The following is a guest blog post by Fred Perry. Fred won first place in the screenplay category in the 82nd Annual Writer’s Digest Writing Competition. He has also received script requests, optioned three features, and won eight screenplay competitions. Today, he’ll tell you how to start a screenplay and share his story of...
If you’ve ever wondered how something gets made into a film—and how your work can be tapped for one, too—here’s the inside scoop on options.
If you find yourself having a difficult time sustaining one tone over a long work, try these three tricks.
Here's your step-by-step guide to the publishing process–how it works, why you need to know and how you can play an influential role in your book’s success.
by Jerry D. Simmons
Whether you build it yourself or hire a designer, your website can do more than bring you into the 21st century—it can be an invaluable part of your marketing arsenal.
by Linda Formichelli
Not all television executive producers are showrunners. The title isn’t even listed on credits. What does a showrunner do and how do you become one?
by Robin Rowe
Douglas Preston, who frequently collaborates with Lincoln Child (they've penned 11 novels together and are best known for their Agent Pendergast series), recently shared his thoughts on adaptations, specifically the 1997 movie adaptation of their first Pendergast novel, Relic.
By John Folsom
Let’s face it: A novel and a screenplay are two very different creatures. It’s like comparing a housecat with a bobcat—both are cats, but one you want curled up on your lap and the other, not so much.
by John Folsom
Producer Lynda Obst loves literature. She’s shepherded five novels to the big screen with more in the works. So, what does the producer of films like Contact, How Lose A Guy in Ten Days, and The Fisher King, look for when reading a book or article?
By John Folsom
Here’s how to turn your promising concept into a screen-worthy script.
by Jurgen Wolff
A treatment or a synopsis can be an indispensable tool, both for writing and marketing a screenplay. In this article, we’ll look at the relationship between the treatment, synopsis, summary, logline, scene cards and coverage. A synopsis can be a story guide for writing your screenplay, or be written afterwards as part of your...
After taking home the Oscar for her very first screenplay, stripper- turned- memoirist- turned- screenwriter Diablo Cody is ready for her close-up.
By Chad Gervich
Looking around at the proliferation of TV shows and movies, you might not think there’s anywhere entertainment vendors could squeeze in their products. But there is—and they’re looking for writers to help.
by John Scott Lewinski
With blockbusters like Spider-Man, Jurassic Park, Mission: Impossible and the newest installment of Indiana Jones under his belt, you'd think scriptwriter David Koepp holds the secret to Hollywood success. And in some ways, he does.
by Patrick McGilligan
Trying to make a living writing books is difficult, so a word of advice to anyone who’s planning a move to Los Angeles: Stay right where you are.
by Marc Weingarten
If you want to write a good sentence, don’t pay any attention to your grammar. I don’t mean “a sentence this like OK is.” I mean don’t automatically think you’ve written a good sentence just because it’s grammatically correct. Lots of bad sentences are grammatically correct....
In this excerpt from Writing Life Stories, Bill Roorbach teaches you how to pay attention to and translate your memories and how to overcome your resistance to remembered places and events.
Want the inside scoop on submission protocol, finding an agent and other scriptwriting mysteries? The professor is in.
Excerpt of "The Snowmen"
Scripts columnist Cynthia Whitcomb explains the "dirty dozen" of producer/director Tony Bill. These 12 easy-to-follow rules could make the difference between a script sold or scrapped.
From politicians to doctors, the co-creator of Spin City starts up his newest sitcom, Scrubs, under the spotlight of Thursday prime time.
Producer Jonathan Treisman talks about his Hollywood experience.
Prolific, yet humble, Leslie Dixon continues to make her mark.
James Manos Jr. shares his experiences with the ups and downs of writing his first novel, Little Ellie Claus (Pocket Books; $15.95). Manos, who won a 1999 Emmy Award for writing for a dramatic series for the "College" episode of The Sopranos, also discusses the differences between writing a novel and penning a screenplay.
Get the most out of the best-selling software for screenwriters with these tips and tricks for unlocking the power of Final Draft