Screenwriting Goldmine Blog

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Do you remember that survey we ran a couple of months back to see what people wanted next from the Goldmine? Well, I’ve posted the winning result up at this link, so take a look. (I’m working on this project as of now, so, just as a favour, to help me get it absolutely right, if you could also answer the handful of point-and-click questions there too that will help refine what’s coming to the point of maximum delight!)

Next Screenwriting Goldmine Project

One other thing, that might be of interest if you’re already a user of the Screenwriting Goldmine method. If you get confused when you come to lay out your story in a spreadsheet then you might like to take a look at a spreadsheet I’ve created for you. It’s a smartened up version of the spreadsheet I use myself every time I write a story, and you can download it for a VERY reasonable price at:

The Goldmine Guider

You know one of the major things that will make or kill your career as a screenwriter?

Your ability to impress in meetings.

Over the years I’ve watched writers with talents that were, politely, less than stellar, do very, very well.

Over and over some of them would win out over better writers - and even go on to have major careers - all because of their ability to pitch well in pressured script meetings.

Sheer meeting technique can get you a very long way in this industry.

I know when I started out I used to ignore this. I really firmly believed it was all about the writing, and I used to think I could have my entire career from in front of my pc screen.

I quickly learned I was wrong of course. This is a team game, and if you’re going to work as a screenwriter you need to be able to hold an audience while you talk.

If you can project authority, charisma, and clarity with any power you will be so far ahead of better writers who can’t communicate the fact they are better writers.

But from the emails I get I know that’s a daunting thought for a lot of people.

If the thought of pitching to a room full of people is what’s putting you off committing to your screenwriting career, then maybe, just maybe, this is something you ought to think about getting fixed.

In the long run you could look at joining any public speaking group to get experience talking in public and holding an audience. When you’re ready, Toastmasters is probably the best established of them all.

But turning up at something like Toastmasters when you’re just starting out can be very daunting.

So what to do?

Well, there’s always the internet. You can find anything you want out there. If you’d rather start building up your public speaking skills on your own just for a while before being thrown into the hot seat there’s a whole load of people out there who can help. I had a quick look round the other day and here’s two of the more authoritative seeming sites:

(Just click on the names)

Get Applause Now

Conquer Public Speaking Fears

These are just two of the many, many courses that are out there, so if they don’t appeal then just keep on looking for one that does.

But do keep on looking!

If you do have this fear then I urge you to take steps.

Being good in meetings is a specific skill, and, like any other skill, you CAN acquire it with the right help.

Just wanted to mention…

Over on the forum you currently have two (2) (TWO!) ’screenplays wanted’ opportunities – with chances of your script going into production at the end of each process:

HERE and HERE

You have the rare opportunity to ask David Freeman, one of THE hottest Los Angeles screenwriting gurus around at the moment direct, one on one, questions – hear his take on any of your screenwriting problems HERE

You ALSO have the chance to buy seats for David’s upcoming London seminars at a 10% discount here: click HERE to read more about all that.

Manna? Maybe. Go get!

This afternoon I had this email conversation about an aspect of my Screenwriting Goldmine book.

I thought it might be interesting to post it on here.

Question:

One thing I want to ask: When developing my Hero, your advice is to think of the worst thing that could happen to him, then make sure the Villain is responsible for making that happen. Problem is, the worst thing that could happen to any Hero is a terminal illness and death.

How do I come up with a dramatic “worst thing that could happen to my Hero” scenario when death is the universal worst for any character? How do you work this out?

Continue reading Think Tragic Hero For Better Protagonist Definition

Very early on you might find this choice has been made for you. People tend to want from you what they know you can already do, so your initial successes can define your path quite markedly.

It’s a classic complaint you hear from a lot of writers.

In my case, despite a keen interest in many different genres, I know I’ve been tagged as rather a dark, very male writer, who can do strong story, can actually deliver on female characters unlike most dark, male writers, but basically am the sort of writer you’ll go to when you want a crime script.

That has tended to mean the lighter, or the more fantastic, stuff I have written has struggled to find an home.

For example, I have developed a treatment for a great, family Event piece with another writer (an Easter Day Ealing comedy) and it’s sitting on the shelf because people get nervous - they aren’t sure I have proven I can deliver light, family style viewing.

It’s annoying on the one hand, as I know I can do much more than crime - and I have a kind of contemporary gothic romance about a circus that I’d kill to see made - but on the other hand it’s not a problem, because it does mean people come to me when they want a dark crime story precisely because of that reputation.

As there are a lot of crime shows being made,  and developed, I keep working.

My point is: experiment like crazy when you are starting out - you might not get the chance later.

There was a post in the forum today that sparked off a train of thought.

“All in all, pitching is a very personal thing. Whenever I send out a letter I remember Maya Angelou’s quote about people forgetting what you say and do, but remembering how you make them feel. The goal is to make the readers feel good about themselves (oddly enough). If this is script that reinforces their past work and efforts or speaks to a deeply felt belief or goal, and your query sheds light on that fact they will want to read the script. That is why it becomes important to know who you are pitching to and why.”

Thanks, Keviny, that’s a great quote (can you tell us who it’s from?) - and it’s a very effective state of mind: When you pitch you are selling something. Like all great sales people you must know your market, you must know your prey!

I want to expand this with some practical advice.

Continue reading How To Pitch Your Screenplay - The Clever Way

(For all you cat lovers out there. Personally I’m with Uncle Monty in Withnail…)

Continue reading Animal Diaries

Simon Beaufoy has had a double success with ‘Slumdog Millionaire’ winning him two awards.

His screenplay, based on the novel ‘Q&A’ by Vikas Swarup, was named best adapted screenplay by the Writers’ Guild of America on Saturday. The following evening in London Beaufoy repeated his success winning in the same category at the British Academy of Film and Television Arts awards

The film collected six other awards, for director Danny Boyle, music, cinematography, editing, and sound as well as being named best film. How good - and well-deserved - is that?

Continue reading Slumdog Millionaire Storms BAFTAs + WGA Success

Over in the forum people have been writing up their answers to the questions about how people actually write. Fascinating reading, and some common factors are coming through.

But I want to pick up on the idea that people feel like imposters after a script meeting.

This Imposter Syndrome can be crippling if it’s indulged. (Callous? Moi?)

So what do we do about it?

Continue reading Screenwriting And Self Belief- How To Keep The Faith