🎥 FREE MASTERCLASS Seven Screenwriting Mistakes Stopping You Getting an Agent www.scriptfella.com/mistakes-masterclass 100% of agents and execs who fail to finish your script will pass. Join this free masterclass with WGA Screenwriter Dominic Morgan, where he will teach you how to eliminate the 7 BIGGEST MISTAKES that cause Hollywood agents and managers to stop reading your script. Spoiler alert: This isn’t about your plot, characters, logline, or story circles. And the first mistake is an absolute dealbreaker… Get access now at www.scriptfella.com/mistakes-masterclass
Your channel is awesome and very informative. I'm surprised you only have a little over 1,000 subscribers. I expect your channel to blow up and gain a massive subscriber-base very soon.
@@Scriptfella Hey, I have two quick questions: a) how long does it generally take you to write a script? 4-6 months? Longer, shorter? b) also, how many drafts do you generally do? Thanks! :)
@@yitzhakgoldberg2404 Hi - difficult to answer, many variables. If I am writing on commission, the contract often allows 6- 8 weeks for a feature draft. 4 weeks for a second draft. If I'm speccing a feature project, I will usually write it in 6-8 weeks. How many drafts? Depends on on whether my prep has been successful and I've nailed down a successful outline plan .
I loved your idea of searching for pre-1920 stuff about stories that need to be told. I will spend some time in the library before I start my next project. I love this series. Each video is filled with a wealth of information.
Hi Dominic, I’ve gone back and am watching your videos from start. Wow, this two parter here is almost a film in and of itself. I’m gonna keep watching the next ones, I just wanted to stop and let you know how interesting and inspiring your work is. Thank you so much!
I just finished my first screenplay and I ran across your channel and I've already seen 5 of your videos. Very informative and inspirational. Congratulations on your success and drive. My screenplay is based on true life events through my experiences and those of some of my cast members that I also experienced with them. One of my greatest inspirations is Sylvester Stallone and his first screenplay Rocky which won Film Of The Year. I too will be acting in my screenplay and would like to use the other two main characters in it. Sylvester was turned down 1500 times and when they did want to buy his script, they didn't want him in it. He couldn't imagine anyone else playing his role nor can I as the main character. Should my approach be different selling my screenplay be different being that I too want to act in it along with having two more of my cast in it? I would appreciate any comments to help me shape my approach. Thank you so much for your time and consideration to read my comment :)
Wow, Dominic! What a insightful, entertaining video. I wish you all the luck in the world with this story. I'd pay good money to watch Gerrard's story. My period piece is about Britain's first Black police officer, John Kent. When I researched him, there were no books, docs or movies about this guy. (There's local news item).
John Kent sounds like a more than suitable subject for a TV show. Could it play as a period, male Prime Suspect, but with your hero battling racism rather than the sexism that Helen Mirren's cop character had to struggle against?
@@easydansvoices5968 Dan, way to go! Keep up the good work, and never forget, make it entertaining and commercial and you'll have a script and the guts to pull it off - okay, perhaps "guts" sound a little too dark, but you get the point!
Hi mate! Yeah it's true, your videos are awesome. Thanks for all of the informative and entertaining content Dominic. It's extremely inspiring. How are things going with the potential adaption of this script? Hope you're keeping well brother. Joel
You're welcome, Scott. A wise man once told me that a life experience is not complete until it has been shared with others as a story. I now feel like my GOD'S SECRET AGENTS experience is complete - unless of course Mel Gibson shows up and agrees to direct the film...
@@Scriptfella Has Gibson taken a look at it yet? Also, is there a way commoners like us can view it? I understand if you're unable to for legal reasons.
In my list of projects for this year is an adaptation of a piece of literature from the 19th Century. There's another novel from that time period I'd like to adapt as well, although I'd prefer to give it a contemporary setting, as I feel it captures the current zeitgeist perfectly. I hesitate to name them here because it's so hard to find works that haven't already been made into film or television at least once (hello, "Little Women"). There are also literary works that aren't yet in the public domain that I'd like to adapt, including one that's been close to my heart since childhood. What's your experience, Dominic, in terms of optioning books in an affordable way? I haven't even pursued the last book I mentioned because I assumed it would be out of my budget. I suppose with crowdfunding, it might be feasible, but that feels like a long slog for someone my age. Do authors ever option books for free up front in return for a back end payout should the script get made? Really enjoying your channel, after seeing your clip on the Reddit Screenwriting sub today. Thank you!
Welcome to Scriptfella, Patricia Salem, I'm v. pleased you're enjoying the vids. As a screenwriter, I've partnered up with novelists/historians four times. It's a tricky game because if you option a novel, it could take you many drafts and years to write a viable draft, so I'd say you need the author to commit to you for at least three years. I've never paid for an option on a novel - however for a novelist to partner up with you without paying them, you need to be able to offer them a decent shot at getting their book made. What can you bring to the table apart from your writing skills? Ideally, you need to demonstrate you have a route to market once you've adapted the book - ie via agent, producer or talent relationships. If you can put down cash as an option, and the author is pragmatic, then you can nail down a decent window to adapt and market the book. If a book is lying dormant, and it's well over a decade old, you can usually secure an option on a book for anywhere in the $500-$10,000 range. But what is worth more than money to most authors and agents - the ability get a movie or TV show made. Hope this helps. It's a juicy topic, and you've prompted me to think about doing a vid on it! very best Dominic
@@Scriptfella Thanks, Dominic, this helps immensely. I'm a working writer--half-time sports journalist, half-time ghostwriter of novels and biographies for a large ghostwriting agency with HQs in NYC and LA. So, I write fast, and I know the quality is at least decent, because I'm already being paid to do it. I might be able to go through the agency I write for to try to secure book rights, as it may put the estate of the author in question at ease about finishing a project of high quality. I also have industry cards that I can call on when the time is right: my sister is a DGA director currently working with an A-list star who also has his own production company, and I worked for a theatre company where I made connections with several people working at the top end of the film/TV industry. But I'm not entirely keen on staying in the US, and my sensibilities better lend themselves to British film/television. I had thought about applying to the BBC incubator programme (UK residency required, Brexit a bit of a wildcard right now), or working from elsewhere in Europe (lived there before). *My question for you, having gone between London and Hollywood: is it feasible to operate that way, to work in Europe and travel to LA for chunks of time?* I know most people would kill to be already in LA, but I do think things are going to hit the fan here politically in 2020. Meanwhile, I'm applying with existing material to the HBO fellowship and entering some contests later this year. I'm planning to put a few things on the Black List as well... see if that helps me sort things. Thanks again for your swift and generous response above. ETA: I do think this would make a great vid on its own!
@@patriciasalem3606 Thanks for all your thoughts. Sounds like you have some really useful writing experience and industry connections. . Regarding your question - for some reason, Brit writers are given a decent reception in LA and it can be possible for a UK-based FEATURE writer to live in the UK and visit LA once or twice a year for meetings. However if you want to work in US TV, you almost certainly have to live in LA. There are exceptions for successful writers who have already broken in, but it would probably be unrealistic for you to break into US TV if you're not in LA. That said, if you move to the UK, as an American writer, you might be well received by Brit prodcos looking for American voices. I know that, for example, showrunner Frank Spotnitz often has to fly over US writers to work on his tentpole shows over in the UK, because he can't get from the Uk writers what he can get from American pros. Good luck with all your plans Patricia, stay in touch, and here's hoping it happens for you in 2020! D
@@Scriptfella Thanks, Dominic, for another quick and insightful reply. I will stay in touch and let you know what the year brings. I hope this channel takes off for you. It's full of great tips!
Hi Kelly. I do indeed work as a script and storytelling consultant for screenwriters who have worked hard at the craft for a few years and need some tactical script and career advice to break in.
"Sometimes you can´t allow the truth to get in the way of a good story". What a great line man, that should be in the bible sort of speak. When i think "Religion", i think of the power that the written word has. Religion is nothing but a BOOK, written by some dude/s. It´s also great marketing and coverage. We write "them`" books and the sheep follow. They get obsessed, they worship the book and live their entire lives according to what the book says. Amazing
🎥 FREE MASTERCLASS
Seven Screenwriting Mistakes Stopping You Getting an Agent
www.scriptfella.com/mistakes-masterclass
100% of agents and execs who fail to finish your script will pass. Join this free masterclass with WGA Screenwriter Dominic Morgan, where he will teach you how to eliminate the 7 BIGGEST MISTAKES that cause Hollywood agents and managers to stop reading your script.
Spoiler alert: This isn’t about your plot, characters, logline, or story circles. And the first mistake is an absolute dealbreaker…
Get access now at www.scriptfella.com/mistakes-masterclass
I clicked on this because I wanted to see what Traitor's Gate had to do with screenwriting and now I know. I was not disappojnted. :)
Cheers Jamie v pleased you enjoyed it
Your channel is awesome and very informative. I'm surprised you only have a little over 1,000 subscribers. I expect your channel to blow up and gain a massive subscriber-base very soon.
Hey Thorny McThornson thank you for your support and words of encouragement. I'm very pleased you're digging the content on Scriptfella.
@@Scriptfella Hey, I have two quick questions:
a) how long does it generally take you to write a script? 4-6 months? Longer, shorter?
b) also, how many drafts do you generally do?
Thanks! :)
@@yitzhakgoldberg2404 Hi - difficult to answer, many variables. If I am writing on commission, the contract often allows 6- 8 weeks for a feature draft. 4 weeks for a second draft. If I'm speccing a feature project, I will usually write it in 6-8 weeks. How many drafts? Depends on on whether my prep has been successful and I've nailed down a successful outline plan .
@@Scriptfella Thanks. If it's fine with you, I'd love to see one of your outlines for a past project as reference for my own work.
I loved your idea of searching for pre-1920 stuff about stories that need to be told. I will spend some time in the library before I start my next project. I love this series. Each video is filled with a wealth of information.
Happy hunting, Boomer!
Hi Dominic, I’ve gone back and am watching your videos from start. Wow, this two parter here is almost a film in and of itself. I’m gonna keep watching the next ones, I just wanted to stop and let you know how interesting and inspiring your work is. Thank you so much!
Cedric Jouarie splendid to hear you’re enjoying my films - if you have any questions fire away ....
I just finished my first screenplay and I ran across your channel and I've already seen 5 of your videos. Very informative and inspirational. Congratulations on your success and drive. My screenplay is based on true life events through my experiences and those of some of my cast members that I also experienced with them. One of my greatest inspirations is Sylvester Stallone and his first screenplay Rocky which won Film Of The Year. I too will be acting in my screenplay and would like to use the other two main characters in it. Sylvester was turned down 1500 times and when they did want to buy his script, they didn't want him in it. He couldn't imagine anyone else playing his role nor can I as the main character. Should my approach be different selling my screenplay be different being that I too want to act in it along with having two more of my cast in it? I would appreciate any comments to help me shape my approach. Thank you so much for your time and consideration to read my comment :)
Awesome video!
This is a film I'd definitely watch! (I'd skip any torture scenes, though...)
Great video, love your work.
Thanks Jackson, I’m glad you found the vid useful .
Thanks for this been watching all your vids, best wishes from Sydney
Johnny Utah cheers glad you’re enjoying the channel
Wow, Dominic! What a insightful, entertaining video. I wish you all the luck in the world with this story. I'd pay good money to watch Gerrard's story. My period piece is about Britain's first Black police officer, John Kent. When I researched him, there were no books, docs or movies about this guy. (There's local news item).
John Kent sounds like a more than suitable subject for a TV show. Could it play as a period, male Prime Suspect, but with your hero battling racism rather than the sexism that Helen Mirren's cop character
had to struggle against?
@@Scriptfella Exactly how I see it. Extremly relevant. Just need an agent to see my vision and to help me get it out there. Easy!!!
@@easydansvoices5968 Dan, way to go! Keep up the good work, and never forget, make it entertaining and commercial and you'll have a script and the guts to pull it off - okay, perhaps "guts" sound a little too dark, but you get the point!
Hi mate! Yeah it's true, your videos are awesome. Thanks for all of the informative and entertaining content Dominic. It's extremely inspiring. How are things going with the potential adaption of this script? Hope you're keeping well brother. Joel
Glad you like the vid Joel - and thanks for the nudge. I need to put this movie back on the frontburner once sanity/filmmaking returns.
Thank you for sharing your insight and experience in the business and creative side of screenwriting! A lot of valuable info in here
You're welcome, Scott. A wise man once told me that a life experience is not complete until it has been shared with others as a story. I now feel like my GOD'S SECRET AGENTS experience is complete - unless of course Mel Gibson shows up and agrees to direct the film...
@@Scriptfella Has Gibson taken a look at it yet? Also, is there a way commoners like us can view it? I understand if you're unable to for legal reasons.
Yitzhak Goldberg hello I’ve just replied to your email...
@@Scriptfella Thanks
Awesome 2 parts on making Historical Drama. My favourite topic thank you.
So... Did you get it to Mel?? 🤞🤞🤞
love these videos!
In my list of projects for this year is an adaptation of a piece of literature from the 19th Century. There's another novel from that time period I'd like to adapt as well, although I'd prefer to give it a contemporary setting, as I feel it captures the current zeitgeist perfectly. I hesitate to name them here because it's so hard to find works that haven't already been made into film or television at least once (hello, "Little Women").
There are also literary works that aren't yet in the public domain that I'd like to adapt, including one that's been close to my heart since childhood. What's your experience, Dominic, in terms of optioning books in an affordable way? I haven't even pursued the last book I mentioned because I assumed it would be out of my budget. I suppose with crowdfunding, it might be feasible, but that feels like a long slog for someone my age. Do authors ever option books for free up front in return for a back end payout should the script get made?
Really enjoying your channel, after seeing your clip on the Reddit Screenwriting sub today. Thank you!
Welcome to Scriptfella, Patricia Salem, I'm v. pleased you're enjoying the vids. As a screenwriter, I've partnered up with novelists/historians four times. It's a tricky game because if you option a novel, it could take you many drafts and years to write a viable draft, so I'd say you need the author to commit to you for at least three years. I've never paid for an option on a novel - however for a novelist to partner up with you without paying them, you need to be able to offer them a decent shot at getting their book made. What can you bring to the table apart from your writing skills? Ideally, you need to demonstrate you have a route to market once you've adapted the book - ie via agent, producer or talent relationships. If you can put down cash as an option, and the author is pragmatic, then you can nail down a decent window to adapt and market the book. If a book is lying dormant, and it's well over a decade old, you can usually secure an option on a book for anywhere in the $500-$10,000 range. But what is worth more than money to most authors and agents - the ability get a movie or TV show made. Hope this helps. It's a juicy topic, and you've prompted me to think about doing a vid on it! very best Dominic
@@Scriptfella Thanks, Dominic, this helps immensely. I'm a working writer--half-time sports journalist, half-time ghostwriter of novels and biographies for a large ghostwriting agency with HQs in NYC and LA. So, I write fast, and I know the quality is at least decent, because I'm already being paid to do it. I might be able to go through the agency I write for to try to secure book rights, as it may put the estate of the author in question at ease about finishing a project of high quality. I also have industry cards that I can call on when the time is right: my sister is a DGA director currently working with an A-list star who also has his own production company, and I worked for a theatre company where I made connections with several people working at the top end of the film/TV industry. But I'm not entirely keen on staying in the US, and my sensibilities better lend themselves to British film/television. I had thought about applying to the BBC incubator programme (UK residency required, Brexit a bit of a wildcard right now), or working from elsewhere in Europe (lived there before). *My question for you, having gone between London and Hollywood: is it feasible to operate that way, to work in Europe and travel to LA for chunks of time?* I know most people would kill to be already in LA, but I do think things are going to hit the fan here politically in 2020. Meanwhile, I'm applying with existing material to the HBO fellowship and entering some contests later this year. I'm planning to put a few things on the Black List as well... see if that helps me sort things. Thanks again for your swift and generous response above. ETA: I do think this would make a great vid on its own!
@@patriciasalem3606 Thanks for all your thoughts. Sounds like you have some really useful writing experience and industry connections. . Regarding your question - for some reason, Brit writers are given a decent reception in LA and it can be possible for a UK-based FEATURE writer to live in the UK and visit LA once or twice a year for meetings. However if you want to work in US TV, you almost certainly have to live in LA. There are exceptions for successful writers who have already broken in, but it would probably be unrealistic for you to break into US TV if you're not in LA. That said, if you move to the UK, as an American writer, you might be well received by Brit prodcos looking for American voices. I know that, for example, showrunner Frank Spotnitz often has to fly over US writers to work on his tentpole shows over in the UK, because he can't get from the Uk writers what he can get from American pros. Good luck with all your plans Patricia, stay in touch, and here's hoping it happens for you in 2020! D
@@Scriptfella Thanks, Dominic, for another quick and insightful reply. I will stay in touch and let you know what the year brings. I hope this channel takes off for you. It's full of great tips!
Just wondering if Mel Gibson has given the Script a look...
Hi! Thank you for your informative video! May I as....do you know if I can use information provided in a non-fiction history book dated approx 1990?
Hi Jen - a book written in 1990 would still be under copyright. V best Dominic
Fascinating! I'm hooked. Do you do consults/script reads? I'd be fine if you made a video about it.
Hi Kelly. I do indeed work as a script and storytelling consultant for screenwriters who have worked hard at the craft for a few years and need some tactical script and career advice to break in.
@@Scriptfella That's inspiring.
dope video
How'd the script go?
good stuf
Wow Blacklist went from $50 a evaluation to $150 per evaluation. Yikes
okay, I had subscribed to your waiting list. Please disregard it. After watching the way this ends, I don't trust you with my story.
"Sometimes you can´t allow the truth to get in the way of a good story". What a great line man, that should be in the bible sort of speak.
When i think "Religion", i think of the power that the written word has. Religion is nothing but a BOOK, written by some dude/s. It´s also great marketing and coverage.
We write "them`" books and the sheep follow. They get obsessed, they worship the book and live their entire lives according to what the book says. Amazing
Awesome video!