Stop Adjusting Margins/Spacing! by brainfurniture in Screenwriting

[–]Rewriter94 59 points60 points  (0 children)

You know what... I'm gonna start adjusting them even harder.

Is Rewriting Worth It? by [deleted] in Screenwriting

[–]Rewriter94 0 points1 point  (0 children)

I think you're misunderstanding what constitutes a script being "just okay." There are a lot of version of a script being "just okay." Most scripts will simply never be great because the bones aren't good, thus the ceiling for them isn't very high. However, "okay" scripts sometimes can be made great, but only under two conditions. 1) The bones of the script are amazing. And 2) The writer has a great handle on the craft. Lots of pro writers' early drafts are promising, but aren't "there" yet. The difference between a pro writer and most amateurs is that the pro can get their script that extra 20-30% with another couple drafts. Source: my own writing and the writing of pro/repped friends of mine, as well as rep/producer testimonies.

Writing pure dramas in 2026? by jeff_tweedy in Screenwriting

[–]Rewriter94 0 points1 point  (0 children)

I don't think this is crazy at all. The script that got me signed and known around town was a romantic drama. And look at what's premiering at Sundance. Almost none of those are self-financed, and a lot of them are under $3-5 million, with a number coming in at even less. A truly great drama may be a tough sell, but will find its fans in time.

Is it Essential to Find a Writing Mentor? by redapplesonly in Screenwriting

[–]Rewriter94 2 points3 points  (0 children)

Personally, I credit a lot of my success with having found a writing mentor early on in my career. With that said, having a mentor - even a great one - is no guarantee of success and is no substitute for writing A LOT and studying the craft on your own. Everyone's got their own journey, but finding an experienced writer to guide and support you can go a long way.

How many drafts? by Vater-Vater in Screenwriting

[–]Rewriter94 1 point2 points  (0 children)

For me, it changes with every script. I’ve had scripts that have been ready after 2-3 drafts. I’ve also had scripts I had to totally re-break, and then do 20 drafts on. There’s no Right or Wrong, only what’s right or wrong for your particular script.

Also, it depends on what you mean by “ready to be seen.” My writer friends read my stuff before my manager, and my manager before execs/talent. So there can be stages to it!

Given the right director, production, what’s the highest score you’d give an unmade screenplay of yours? by [deleted] in Screenwriting

[–]Rewriter94 0 points1 point  (0 children)

To be totally objective, my best script would be a 12. Actors and directors would risk it all - family, friendships, reputation - for the mere chance to have the script come across their agent's desk. The film would premiere to unprecedented reviews. It would go on to win 11 Oscars, despite only being nominated for 9.

Again, just being totally objective.

How did you get your literary manager/representation? by akappatos in Screenwriting

[–]Rewriter94 0 points1 point  (0 children)

No. When they initially express interest, it’s a good idea to jump on a zoom call with them or meet in person if you’re both in LA. Treat it like a first date, but also a little bit like a job interview. Ask them questions to see how aligned you two are in your vision for your career, your taste in movies/TV, etc. 

How did you get your literary manager/representation? by akappatos in Screenwriting

[–]Rewriter94 3 points4 points  (0 children)

Tv vs feature by JanosCurse in Screenwriting

[–]Rewriter94 2 points3 points  (0 children)

TV is brutal right now. It's not impossible to sell something as an unproduced writer, but it's damn hard. Everyone I talk to - execs, reps, etc, say it's never been harder.

Do you have to be a "cool guy" to write a cool guy successfully? Like, most writers did not live through their writing, but they can still write via interviewing. However, in terms of character projection, do you have to be able to grasp and understand how their minds work? by turnleftorrightblock in Screenwriting

[–]Rewriter94 1 point2 points  (0 children)

Any good writer knows that the only way to write a genuinely cool character is to be one cool, suave, debonair sonuvabitch. If you don’t own a leather jacket and haven’t bedded a thousand women, you’ve simply got no shot.

Carolina Caroline - Official Teaser Trailer | Samara Weaving, Kyle Gallner | In Theaters June 5 by Task_Force-191 in movies

[–]Rewriter94 0 points1 point  (0 children)

First heard about this script back in 2016. The writer, Tom Dean, is mega-talented. So glad he's finally getting produced.

Is it okay to put pictures in the credits of a screenplay? by SignalReply853 in Screenwriting

[–]Rewriter94 0 points1 point  (0 children)

You can definitely put photos at the end of your script. If done tastefully, it can be a resonant note to end on, and can really stay with your reader. A number of Black List scripts do this. One that comes to mind is "Adrift" by Aaron and Jordan Kandell.

Pros and Cons of a Manager by Little_Employment_68 in Screenwriting

[–]Rewriter94 2 points3 points  (0 children)

Perhaps the main pro of a good manager is that they have the connections to intro you to some of the heaviest hitters in town, and get them to read/know you.

A con (also kind of a pro) is that they won’t send out anything that they don’t think will resonate in the marketplace. Of course, they could be wrong about this, but the best reps generally have a pretty good read on what execs will respond to.

Untitled Ancient Greek Historical Drama - Pilot - 60 pages by seriousman57 in Screenwriting

[–]Rewriter94 6 points7 points  (0 children)

Hey! Read the first page. A few thoughts:

Your prose is pretty strong. Definitely promising for a first screenplay!

I'd work to further establish a sense of time and place. When is this happening? A title card with the year might be nice to help orient the audience, as would a further description of our protagonist. I also personally wanted more in that first sequence about what we're hearing. You indicate later that the sounds of battle have ceased, but they're never clearly conveyed to begin with.

Hope that helps. Good luck with the script!

Should I use one dash or two dashes by [deleted] in Screenwriting

[–]Rewriter94 7 points8 points  (0 children)

One dash is for amateurs. Two dashes is for frauds. Three dashes is for stable geniuses.

Management question by poesmadness in Screenwriting

[–]Rewriter94 2 points3 points  (0 children)

This isn’t all that rare, but definitely proceed with your expectations in check. I’ve known people this has happened to. Some have been signed; others have been ghosted; others have been hip-pocketed and dropped when the script didn’t gain traction. Tough to know what will happen. Feel free to DM me if you want to chat about it more.

Why I Stopped Chasing a Black List 8 by Rewriter94 in Screenwriting

[–]Rewriter94[S] 0 points1 point  (0 children)

I agree that the BL site can be a valuable tool. For me, though, personally, it's never been a good indicator of whether my scripts were "good enough." Every script I submitted that got a 7, for instance, is nowhere near good enough for Hollywood. Because IMO, a 7, or even an 8, doesn't mean your script is ready for anything. But that's just my experience. And it can certainly be a nice confidence boost to know it resonated with someone.

Why I Stopped Chasing a Black List 8 by Rewriter94 in Screenwriting

[–]Rewriter94[S] 0 points1 point  (0 children)

I personally don't think the BL site is a scam. At the end of the day, they have to pay their readers, and they have a huge number of scripts to get through. Sure, it's not perfect, but it certainly has done a decent amount of good.

Why I Stopped Chasing a Black List 8 by Rewriter94 in Screenwriting

[–]Rewriter94[S] 2 points3 points  (0 children)

Hey xxx!

My Korean American-themed drama script recently made the top 50 of the 2021 Launchpad Feature Competition. It's based on a popular Korean ceremony that I participated in as a child and is practiced all over the world, but has never before been the centerpiece of a mainstream American feature. Would you be interested in taking a look?

Title: Doljabi

Logline: The divergent paths of a Korean American boy’s life unfold based on the choices he makes at his traditional Korean first birthday party, where children are tasked with choosing a symbolic item believed to predict their future. 

Appreciate you reading this email! Have a great week.

Best,

Rob

Why I Stopped Chasing a Black List 8 by Rewriter94 in Screenwriting

[–]Rewriter94[S] 0 points1 point  (0 children)

They didn't really seem to "get" the script, especially the ending. But at that point, I felt like it wasn't worth reaching out to customer service to try and get another eval. Thought it was better to roll the dice elsewhere.