairly easy to folly. Simple concepts and longer, unfilled scenes. The latter Start Wars movies were overly complex and hard to follow. I felt like they were trying to impress me with how smart the movie was. I have purposely made my script have simple to follow basic concepts. It has lots of breathing room within the scenes and the viewer is not pummeled over the head with special effects (like with the latest "Superman").

The problem you may have is a producer looking at it and asking, "Who is my market?".

...The market would be whoever enjoyed movies like "Kill Bill", "E.T.", "Erin Brockovich", "The Matrix" and the "Star Trek" movies.

On top of that, Sci-Fi these days tend to need to be 4 quadrant films due to the high costs of production. I may be misunderstanding what you mean by sex, but you may lose your PG/G rating, and a lot of your market at the same time. It doesn't mean you're wrong either. Matrix is a good example of a movie that combines 4 story threads. Slightly similar to what you're describing.

...This is an issue for me. It's a solid (R) rating right now. Could it be toned down? ...Probably. I'm writing it as how I would like to see it up on the screen. I'm adding in the things I want to see. There are certain elements in this script that would please the "Matrix" crowd. Others that would please the "E.T." crowd. Bringing the two together in a (PG) setting will be difficult.

I'd be interested in hearing the logline.

...Me too!

And to answer your question. Not every writer thinks their script is the best script ever. It comes down to the writers personality type. Some are over confident, some are under confident, some are right on the money and have an amazing sense of perspective. Most writers I've come across tend to fall in the "It's the best goddam cracker ever" category.

...I am obviously the "over confident" guy. But ya know? ...Unless you truly feel you have the big winner in the works you probably won't ever see it made into a movie. Nobody goes into a championship boxing match thinking "I probably won't win" and then wins the fight.

Good luck! I wish you all the best success in your writing!

...Thank you very much! I fully understand that the odds are overwhelmingly against all of us, ...but we still have to believe!

-Birdman

 

[Birdman]

It would likely need an eight figure investment and a high-eight figure one to get it made. That's a seriously huge hurdle to overcome.

...You are correct. I didn't do the math correctly. But why waste time writing something designed for a 6 figure budget? Shouldn't we all be writing scripts intended for the #1 slot and let the industry decide how much they want to spend on it?

But do you read lots of professional screenplays? Newbie writers should. Most don't and they write how they want to write with little thought to professional screenwriting technique (or sometimes format) - that's a huge mistake.

...I am sticking to proper scripting format and hating every second of it. I have a ton of bookmarked scripts that I often read for examples. The hard part is that I'm reading so many different styles of scrip writing. Who has it right? When I read mine compared to the ones online I seem to be on par with them style-wise.

BTW: I think it was these same links that you posted in another thread that got me hooked on the "page-per-minute" issue. ...Also on the "quick and simple script" philosophy. Every link you posted makes perfectly good sense and I agreed with the logic found within them. That's why I posted this thread! ....Now everyone is saying that it's not necessarily that way and that you CAN go over the limit ...You CAN have meaty descriptions!


...This is one crazy area of creativity!

-Birdman

 

[IndiePaul]

BTW: I think it was these same links that you posted in another thread that got me hooked on the "page-per-minute" issue. ...Also on the "quick and simple script" philosophy.

Birdman, I need to comment on this because you've obviously confused someone elses posts or links with mine.

I have never written or encouraged anyone to write one page per minute. I have never written any article or post talking about writing one page per minute or anything similar. I also don't have or encourage a "quick and simple script" philosophy.

I would not want to be associated with either as I do not regard them as good practice.

My view is the opposite: I always encourage writers to plan screenplays out well prior to writing. I also always advise that screenwriting is actually very hard work and you need to put in a lot of effort to do it well. There is nothing "quick" or "simple" about great screenwriting.

So you must be confusing my links or posts with someone elses.

Anyway, fingers crossed for your script. You're smart and listening to advice, reading pro scripts and doing lots of your own research on screenwriting - all are big pluses. Whether you sell or not - just writing a good screenplay is a great achievement in itself. But indeed, we would all like to see our work on the big screen.

.

 

[ahennessey]

Birdman,

I've posted this in another thread, but thought I would post it again in light of IndiePaul's comments.

This is a photo of our office after we had spent a few months outlining our feature script. This work was all done before we ever started typing a page.