Tag Archives: scriptwriting

In which THE DRAGON RIDER is a finalist in the We Screenplay Screenwriting Competition

THE DRAGON RIDER is now a finalist in the We Screenplay International Competition.
Clearly the judges like scripts where a dragon loaded with missiles flies in formation with the USAF and headbutts an alien mothership.
I know I do.

She'swe screenplay finalists

Here’s the list of finalists: Congrats to all. http://blog.wescreenplay.com/wisc-15-finalists-announced/?Finalists

If you are an industry professional and would like to read the sci-fi epic screenplay THE DRAGON RIDER, please get in touch via Twitter, email or send me a message on the Contact page.

In which A SIX-GUN FOR THE DEVIL places in another contest

The Screenwriting Goldmine Quarterfinalists have been announced today (4 Feb) and my horror Western A SIX-GUN FOR THE DEVIL is on the list.

Logline: When a centuries-old gunfighter tries to save his girl from a gang of Wild West scumbags, he must team up with his worst enemy – the Devil who’s come for his soul.

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If you want to read the script head over to the Contact page.

Here’s the list in full.

In which THE DRAGON RIDER is a semifinalist in the We Screenplay Contest

My sci-fi epic screenplay THE DRAGON RIDER is a semi-finalist in the WeScreenplay International Competition.
Nifty.

Dragons vs Aliens and a hardcore female lead. What more could you want?
Here’s the WeScreenplay contest announcement link.

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Dragon Rider screenplay

If you want to read THE DRAGON RIDER, get in touch via the contact form.

In which A SIX-GUN FOR THE DEVIL makes the Stage 32 Search for New Blood quarterfinals

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My supernatural Western A SIX-GUN FOR THE DEVIL has made the quarter-finals of the Stage 32 Happy Writers Search for New Blood Screenwriting Competition.

I’m quite pleased about that.

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Competition was fierce, as there were thousands of entries. Congratulations to the other quarter-finalists.  Here is the announcement of the full list.

https://www.stage32.com/blog/Stage-32-Happy-Writers-Search-For-New-Blood-Quarter-finalists-Announced?utm_medium=email&utm_source=transactional&utm_campaign=cake

 

In which A SIX-GUN FOR THE DEVIL is requested by Maximum Film & Management…

The screenplay for my supernatural Western feature A SIX-GUN FOR THE DEVIL has been requested by Maximum Films and Management in New York.

A SIX-GUN FOR THE DEVIL

I’m quite chuffed about that.

The request came after a Happy Writers pitch session on Stage 32.

Now it’s back to the fourth redraft of my ‘zombie movie without any zombies’….

Table Reads – Screenwriter seeks Advice and Protocol

Fountain pen on writer

I have two screenplays (horror and sci–fi) I want to take to market. Before I do so, however, I want to make sure they are the best they can be. Part of my plan is to use table reads – the perfect opportunity to discover some unspeakable dialogue or clunky exposition. I want to record the read on audio.

I’ve never done a table read. So, what I’m looking for are the protocols / best practice:

1) I can’t pay anyone, so what should I offer as basics (food, drink etc.)?

2) Other than the usual registering of the scripts, are there any legal issues? Should I ask everyone participating to sign a waiver saying they have no legal claim on the table read performance and recording, and/or a NDA? Any examples of relevant pro formas that do the job without being intimidating?

3) Scripts – distributed as hard copies or as electronic copies? Should I expect actors to print out their scripts or print them for them?

4) How should I cast for the roles? Invite people to contact me, send them a script sample, and listen to them over the phone? (For a table read it’s the voice that counts, not the physical appearance of the actor.) Or is there a better way? Skype? Something else? What would you prefer? Should I post a list of roles and ask actors to ‘pitch’ for one or the other?

5) I think I should start the read by asking everyone present to give their name, the name of the character they are playing, and a one-line description of the character, starting with the leads. Good idea?

6) Should scripts be marked up in any way? Or will actors do that themselves?

7) Should I ‘direct’ the read? Stop the proceedings and ask an actor to read in a certain way? Or let it flow?

8) Pre-read briefing for all actors around the table (for tone, style, etc.). Good idea?

9) Anything else I’ve missed?

And now it gets weird. Anyone ever done a VIRTUAL table-read, with everyone sitting at home?

The reason I ask is because I live in the middle of nowhere, in a country where few speak English.

I’m therefore wondering if the technology would allow me to do a virtual table read, with actors from around the world sitting in the comfort of their own homes. Anyone ever done anything like that?

Any thoughts you have will be greatly appreciated. geoffholder1@mac.com