Archive for September 2011
Screen Play Software – Final Draft Tips
September 29, 2011 | 
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Screen play software for professional screenwriting that is endorsed by some of Hollywood’s biggest writers like Oliver Stone and Syd Field is Final Draft. This screenwriting software is the market leader and most widely used script formatting program in the world. It is also the most preferred program for script submissions amongst production companies. Final Draft has a host of intuitive features that enable a writer to focus on the story while freeing them from all the technical hassles and redundancy of properly formatting a screenplay.
There are shortcuts and time savers inherent in this program and many of them take experience to implement; here are some screen play software tips for Final Draft.
The default font is a custom 12 point courier designed specifically to provide a thicker, better, and properly spaced font. Do not change this because Courier is the industry standard font and is a per-requisite of script submissions. Learn to work with the SmartType feature that keeps a database of scene headings, extensions, character names, locations, transitions and times. Enter just the first few letters and the software will type in the rest instantly; this is how you avoid typing reoccurring places and names and save yourself a whole lot of time. Use the bookmark function that marks any spot in your script so you can jump to it with just a click of the mouse. Do this by selecting Document>Insert Bookmark and add a custom name in the Bookmark name field at the top of the dialog box and click OK to apply changes to the script. To jump to a Bookmark, choose Edit>Goto. Select the Bookmark you want from the list (Windows) or the pop-up menu (Mac OS).
Professional screen play software is a must when submitting scripts to production companies for approval because it is what they use for writing and editing screenplays. Final Draft is the preferred program, but Movie Magic Screenwriter is an acceptable alternative. Also, consider digging into some good books on the art of writing a screenplay; titles like Screenwriting Goldmine by Philip Gladwin and The Screenwriters Bible by David Trottier to name a few.
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How to Contact Record Labels
So you’ve got a great demo, and you want to learn how to contact record labels. This can be an intimidating and challenging part of breaking into the music business, and you have to have a certain measure of pluck and courage to make yourself heard. But it’s not impossible by any means, and a bit of knowledge is the best place to start.
The first thing to know (though it may seem obvious) is that, unless the circumstances are extraordinary, you cannot simply find a label’s address on its website and send over your demo. Most often, major record labels do not seriously consider unsolicited submissions, so you are swimming against the current if you don’t happen to know an agent or producer. Do network; you never know who knows someone who could get you in contact with a label. Keep your antennae up about any contacts or resources that cross your path, even if they seem unlikely.
But let’s say you don’t have any contacts. The first place to go is a database or directory. Record labels release information about how to contact them onto music contact databases, such as ReachFame. These are a valuable resource at this stage; they contain information and services for bringing artists and labels together. Often, going through these database services allows you to submit to labels that do not ordinarily accept unsolicited material. You might need to create a profile on one of these sites in order to see which A & R’s are seeking material.
If you find a label that says it accepts unsolicited material, you may send them your package-tailored to their requests for submissions, of course. If they say they are seeking cover letters, send your cover letter. This is a one-page introduction to you and your music that represents you in a fresh and marketable light and makes an A & R representative want to see more from you. If they say they are accepting demos or packages, send your package, and try to find the name of the A & R representative to send it to. This information should be available online or by phone. Your package should include your cover letter, your demo, a band photo, a band bio, and press clippings if available. You may call or email to follow up, but always follow the guidelines in place. Make sure to be both polite and enthusiastic in these encounters. Sell yourself without being pushy.
For independent record labels, the rules are slightly different, as business models vary from label to label. If the label is small enough, you will be able to find a street address and email address on their site, to which you can send questions about if and where they accept demos and submissions. The degree to which indie labels consider unsolicited submissions varies. If the label classifies itself as “open submission,” you may send your materials directly, but make sure you read the submission guidelines if they are available. Indie labels are a great opportunity to develop relationships with A & R representatives, so make sure to email a follow up and keep the flow of communication open.
With resourcefulness, determination, and the right information, you can contact record labels with your materials and hope for success. It may not be immediate, but as long as you keep yourself savvy, educated, and upbeat, you are sure to find success in your record label contacts.
Agent Query Letter – It is All in the Proof
Your literary Agent Query Letter is all about the proof. Literary agents want to know, are you a screenwriter with merit? Do you have what it takes to sell a film script in Hollywood? As a screenwriter, you can get your foot in the door of a literary agency. You can show them that you do have what it takes. It is all in the proof. Proofreading, that is.
The process of script writing is writing and rewriting. So I would suggest that proofreading be a part of this process. Begin your first proofreading session after your first draft is completed. As you go along, be sure you work out any kinks and inconsistencies within your screenplay. Proofreading is great for this, because it allows you to see where the threads of your story are unraveling.
As you re-conceptualize your film script, you will see that through proofreading some things just do not apply to the actual story. Some of your ideas may just not be relevant. This is the time to take those ideas and thoughts out of your screenplay. Proofreading gives you a clearer picture of the vision you are trying to portray in your film script.
Once you are finished with your rewrites and have a final draft of your screenplay, print out a copy. Now review every aspect. Do not leave any stone unturned. Read it slowly, savoring the tone and mood of your film script. Analyze your script writing. During this proofreading session, you are double checking and triple checking every sentence structure, including dialog. Punctuation, spelling and use of grammar are key elements to keep in mind during this process.
When you feel your screenplay is ready to go out, you can begin your submissions. I would suggest one final stage to your preparation. Before you begin your submissions, call a script doctor and have them review your screenplay in its entirety. Once the script doctor signs off on your film script, you will be given the green light and go ahead.
Your literary agent query letter should be impeccable. It is your first impression that will make all the difference. Finding a literary agent excited to represent you takes time and patience on your part. Do the same thing with your agent query letter that you did with your screenplay. Proofread it thoroughly before sending it out to a literary agent. Make sure the words and phrases you use in your agent query letter are compelling and enticing. You want to grab their attention to want more from you. You want to receive a pleasant confirmation letter back asking to read your screenplay.