ScriptXRay

Every screenwriter has heard the stories about the dreaded readers who don’t read beyond page 10 of your screenplay, who skim the dialogue of the script and create a summary based on the information spoken, and who never consider anything they read. Though I didn’t do these things personally (mostly out of fear of being caught or asked something I didn’t know when talking with a producer or writer), I feel they’re very much alive and kicking in Hollywood.

I’m not here to talk about how to avoid or go around your readers, but rather how to catch their attention with your title. If there’s one story we’ve all heard that’s true to every reader, it’s this:

Readers judge the script by the cover.

That might sound harsh to new screenwriters out there, but for those of you somewhat offended, think of it from a movie-goer’s point of view — specifically, a movie-goer at a film festival: There are four movies playing the night you’re at the festival and you only have time for one or two … which do you choose, and in what order?

Here’s where the movie-goer’s world reflects the reader’s — You read the titles …

Undead Nature | The Sandman’s Shadow | Forever in a Cage | Dead Rabbits

Of these four, I’d most likely grab The Sandman’s Shadow and Dead Rabbits first. With Sandman I’m compelled to learn who the Sandman is, what his shadow is all about, and what the world of story is like surrounding them. With Dead Rabbits, I’m simply interested in discovering the significance behind the title … experiencing the story in other words.

The reason Undead Nature and Forever in a Cage don’t really work (for me personally) is because they both lack a sense of mystery — Undead Nature is just about as bland as it gets, and Forever in a Cage sounds more like an emo-punk song breaking records for some mysterious reason.

My point here is to focus on honing the title of your screenplay so that when your reader — regardless if they’re a pro reader, development exec, agent, actor, producer, or anyone in-between — picks up your script, they’re compelled to open the first page and discover what its all about.

Why so much focus on the title if the reader is paid to read it anyway?

This might just be me, but when facing a large pile of submissions, I look through the stack and obsorb what I’m facing. What genres will I be reading? What levels of professionalism will I be reading (titles reveal even this most of the time)? Most importantly, is there anything compelling?

This is the same thing people do when searching through the TV guide (so 90’s), decide what to see during their date night at the movies, and look through Barnes and Noble for the book they want to read. Judging by the cover is something our culture is trained to do more than ever due to the over-saturation of advertising — we obsorb, digest momentarily (at warp-speed most often), and make a decision.

The significance behind all of this title-talk and judgment comes down to the reader alone. Most readers have an ever-flowing river of screenplays to read and cover, so you might imagine how they feel after spending hours reading two or three screenplays, writing the necessary coverage (average of 3-4 pages), and editing their work. To be blunt; it’s exhausting.

On top of the fact that you’re now exhausted, consider the fact that you still have to read Undead Nature and Forever in a Cage. At this point, you’re pretty much toast — imagine reading a short novel in a few hours, experiencing the roller coaster ride of emotion, thrill (hopefully), character detail, and the many flawed aspects of the project as well, then repeating that task over and over.

This is why people talk about being on top of the reader’s pile or to-read list. You want to compel the reader with your title so that you’re work is read with the most enthusiastic eyes.

How can screenwriters create titles that compel the reader?

There’s no right and wrong way to create titles — these are just a few things that I tend to gravitate toward with interest from a pro reader’s perspective (I apologize for the horrible title samples, however, I must admit, some are actual titles I’ve come across as a reader):

• Extremely short titles — I’m talking about titles like “lbs,” “Ted,” and “36″
• Extremely long titles — Again, think extreme. “The Untold Misadventures of an Unnamed Girl”
• Creative — Avoid “Love in Vegas,” & “The Quiet Family Room.” Be creative and strike your reader with interest and mystery.
• Ironic — This is something you’ve probably already heard … that’s because it works.
• Thematic — This is a great way to highlight your theme work, bring out the message of your story, amplify what the character’s about to do, and avoid over the top emotional titles such as “Supressing Tears.”
• Size — Consider focusing on the scope and size of your story. “Micro Love” “The Intergalactic Wars of the Electonians”
• Humor — I’m not comedian, so I’ll leave this without examples. If you’re writing a comedy, you should be able to get the first laugh from your reader before they even open the script. Create a funny title.
• Mystery — This is by far the most powerful elements you can create for your work. I’ll be posting a few examples and videos from the master of mystery, J.J. Abrams, in the upcoming weeks, so be sure to check back if you’re interested. Or, subscribe to ScriptXRay and stay updated via email or RSS feed reader.

Spend some time with the creation of your title and land your script on the top of your future-reader’s to-read list. Just as you want to schedule meetings and phone calls with executives just after lunch, so they’re in a good mood, you want to position your script as a high priority for your reader so they’re in a good / enthusiastic / awake mood.

Have you stumbled across or created a horrible title in the past? If so, post it in the comments section below for fun and lets talk about it.

I’ll start it off with an example I used above: My first script I wrote was titled “Surpressing Tears” — it was a meladramatic short I planned on shooting while still in high school! The title seemed so original and exciting at the time, but I quickly learned it was on the nose and cheap.

Your turn …

Further reading: 10 Ways to Impress a Script Reader

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Today I spoke with two good friends — one of which I’m working with on a project for ScribblePlay and the other who aspires to be a director. I noticed that as I spoke with them about various projects, classic films, and friends’ projects in the works, I felt incredibly inspired to go out there and get some work done.

I realized that regardless of how many connections and how much luck you have as a screenwriter, you won’t be able to hack it unless you have some talent and a few friends you can count on to understand your situation, what you’re working on, what you’re passionate about, and where you’re coming from.

Why?

Because unless you have someone to bounce ideas back and forth with, you’ll be stretched for fresh inspiration and stuck with a single perspective, which can lead to stale ideas.

If you feel like your inspiration needs a boost, consider meeting up with a pal and talk story. This always gets me excited because by sharing your ideas and thoughts, you’re enabling another point of view and perspective to jump in and share their views and ideas with you.

It’s important to stay inspired when aspiring to create art and build a career in an industry where everyone’s flying blind.

If you’re still not inspired, check out the 10 Ways to Find Screenplay Ideas.

When I was sixteen years old I decided that a computer was much more important than a car — I knew that I wanted to make movies, so I was determined to get the tools necessary to do so. These included certain digital video editing software and screenwriting software — both which were a pretty penny.

As the industry standard at the time, I pursued an Apple Computer with iMovie and Final Cut Pro for the editing of my films, but it was Final Draft that I focused on purchasing from as screenwriter’s point of view because it was were all my projects were to start.

I believe it was Syd Field’s The Screenwriter’s Workbook and later his instructional DVD, Syd Field’s Screenwriting Workshop, that lead me to Final Draft in the first place, but many screenwriting software and even freeware has surfaced in recent years.

For those of you out there interested in purchasing or signing up for screenwriting software, consider this your overview of what’s available.

Final Draft ($249) - This is my choice screenwriting software. It allows you to keep your mind off the structure and technical aspects of screenwriting and focus on your story. Check out the link above for an extensive breakdown of the features included with version 8 of Final Draft.

Final Draft Download ($249) - Great for those who simply can’t wait to start writing in screenplay format. Purchase and download the software right to your computer so you can get going — wish this was available back when I purchased Final Draft.

Final Draft AV ($149) - Never worked with this version myself, but it seems to be the affordable alternative to the full Final Draft software. The difference is AV doesn’t allow formatting for screenplay creation, but rather focused on enabling its users to write in music video, commercial, and other forms of media format.

Movie Magic Screenwriter ($229) - A slighly more affordable screenwriting software to Final Draft. I’m not too sure about this one, though I’ve heard a pretty equal balance between screenwriters who use Movie Magic and those that use Final Draft. Check out the link above for a full list of details and system requirements.

Power Structure ($129) - A story outlining software designed to make development easier and organized. Consider this program if you have a hard time organizing your thoughts into a viable story. This isn’t quite my style as I enjoy writing out this portion of the screenwriting and storytelling process by hand, but it seems excellent for those interested in keeping everything organized on their computer.

Movie Outline 3.0 ($179) - Another story outlining software. Check the link for more details and information.

Scripped (Free) - A free screenwriting resource that enables its members to write in screenplay format online.

ScriptBuddy (Free and Pro package available) - Another screenwriting resource available to screenwriters interested in writing online. They also provide a nice screenplay formatting guide which I reviewed here on ScriptXRay a while back.

That should be a good start — explore each screenwriting software to discover which is best for your needs. If you use or know of any other screenwriting software programs other screenwriters should know about, let everyone reading know by posting a link to it in the comments section below.

If you’re like me you probably find that your best story ideas come when you least expect them, and that they hardly come at all when you go looking for them. Story is not something that can be constructed like a bunch of Lincoln logs — it starts with each screenwriter differently, but it usually flows from both the mind and heart making it personal, unique, and important to the screenwriter.

New screenwriters often ask me where ideas come from, so I thought I’d create a quick reference list — not of how to find ideas, but where to start … or, how to get into the mode so that ideas will flow and form naturally.

These are just ideas — every screenwriter is different, so while one starting point will work for one screenwriter, it probably won’t work for the next.

1. Write

While this might seem over-simplified, I find it to be true. Whether you outline, use brainstorm bubbles, scribble, or write in another form, such as short story, writing inspires more writing. I’ve written about this before — learn more about this by checking out how Writer’s Block is Just a Creative Excuse Not to Write.

2. Read

Get around to reading a few books you’ve been wanting to read. Whether it’s the beginning of the epic saga, Harry Potter and the Sorcerer’s Stone (Book 1), the chilling crime thriller, The Poet: A Novel, or the fantastical journey through the world of story itself and the many worlds between making up what we know as the fiction section in The Eyre Affair: A Thursday Next Novel. Reading other stories already published will inspire new thoughts, new ideas, and perhaps even new characters, themes, and stories all together.

3. Take a shower or a bath

I’m able to relax and think clearly while in the shower, which is the state of mind I’m usually in when most of my inspiration tends to strike. Relaxation and meditation is extremely important when opening up to fresh ideas because it allows your mind to wonder without distraction or impact from external sources of inspiration as with a published book.

4. Look at art

This won’t work for everyone, but try opening your mind to new ideas by looking at all forms of art. Whether it’s a sculpture, oil painting, photograph, or live art, consider letting external inspiration soak in and affect your emotions, your thoughts, and your point of view. You can do this by going to a museum or picking up a book.

5. Write poetry

This might fall in with the first point, but consider poetry specifically when opening up to new ideas if you’re interested in discovering your voice, the themes you’re interested in, and your point of view regarding those themes. Poetry tends to me deeply emotional — even for a beginner — so this should allow you to discover what you’re really thinking about, what you really care about, and other ideas that can lead to the creation of your next screenplay or story.

6. Watch a silent film

This will force you to pay attention to what exactly is being said in the story and how it is supposed to effect the audience and most importantly, how it effects you as a modern day audience. Often times silent films delivered a message that doesn’t quite ring true with today’s audiences — watch a few of these films and observe which themes they explore, how it effects you, whether they can be explored with a modern day audience today, and what you would do if you were to take on the story and theme.

7. Picture books

Observe the simplicity in picture books and how they explore theme in just a few pages. Often times these themes are large enough to explore in a full-length screenplay due to their universal nature and lack of depth — find a picture book in your kids’ collection, your own collection, or in the bookstore that you can identify and connect with and figure out why.

8. Talk with other screenwriters

This is often one of the most overlooked ways to come up with new ideas. Simply get together with a screenwriting friend, join a screenwriting group, or participate in the screenwriting conversation found on blogs. Talking with another screenwriter is often inspiring, encouraging, and enlightening, so you should make it a regular habit if possible.

9. Go to seminars

Another great place to find ample screenwriting conversation is story and screenplay seminars. These are great because you can score more than just screenwriting swag, including valuable contacts, open doors, invitations, and even ideas.

10. School

While at UCLA I experienced one of the most ample flows of inspiration as a writer. Not only are you required to write in order to pass the class, but you’re also required to talk about your ideas, share your points of view, and explain what your motives are all about. This in turn requires that you listen to the entire class talk about their screenplay ideas, screenwriting problems, and other inspiring topics.

Use these points as a start place for finding ideas. Just as with true love, it’s often hardest to actually find what you’re looking for when you’re looking for it. Try not to think about it while exploring any of these points above and it’ll be hard not to come up with ideas.

One thing that always entertains me as a reader is when a screenwriter adds a shade of mystery to a character’s background. It adds depth, darkness, and imperfection, which in turn reflects the human condition.

While creating mystery behind a character can be challenging — it can also be extremely minimalist. Though we’ve been trained to expect answers as an audience, this is not to say you as the storyteller always have to provide them. Withholding information is definitely an art, so there’s plenty of room to explore.

In fact, some of the most memorable moments on screen include those that resist giving the audience the answers they wanted.

1. Withhold information

V for Vendetta delivered a powerful sense of mystery by not revealing the face behind the mask of V. If we were to see his face, we’d have digested the moment in an instant, thrown it out, and forgotten it before the film even had time to wrap up.

Warning: The clip below contains graphic images.

2. Provide Contradicting information.

Another example includes where the Joker came from in The Dark Knight. However, Nolan is talented and courageous enough to explore a different approach — instead of withholding the information, provide …

As we come closer and closer to July, the month I created ScriptXRay (launched the 27th), I felt the need to revamp the site with a new look and a couple ideas in mind.

1. Streamline the look - I suppose this is up for debate seeing how I’ve already received several complaints about the new look, but I’m confident it’ll catch on and become more attractive with time.

2. Experiment with new content - If you’re a subscriber to the site, then you’ll know that I’ve been toying with several ideas here and there regarding the type and tone of content posted on ScriptXRay. A few portions that caught on pretty quickly include the popular POV, EXPLORE, 101, and slowly but surely, PLACES.

In addition, a bunch of technical changes are underway, including full posts available right on the front page, tweet and ShareThis capabilities, advertising opportunities, and sponsorships. Most recently, I teamed up with the founders of GreenWriter.org to help spread the word about their new org, which you’ll read much more about in the coming weeks.

Also, you’ll notice a few links to my other sites - these are still works in progress, but they should pick up fairly quickly.

That’s pretty much it — the new look is here to stay, but it’s also here to grow. Thanks for your support as a reader. I look forward to your comments, suggestions, and ideas regarding new portions, articles, and POV posts!

Christopher

Written by Jessica Carman Wade

My day job consists of owning my own property management company. However its more like a cross between Monty Python, This Old House, Jerry Springer, and Cops. I use my experiences and observations as a basis for my writing with a little influence from James Thurber. Putting a humorous light to the situations that occur makes it not only enjoyable to the reader, but also keeps my sanity intact.

The main obstacle that I have is how to organize each of these writings and put them into a screenplay format. I have been playing with the idea of doing a screenplay based on a 24 hour period on this particular street. However I find myself with the questions of: Do I have enough material? What do I include and what do I leave out? Where do I start?
My challenges are more application in nature. I see my day job and my life as a major influence and inspiration to every piece I write. As I frequently say, “I observe and report.”

I am a 31 year old, southern accented lady from Central Kentucky. I am also a mother of two boys, wife of a quick witted Australian, sister of two military brothers, the US Marine that is a mixture of Clint Eastwood and Jim Carey and the very quiet and complete opposite, US Airman. I am the daughter of a juvenile probation officer in an Amish county, and the daughter of a retired police officer, now real estate broker in a housing slump. I own a very small property management company, which manages very socially active properties. All of those pieces make up the puzzle that is Jessica Carman Wade.

My blogs, which are actually my writings, are located at myspace.com/jess102777

Update: If you’re one of many who feel Twilight was one of the best stories ever to pass your eyes, ears, and heart - especially with that dreamy Edward character - since Harry Potter, Romeo and Juliet, or any other brilliant story for that matter, check out this homage to Edward Cullen - the hundred and eight-year-old heartthrob who WAS in love with 17 year-old-Bella … until he met someone cooler - Buffy.

Is it stranger that Edward and Buffy actually make a more powerful couple in the forbidden love genre as vampire / slayer lovers, or that Joss Wheddon came up with a much more exciting version of this story over a decade ago?

If you’re interested in sharing your experiences as an aspiring screenwriter with ScriptXRay and its community, check out the POV portion of the site.

The POV was created so aspiring screenwriters could learn what other aspiring screenwriters are doing to reach their dreams.

If you’d like to contribute but you aren’t sure what to write, consider these basic starter ideas:

1. Your experience moving to LA
2. The challenge of finding time to write
3. Your challenges as a writer with a day job
4. Your search for your next big idea
5. Researching your screenplay subject

Once you’ve written your article, email me here at ScriptXRay along with a short bio, link to your website, and a profile picture of some sort (preferably from facebook or other social network).

Character names, in my opinion, are one of the most difficult challenges of creating characters for a screenplay.

At the moment, I have mixed feelings about naming characters. One: I feel that no matter what you name your character, you can trigger the audience’s memory by branding your character in a way … through action and the actual speaking of your character’s name - more specifically, the repetition of speaking your characters name.

Take Fight Club for example - the two character names you remember most from that movie don’t even belong to the main character … well, kind of.

Tyler Durden - there’s nothing particularly suggestive about this character name. It’s simple, balanced, and all American; so what makes it so memorable?

Repetition & action.

Watch this clip - notice how Tyler’s name is repeated by multiple characters.

Let’s face it: Tyler Durden is a bad-ass. We remember his character because of the action he takes throughout the movie (he does just about everything you wish you could do), but we remember his name because of how many times its said throughout the film.

Think of it this way, try to imagine your friends and family with different names - chances are you’ll find that no other name would really fit the character of your subject. There’s no way Uncle Jack could be an Uncle Tim, right?

Two: I feel that naming your character requires time, research, and meaning. After all, the character name is the single most demanding portion of the story - writers need to create the essence of an entire character using one word.

Because of this, I carry a Latin dictionary in my writing pack - it’s not just for character names, but for naming in general … I just used it today to name a stagecoach of particular importance.

A few names that were obviously well thought out were the names found in Pirates of the Caribbean: Elizabeth Swan, William turner, Jack Sparrow, and Norrington. According to the writer responsible for the names of the characters, he created their names using symbolic birds. Miss Swan, the beautiful and elegant daughter of the Governor; Jack Sparrow, the pirate after freedom.

So what’s it all about? Character mythology, mystery, action, and repetition or careful planning and symbolic meaning.

Perhaps a healthy mixture of the two.

Do the research and create a character name you feel will help personify your character, but don’t depend on the audience to remember your name — no matter how interesting. Create your character through action and remind your audience of your character’s name.

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