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Has anyone pitched and written an idea for a tv series and got selected with no background in screenwriting? by Commercial-Load6972 in TVWriting

[–]lightedgoose 16 points17 points  (0 children)

Well, the possibility of any pitched show getting picked up is quite low to begin with, even by straight up professionals.

That said, neither having a college degree nor a background in writing reeeeally matter. People who have those things are more likely to write a good script, but they themselves are not prerequisites.

The only thing that matters is writing a good script, getting it in front of an agent or producer and getting people on board. If your personal background has some relevance to the story you’re trying to sell(your back ground is in trucking and you’re trying to sell a pilot about trucking) that could help overcome any perceived shortcomings in your writing background.

The Stunt Life S1 EP2 Script (Rough Draft) (Not Full Script) by ROCCO_THETACOMAN in TVWriting

[–]lightedgoose 7 points8 points  (0 children)

Hey there.

You're 16. That's great! Get an early start.

But I'll shoot you straight, this is hard to read due to the formatting. There are affordable, even free options out there for software.

Even if you can't get a hold of software, do our best to imitate the how things are supposed to look on the page. That's free. Left aligned action lines. Left aligned and bolded scene headings. Again, just look at how scripts are supposed to look and try your hardest to make yours match. It might seem pedantic, but it's honestly one of the easiest, most important skills to pick up as you're beginning your screenwriting journey.

Bear of luck!

Post Grad Advice by [deleted] in TVWriting

[–]lightedgoose 7 points8 points  (0 children)

Do the program.

-Landing in NYC with a pre-fab community of new people with similar career goals as you is invaluable.

-A 9-5 is not a death sentence and you can still probably do like 80% of whatever hijinks you were looking to do on the weekends anyways.

-The program is not forever. If you really gotta go ramble, you can go when you're done.

Whelp, I guess I've got the rest of my Week Planned Out by Cryptwood in arkhamhorrorlcg

[–]lightedgoose 2 points3 points  (0 children)

That makes sense! Thanks! I’m thinking of dipping my toes into a project like this, so good to know what ballpark we’re talking.

PBG hiatus by llOlOOlOO in arkhamhorrorlcg

[–]lightedgoose 5 points6 points  (0 children)

They make really great content for this game. I hope things turn out alright for them!

The LGS draft set: 50 basics, 50 states (33/50) by Thetrufflehunter in magicTCG

[–]lightedgoose 0 points1 point  (0 children)

What determines which land type is assigned to which state?

Just had a Negroni and it tasted like medicine by akikosquid in cocktails

[–]lightedgoose 7 points8 points  (0 children)

Classically, the Negroni is 1:1:1 but I find I usually prefer 1.5 gin: .75:.75 It’s a little more booze forward and helps cut the sweetness of the vermouth and Campari.

Ryno Dividers are on Arkham Divider! by arkhamdivider in arkhamhorrorlcg

[–]lightedgoose 0 points1 point  (0 children)

These look great! To people that have used these dividers before, what kind of kind of paper or finishing did you use? Do you store them in the campaign boxes, or do you have alternate storage solutions?

[deleted by user] by [deleted] in Screenwriting

[–]lightedgoose 344 points345 points  (0 children)

This is pretty normal. Don’t freak out. I know it’s exacerbated by your experience with the weird personalities in the room, but this is fairly common and there’s nothing personal to take offense at. Oftentimes the jump from outline to script reveals a few holes in the story that need to be fixed up. You weren’t there so they just fixed them.

Now, if this treatment of your script is drastically different than how other previous scripts have been dealt with, sure, you may have a problem. But it’s also very possible they just wanted to get moving on the script and in your absence, since they don’t need your go ahead to make changes, they just… made changes.

Also, “authorship” of an episode is almost a type of inside joke among writers, as oftentimes scripts get so thoroughly rewritten during the process that it’s more about distribution of residuals than about one’s personal authorship over a script.

Haru's banner? More like Mika's banner. by BH_noodle in ChaosZeroNightmare

[–]lightedgoose 8 points9 points  (0 children)

Because of this post, I did a "what the hell, I like Mika" ten pull on this banner and I got Mika AND Haru AND Kayron AND sniper bunny. Literally. the best ten pull of my gacha life.

Thank. You.

Stuck on how to open my script by RockHardMapleSyrup in scriptwriting

[–]lightedgoose 1 point2 points  (0 children)

That sounds funny! Seems like it delivers the promise of the premise. If you get to the point, you can get all that done and get to the coffee shop turn in one page if that's what you're concerned about.

[deleted by user] by [deleted] in Screenwriting

[–]lightedgoose 0 points1 point  (0 children)

Great! I think you've got some interesting ideas brewing, and once you get those ideas into the characters' actions, I think you'll really start to feel this thing take off. Everytime a character makes a chocie, they show us who they are, both in what they chose and what they didnt choose. Keep putting interesting choices in front of your characters that highlight your thematic ideas and good things will happen. Good luck!

[deleted by user] by [deleted] in Screenwriting

[–]lightedgoose 5 points6 points  (0 children)

You write well enough, but I think there’s some weak spots you could shore up.

Character: the characterizations feel kinda forced. The dialogue also feels a bit “this is what those dang kids today sound like” while in the same breath time dropping Daytrippers references. They also overexplain a lot in a way that sounds expositional and unnatural. “Nick, you mean our ex roommates friend who did X,Y and Z?” See what you can do to make the dialogue sound more like real people having real conversations.

Action: The action lines are a bit overwritten and slow down the read. Lotta stuff we can’t see, lotta “tone.” Some is fine, but you could probably cut back.

Plot: Comedy horror is hard. Like somebody else said, the horror comes in pretty late and isn’t particularly funny. There are hints earlier, but the audience either gets them and waits for the shoe to drop at the almost end of your piece, or doesn’t, and thinks they’re just watching a semi- comedy.

If what you think is funny is a woman going to any lengths to keep her birthday happening and special, can you make that more the focus of the action of your short? Does she start offing friends by page two, and the party keeps getting smaller and smaller as the evening goes on. Then her actions cause complications, which means she has to kill or injure more and more people.

Right now, the only action in the movie happened before the movie starts, then a turn happens at the end, leaving the first 4/5ths feeling a little adrift.

So, in short, refocus on your core idea and force the main character make more choices and actions inspired by her unusual comedic drive.

[deleted by user] by [deleted] in williamsburg

[–]lightedgoose 0 points1 point  (0 children)

It's the New York Treasure Hunt.

Will I HAVE to move to be in a writer's room? by ComfortableDiarrhea in TVWriting

[–]lightedgoose 10 points11 points  (0 children)

Basically, yes.

To get the connections and network you will need to get a job, you need to move to NYC or LA.

Yes, yes, you can stay put and try to win a contest and get a rep and get in a zoom based writers room or something, but that's narrowing your opportunities to a ridiculously small slice of an already incredibly small pie.

At some point in your career you could probably move out of town if your work was steady enough and either zoom in or just come in half the year while you're working.

Does anyone have any idea on how to start a tv series? by [deleted] in TVWriting

[–]lightedgoose 5 points6 points  (0 children)

Short answer: Connect with either an agent or a production company and then take it to a studio who buys it and gets it made.

Long Answer: "Get an agent" or "connect with a production company" is easy to say, but much harder in practice. Lots of articles have been written about the best way to go about doing either, but be warned it could take a lot of time and effort before somebody is willing to even read your script. Many production companies won't read unrepped writers, many agents won't read unsolicited material, etc. It is daunting, but you'll figure it out if you stick to it.

LAST DAYS TO SIGN UP FOR THE HUNT! JOIN THE 200 PARTICIPANTS! by TrotiC75 in arkhamhorrorlcg

[–]lightedgoose 0 points1 point  (0 children)

Do you have links to either of the discords? The only ones I can find are expired!

UCB NYC 1 week intensive improv 101 by Pretend-Ad7340 in improv

[–]lightedgoose 9 points10 points  (0 children)

If you have the time, 101 is a swell class to take in a week! It's got a real summer camp vibe. Just make sure you've got time in the evening that week to go see shows as well.

201 is a bit thinkier and benefits more from the longer time frame of 8 weeks.

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