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  COULD IT BE A MOVIE?

  HOW TO GET AN IDEA OUT OF YOUR HEAD

  AND UP ON THE SCREEN

  By Christina Hamlett

  All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission of the author except in the case of brief quotations embodied in critical articles and reviews.

  Originally published 2005 by Michael Wiese Productions (www.mwp.com)

  Rights reversion 2010 to Author

  Cover Design: Michael Wiese Productions

  Layout: Gina Mansfield

  Editor: Arthur G. Insana

  Author Note: When COULD IT BE A MOVIE was under development in 2004, I was privileged to include interviews with a number of wonderful industry professionals. Although several sections of the book have been updated for re-release, the interviews have been left as originally written.

  To my husband Mark,

  who never fails to remind me of the importance of

  enjoying the journey as much as the destination

  And to my mentor,

  the late Sylvia K. Burack,

  who to this day continues to look over my shoulder

  and remind me not to take shortcuts

  on the things that count

  “From determining whether your idea is best for ‘stage, page, or cinema’ to protecting your work, Could It Be a Movie? – How to Get an Idea Out of Your Head and Up on the Screen is grounded with super, real-time advice on how to evaluate, enhance, and structure those ideas for big-time Hollywood!"

  — Kathie Fong Yoneda, Script Consultant, Seminar Leader

  Author: The Script-Selling Game

  “The single most important thing about a screenplay is the basic concept. And the single most important thing aspiring screenwriters can do is read this book before they start writing."

  — Pamela Wallace, Academy Award Winner: Witness; Published Author

  “Hamlett's humor, conversational style, and wealth of publishing and production anecdotes make Could It Be a Movie? a ‘must-buy' for every aspiring screenwriter. Where else can you get the hands-on advice of a novelist, playwright, screenwriter, columnist, and PR consultant all in one book? It's as if she's sitting across the table from you on every page and encouraging you to put your best script forward."

  — Eric Lilleør, Publisher/Editor-in-Chief: Screentalk Magazine

  “Aspiring screenwriters, start here! Before investing your time and dollars trying to coax that script onto paper, check here to find out if your idea will pass muster. Filled with practical tips and great resources and written by a top-notch author and screenwriter, this book is a delight."

  — Jenna Glatzer, Editor-in-Chief: AbsoluteWrite.com

  “An absolute must-read.”

  — Marie Jones, Book Reviewer: Bookideas.com

  “If the idea is maybe a winner, then Could It Be a Movie? is a yardstick for making the creative process a little easier. Hamlett devises solid methods for estimating whether concepts and storylines will translate into successful feature films. A very good read for reviewing projects in the planning stages.”

  — Ross Otterman, Directed By Magazine

  “Yes, this is primarily a book about writing for the silver screen, but it belongs on every writer’s bookshelf. Could It Be a Movie? is a treasure chest of useful information about plot, character, dialogue, and developing the instinct to know the difference between a great idea and a mediocre one. Hamlett is a seasoned pro whose friendly, yet down-to-earth, no-nonsense advice both new and seasoned writers will turn to again and again.”

  — Liz Preston, Editor: Plays, The Drama Magazine For Young People

  “If you think that you have a movie in you, this book is a must-read.”

  — Linda Bauer, Author, Columnist, Lecturer

  “Indispensable... packed with facts, examples, interviews with insiders, and innumerable resources, this book covers the whole journey, and not only guides but inspires with tremendous examples, both personal and professional. It speaks to the needs of many pursuing their dreams in this business: writers, actors, filmmakers, producers,

  and anyone who wants insight into how to become a part of the magic.”

  — David Grad, Actor: Small Things Remembered,Hide and Seek,

  Follow the Leader; Host of TCI Syndicated Series: Power Mixx

  “I never thought there would be room for yet another how-to book on script writing until I read Christina Hamlett’s Could It Be a Movie? Here is not someone just turning

  the same commonplace advice over and over again but rather a truly knowledgeable pro who supports you all the way through the process of getting your idea out of

  your head and on to the silver screen. The depth of her insight even allows you as a reader to delineate your own personalized trail to fame and fortune, depending on

  your temperament, experiences, and personal idiosyncrasies.”

  — Janne Wallin,Writer/Executive Producer: Aristoteles AB

  Feature Films: Beck, Sprängaren/The Bomber, Festival

  “Christina provides critical insight into the real world of screenwriting in a comprehensive and entertaining way. This book is not only a catalytic spark for those

  screenwriters in a slump, it is the step-by-step manual for those aspiring screenwriters who need that extra push to make the commitment to pen and paper. Don't

  just read this book... TAKE IT TO HEART AND APPLY IT.”

  — Daren N. Afshar, Producer: Winery Productions (Japan)

  Producer: Changing Worlds, Red Shadow, Pride

  “If you are, like this writer, a film junkie, then you’re already a dreamer. And if you’re also a writer, then the likelihood is that you dream of writing The Great American

  Screenplay – or at least something that won’t send your hoped-for agent into spasms of derision before he or she can wrestle the metal clamp off the manuscript. It’s enough in life to find someone who has been-there, done-that in the positive sense. It’s a windfall to find someone like Hamlett who has been-there, done-that, and is willing to share. If Could It Be a Movie? isn’t the screenwriter’s bible, it’s the toolkit. Buy it. Then, when it all finally happens, make sure they spell your name correctly in the final credits.”

  — Terry Boothman, Author: The Writer’s Software Companion

  Editor/Publisher: Writer Online Magazine

  “Christina Hamlett's is the voice of experience and reason as she shares a wealth of information with writers working on getting their stories from ideas to finished screenplays.”

  — Amy Andrews, Book Reviewer: AbsoluteWrite.com

  TABLE OF CONTENTS

  FOREWORD

  INTRODUCTION

  SECTION I: DREAMING IT UP

  CHAPTER 1: IT ALL BEGINS WITH AN IDEA

  CHAPTER 2: STAGE, PAGE OR CINEMA?

  CHAPTER 3: PRE-EXISTING INSPIRATIONS

  CHAPTER 4: CONFLICT MANAGEMENT & THE VIEW FROM HERE

  CHAPTER 5: THE AUDIENCE MINDSET: WHAT’S IN IT FOR ME?

  SECTION II: WRITING IT DOWN

  CHAPTER 6: TIMING IS EVERYTHING

  CHAPTER 7: STORYTELLING STRUCTURE

  CHAPTER 8: BEEN THERE, DONE THAT

  CHAPTER 9: ARE YOU A SOLO ACT, A DUET, OR JUST THE MESSENGER?

  CHAPTER 10: SHOW US YOUR SPECS AND SHORTS

  SECTION III: WORKING IT OUT

  CHAPTER 11: THE REALITIES OF REVISION

  CHAPTER 12: MAKING THE MOST OF PROFESSIONAL CONSULTATION

  CHAPTER 13: THE ART OF CONVERSATION

  CHAPTER 14: VERBATIM AD NAUSEUM AND THE CURSE OF ADVERBS

  CHAPTER 15: FOREIGN EXCHANGE

  SECTION IV: WINNING THEM OVER

  CHAPTER 16: HOW TO PROTEC
T YOUR PLOTS

  CHAPTER 17: ALL ABOUT AGENTS

  CHAPTER 18: THEY SHOOT MOVIES, DON’T THEY?

  CHAPTER 19: GETTING TO HOLLYWOOD VIA THE INDIES

  CHAPTER 20: THE COMPETITIVE EDGE

  CONCLUSION: PLAYING TO YOUR STRENGTHS

  FILMOGRAPHY

  FOREWORD

  On any given night, you can probably hear it if you listen closely. It’s the spin of an unfettered imagination… the soft whir of a computer as it comes to life… the tentative tap of fingertips on a keyboard, slowly at first, then building in excited momentum. It’s the wondrous birth of an idea whose affirmation will one day come in the grandest gift of all — the sound of applause.

  The only thing it’s waiting for is You.

  A wise person once said “Sometimes you have to believe in something before you can see it.” Such is the case with screenwriting. It begins with an idea and a blank piece of paper. With hope, smart dialogue, well-paced action, meaningful scene transitions, and characters that jump off the page follow closely behind. The reality of things is that the process of writing is probably the easy part of being a screenwriter; writing admirably is much more difficult and getting your work discovered is challenging, to say the least. But it can all be done; it happens everyday.

  So let’s start at the beginning with you, the writer. First and foremost, maximize your passion to write and believe that you can follow through on all that is required to reach your goals. Why is this so important? Because your desire to craft a story by means of a feature film or television script is a magical and marvelous contribution to the world. But take notice that this contribution carries with it an awesome responsibility, since it is through the written words found between “Fade In” and “Fade Out” that you get the proverbial ball rolling in the first place. Without a script, many entertainment industry people would be out of work. Actors, directors, producers, agents, and technical support staff would spend their time standing around saying, “Well now what do we do? We don't have a script from which to work. Can anybody here write a multi-layered story with 16 characters and sizzling dialogue, and don’t forget the red herrings and plot points?” Succinctly put, screenwriters and the vibrant stories they tell are the lifeblood of the film industry.

  So whether your script is for television or the big screen, what matters is your dedication to breathing in all the screenwriting knowledge and skills you can. There are definitely a lot of people who can write well, but the truly great screenwriter is one who learns everything he or she can about “being a screenwriter.” Proper formatting, solid storytelling, believable dialogue, well-timed plot twists, and an understanding of how the business operates do more than help make a solid script, they demonstrate to the world your grasp of the art of screenwriting and your commitment to satisfying the audience’s quest for vicarious escape.

  And that leads us to this book, Could It Be A Movie. I know you will find it a great resource in your professional growth as a screenwriter, because Christina has culled essential screenwriting information and integrated it with her wise industry counsel, both of which will get you pointed in the right direction toward becoming a cinematic success and keep you there, once you've arrived.

  Enjoy the book and keep writing… always keep writing!

  John E. Johnson

  Executive Director

  American Screenwriters Association

  INTRODUCTION

  Movies. No matter their theme, budget or cast, they all start out in pretty much the same way. They start out with dreamers — just like you — sitting in darkened theaters around the world and imagining what it would be like to see their names scrolling up the credits after the words, “Screenplay Written By… ”

  Is there a movie inside of you that’s been yearning to get out but didn’t know where to begin?

  The exciting news is that 21st century technology and the proliferation of independent film studios have increased the newcomer’s accessibility to the bright lights of Hollywood. Chat rooms, film camps, on-line classes, local access stations, and trade magazines abound with insider tips, techniques, and hands-on opportunities that were previously the purview of a select community. If you’ve always wanted to write for the movies or television, there’s never been a better time for it than right now!

  So how do you know if your concept is worth developing into a full-fledged script? Or, for that matter, how do you know whether the medium of film could be a comfortable fit for your own creative vision?

  There are a number of excellent resource books that teach you what to say and do between fade in and fade to black. This one, however, is the road map you need before you embark on that journey. Why? Because half the fun of your ultimate destination is all the brainstorming, preparation, and networking that goes into it.

  This text also allows you to explore alternative routes of putting your story and characters in front of the public. The references and comparisons to popular stage plays and novels which you will find sprinkled throughout these chapters will hone your skills at identifying whether your plot is adaptable to multiple venues, thus expanding your repertoire and career opportunities as a writer.

  How do you tell the difference between mediocre ideas and great ones? This book shows you how you can put them to the test prior to a full-fledged commitment of time, energy, and paper. It even addresses those quirky, subjective elements of the craft over which even the best intentioned writer has absolutely no control: reader bias, world events, and, yes, even human attention spans.

  Should you tackle your first script on your own, team up with a writing buddy, or engage the services of a seasoned professional? Within these pages, you’ll discover that the pros and cons of collaboration have more to do with personality and intuition than with actual process and substance.

  And what about agents? While it’s entirely possible to get through the front door without one, the right partnership can assist you in conquering the entire neighborhood. In the meantime, a user-friendly primer on the ethics and legalities of the script-selling business reveals the tandem responsibility inherent in delivering a solid story and a professional promise.

  Remember, there is no one sure-fire road to success, whether it be in screenwriting or any other endeavor. There are, however, two common denominators that separate those who will reach the finish line and those who will spend a lifetime wistfully gazing at it through binoculars; specifically, perseverance, and passion. So the next time you’re in the theater and say to yourself, “I could do this,” start reading this book, start writing that story, and stay with it all the way!

  SECTION I:

  DREAMING IT UP

  CHAPTER 1: IT ALL BEGINS WITH AN IDEA

  “Lights!” “Camera!” “Action!”

  Before any of these commands can be shouted on a soundstage, somebody’s got to come up with a great idea that everyone else will want to be a part of. Whether their job is to cry on cue, focus the camera, or ensure that none of the paychecks bounce, they are all in the picture because of one person — the screenwriter whose imagination gave them an exciting starting point.

  Could that person be you?

  In this section, you’ll not only discover what skills are required to write a screenplay for today’s market but also what kind of factors dictate which ideas get gobbled up faster than a holiday turkey and which ones go the way of a fruitcake.

  IS THERE A SCREENPLAY IN YOUR FUTURE?

  Dillinger robbed banks because that’s where the money was. He also died in a hail of gunfire when he was only 31. This cautionary tale is to remind you to check your motivation before starting this journey. Many aspiring writers tend to view Hollywood in much the same way as the Depression-era bandit did banks — just there for the taking. And who can blame them? When they see the million plus dollar salaries that today’s top actors and actresses command, the idea of selling to the movies sounds like a much more lucrative gig than hawking poetry chapbooks or novellas.