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| 1.
The November/December Issue of SCRIPT is on Newsstands Now! |
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 Read exclusive excerpts from the November/December issue in our digital edition, online now.
For the digital preview, Geoffrey Fletcher and Lee Daniels explain how they retained emotional impact while ensuring a wide audience for Precious, Mystery Man commands Writer, Edit Thyself, and Scott Z. Burns discusses the comedy and tragedy of an unreliable (and unusable) narrator in The Informant!
For the digital preview, visit viewer.zmags.com/publication/164dc229#/164dc229/1.
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Access
the digital archive and manage your SCRIPT account
online
Now you can read the digital archive, change your address, renew, or see how many issues are left in your subscription at Scriptmag.com. All you need is your subscriber number, located on your mailing label.
To access your subscriber account and the digital archive (Volumes 10-15), visit www.scriptmag.com/subscriptions/management.html. |
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| 2.
Writers on Writing: David Brind: Finding the Truth in Dare |
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 In
writing the screenplay for Dare, I faced the challenge
of creating believable dialogue for teenage characters. And I
took it seriously. I've been a fan of the high-school movie genre
for as long as I can remember. Adolescence, for me, was a time
of extremely heightened emotions, desires, and drives. The tricky
part in creating this teenage world on the page is the tendency
to rely on the clichés of American high school life. There's the
fat kid and the rich bitch. The loser and the jock. The bad girl
and the band geek. And like most clichés, there's a reason these
characterizations exist -- walk the halls of many high schools,
especially in suburbia, and you'll see these "types" alive and
well.
To continue reading, visit www.scriptmag.com/features/writers-on-writing-david-brind.html.
Article
contains some explicit language. |
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| 3.
Podcast: Tales From the Script: The Conversation |
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 After
a screening of Peter Hanson's Tales
From the Script at American Cinematheque's historic Egyptian Theatre, industry luminaries Larry Cohen, Zak Penn, Billy Ray, Adam Rifkin, Jose Rivera, and David S. Ward revealed some harsh (and often hilarious) realities to a capacity audience. The war between writers and studio executives, the frustration that accompanies the development process, the financial importance of receiving screen credits, and more were covered in the lively panel.
To listen to the podcast, visit www.scriptmag.com/interviews/tales-from-the-script-the-conversation-part-3.html.
Podcast presented in three parts. Audio contains some explicit language. |
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| 4.
Scene Fix: A Compelling Opening |
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 The
following is the opening scene of a screenplay called Decision,
a drama about Jeff, an electrician who is sent out in the middle
of a raging storm to repair a generator at a maximum-security
prison and becomes involved in an escape attempt by a group of
ruthless prisoners. The story is told in flashback and the first
sequence in the script -- in which an exhausted Jeff is involved
in a traffic mishap and then stops at a 7-11 for a cup of coffee
-- is the opening bookend from which the flashback is launched.
The scene reads as follows:
To continue reading, visit www.scriptmag.com/craft/scene-fix-a-compelling-opening.html. |
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| 5.
Discussing the November/December Issue With Andrew Shearer |
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 Attention blossoming screenwriters who think screenwriting is a solitary art form: Read SCRIPT's article Anything
but Elementary: Sherlock Holmes by Ray Morton and Bob Verini, and realize, as Editor in Chief Shelly Mellott puts it, "It is better when we all work together." Morton's article breaks down the four different credited writers' contributions on the new Sherlock
Holmes movie, as well as how various directors contributed at different stages of the project and how much star Robert Downey Jr. contributed on his own, too.
To continue reading, visit scriptmag.blogspot.com/2009/11/discussing-novemberdecember-with-andrew.html. |
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| 6.
Free Panels From Writers Boot Camp and Final Draft, Inc. |
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 Writers
Boot Camp and Final Draft, Inc./SCRIPT magazine announce a
series of FREE panels designed to help scriptwriters navigate
Hollywood. Each month, a FREE panel will be hosted at the Writers
Boot Camp in Santa Monica, CA. All panels are available on
a first come, first served basis.
To receive information on our upcoming panels, visit
www.scriptmag.com/resources/free_panelsx.html. |
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The following are messages from our sponsors.
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For more information, visit
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It's On the Grid
"So, what exactly is on the grid?" The site was started by a group of MP Lit managers who were trying to solve two problems: 1. Build a great tool to track spec scripts, one that would have easy, searchable access to the "who, what, where, when and how" for every spec on the market; and 2. Collaborate effectively to collect the same type of information about studio open writing assignments. The result is itsonthegrid.com, a web-based database of feature film projects in active development in Hollywood; every spec script that's gone out wide since the beginning of 2009 (and most of what came out in 2008); every company involved with every project (over 600 agencies, management companies, production companies, studios and other buyers); and every person associated each project (over 3000 agents, managers, executives, producers, directors and writers). For more information, or to subscribe to this one-of-a-kind service,
visit www.itsonthegrid.com/.
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