Ref 1. Ref to #135-136: R. Germany, "do not inquire" means just that. A month is no time at all,
btw. So be patient--but KEEP WRITING more scripts.

The songs tell of a legendary evil dragon, slain by a powerful wizard
thousands of years ago.

But the songs are wrong.

And when the beast is awakened centuries later, he finds that
magic has faded from the world while he slept. This time, no
wizard can stop him.

The world's only hope is Daniel McKinley, a chemistry student
who finds himself transported to that strange world. There's only
one small problem: Daniel doesn't believe in magic or dragons.

Daniel is in for a big surprise.

THE ALCHEMIST, family drama: Thrust unwillingly into an ancient
magical world, Daniel McKinley discovers that the only source of
magic powerful enough to destroy a legendary evil dragon is the
dragon itself.

I have read nearly 250 scripts over the past two years as a
first- and second-round reader in the Austin Heart of Film
Screenplay Competition. THE ALCHEMIST is my fifth complete
script and my second feature-length screenplay.

I would be happy to send you a copy of THE ALCHEMIST, and
have enclosed a self-addressed, stamped envelope for your
reply. I look forward to hearing from you.

Sincerely,

< My name>
--------------------------------

Thanks for your reply and for the columns that helped me get this far!

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Ref 11. Dear Wendy - Got into a debate with a fellow aspiring writer. His
position: write your script as quickly as possible, don't be obsessive about craft, don't
rewrite more than a few times, get the script out there, Hollywood just buys the premise anyway, they might not
go for your premise and then you've wasted all that time polishing a turd when you could have been
writing a new script.. My position: totally give yourself over to making your script as good as it can
be, rewrite it as many times as it takes (using readers you trust for feedback), learn how to be a
great crafter of screenplays, because, in many cases, the people who finally break in often break in by getting a rewrite job. In fact, I'd wager than more money is made in the re-writing business than in the 'writing' business.... I can see his point. I fall in love with a premise, but it might not be
anything Hollywood will ever buy. Then I spend months crafting the screenplay. On the other
hand, I feel like I'm really learing how to craft a good script (I was a Nicholls quarter-finalist last
year, a semi-finalist this year, I'm currently working on my third script).

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Ref 14. I think if you have a good story, and you tell it with passion, it doesn't matter exactly how perfect your script is. Of course things like format, structure, they are very important. But anyone can learn format in 15 minutes. But to tell a good story. That's the trick. So what do you think?

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Ref 15. Ref To #137: Jim, Exactly what problem are you having with query letters? I'm not clear
on it from the above. Please tell me what specific problems you're having and I'll try to
help.

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Ref 17. Ref To #8: Wow, Eric! On romcoms: Check the scrnwrit archives for May-June '95. That
month there was a vast number of posts on romcoms. You can acess the scrnwrit mailing
list digest and learn more about it through Charles Deemer's home page. Also Jack Stanley
has a homepage (the list owner) with info about scrnwrit. That's as specific as I care to get
in this forum. There is no actual "list" of A and B actors/directors/producers that I know of-
-not in published form at any rate! It's more of an informal thing based on box office
performance and the buzz around town. If you're finding out everything you can about the
business, you get a sense of who can get movies made or make the case stronger. The
closest thing to what you're looking for would be the annual Premiere issue of the 100
most powerful people in H'wood which comes out sometime in the spring. As to
exposition, you need one-third of what you think you do so dump everything that the
audience doesn't absolutely need to know, make it obvious through visuals (action, location,
etc.) and avoid putting it in dialogue. If you must have it in dialogue, give it to a secondary
character. Avoid having it in statement form: make it a question, a challenge, something
like that. The H-B program no longer exists, unfortunately. And Screenline part of the Twin
Cities Screenwriter's Workshop. I have an interview with Pat Proft in the Nov. issue of
H'wood Reporter, articles on the Script Tutor website --which is an excellent and free web
site, btw. There's more articles upcoming in a varitey of magazines.

---

Ref 18. Ref to #9: Unless you have at least three scripts that you know well-written and marketable,
I wouldn't look for an agent at all. I'd focus on my studies and building a "library" of
saleable scripts at this point and then spend a vacation preparing and sending out letters to
agents. First things first and all that. It is very difficult to get an American agent for those
living and writing outside the U.S. --I would try to build a reputation within Germany as a
writer--if you can become produced there, that will make you far more appealing to U.S.
agents. The other alternative would be to move to NY or L.A. and try from here.

---

Ref 19. Ref to #10: I say you've got a very good letter here and if it went out the way it is, you'd
get requests to read! There are some changes you can make to make it even better-- since
you start with a hook based on the script, you can skip the logline--as it doesn't add
anything "new" to what you have above--except give away the ending--which a logline
shouldn't do! Instead, just put the title and genre into the sending the script paragraph.
About that--it's always best to steer away from emotions in a letter. Of course you'd be
happy to send it--you'd probably be thrilled! It's a weaker way of putting it. Instead, write
something like: "May I send you THE ALCHEMIST, family drama?" or "Would you like
to see..." As far as the SASE--it's evident that it's there. Always avoid taking up space with
the obvious. "Sincerely" is fine--but according to a rough survey, "Best Regards" is the
favored phrase by agents and producers two to one over Sincerely. Though Bill Block at
ICM uses "Warmest Regards." It won't make or break the letter--it's just a little finishing
touch you may or may not want to use. Overall, you tell the story well--got my interest at
any rate. Please let us know the response you get to this letter!

---

Ref 20. Ref to #11: I'm with you. Though, you are somewhat mistaken in thinking that most
writers break in with rewrites--that is not the case anymore. Unless you have sold or
optioned a script, you are unlikely to get a rewriting assignment unless there are mitigating
factors (friendship is a big one). But, imo--and experience, ideas are cheap. Execution is
everything--otherwise, new writers could sell treatments and ideas easily--which is
definitely not the case! No one wants to believe it, but any search of agents or prodcos
archives will turn up other scripts that have been subbed with the same basic idea as you
have--it's execution of that idea--the characters, how you develop the situation, the
dialogue, structure--you know, Craft elements that make the difference. CRAFT!!!!!! That's
what counts as much or more than premises--if they love your writing but not the premise,
they will and do ask to see your next script, will talk to you about other ideas and so forth.
Premises may open doors but craft pushes you through them and keeps the door blocked
open for the future. And I am impressed with your seriousness and your devotion to
becoming the best writer you can--next year may you not only get into the finals but win!

---

Ref 21. Ref to #14: Yes, the trick is to tell a good story with passion but I disagree with you. Sure
you can learn format--or simply buy a good scriptwriting program like Scriptware, but you
CAN'T learn structure, dialogue, exposition, interesting and well-constructed characters in
fifteen minutes. That takes script after script to master. Those ARE the secrets of telling a
good story! That's the real trick--look at MR. HOLLAND'S OPUS, for ex. It's a "hard
sell" as a story and it's certainly a familiar idea but it's HOW Patrick Sheane Duncan told
the story that made it into an 83 milllion domestic box office movie. It DOES matter how
perfect your script is--ask any reader in H'wood--that will make or break you 9 times out
of 10. Once in awhile an idea is so unique it doesn't matter --but the writer is replaced by
an experienced s'writer who does know how to tell it perfectly. If you want a career--
combine passion, great ideas and craft. There are no shortcuts.

---

Ref 22. Hello Wendy,
I read your response to REF 10 and it gave me an answer on my question about query letters. Thanks. I was having trouble with exactly what to put in the query. It seems I was doing it fairly right all along. I shal continue to read your page.
- Jim

---

Ref 23. Dear Wendy:
I don't know what structure is. I've read about it, and I have had the structure of screen plays analyzed for me CHINTOWN, for example. Do you have a simple, clear, usuable definition of structure. I know what the sturcture of a house, the body, or a city is, but try as I may, and it's been explained to me many times, I don't understand my teachers or the experts when they talk about structure. I'm beginning to wonder it if means the same thing to anyone. I'm beginning to doubt that most of the people using the word are able to define it. Wendy, something clear and simple, please. I'm not being a wise guy. This is a sincere question. Please treat it as such. Thanks. JackM

---

Ref 24. Ref to #23: Jack, Don't apologize, many things can be overexplained so that it becomes
confusing--and people WILL always disagree on stuff like this, but basically they are all
talking about the same thing. Beginning--Middle--End OR
ACTION/REACTION/ACTION= three act-structure. The protagonist is confronted with a
situation that requires him/her to do something that is hard for them and they decide what
they are going to do about it (Act 1). The protagonist meets harder and harder obstacles and
changes as s/he encounters them and works towards their first-act decision they made, then,
at the end of the act, all appears to be lost--it's not going to work out. The protag comes up
with one last desparate attempt to achieve their goal (Act II). The protag. implements this
last-ditch attempt (climax) and then there's a last scene or two that tidies everything up and
shows the results of that climax on the character's lives. That's about as simple as I can
get. You fill out that simple plan just like you'd build a house: dig a foundation=set up the
situation and who the main characters are in Act I. Build the framework--what's going to
happen in Act II to force the character to confront why it's difficult for him/her and how
they are going to finally achieve their goal. Then the roof--what's going to top it off and
made a satisfactory ending (as opposed to a "happy" ending). Then everything else (walls,
plumbing, etc) is dialogue, narrative, and all that good stuff. If the foundation is right (the
premise or situation and character) then the house has a better chance of being solid. Hope
that helps.

---

Ref 25. Dear Wendy: Ref #23-24 Stumpt on structure. Thanks for your clean, usuable answer.
New question: Recently an LA WGA approved agent read my 2 hour screenplay and told me that it needs work. She suggested that she knew 2 consultants if I wanted their addresses. I wrote to both of them. One wants $200 and the other wants $295. Remember, this is WGA approved agency. Still, I somehow feel that I'm being run through a kickback machine. I told the agency that I would be very glad to pay them for their "Reader notes" on my script. They wrote back saying that would be unethical, thanks but no thanks. Now if I were working a con, this is how I would do it: Work in a legitimate agency. Have new writers send in their screenplays. Refer them to a list of readers who would critique the screenplays. Split the fee with the readers. If it's a cash transaction, I'm on safe legal ground. It's my word against theirs if the readers go to court. So my question is:
What are the odds that this is a straight good-hearted offer by an agency that is trying to help out someone it feels it might want to represent in the future? JackM

---

Ref 26. I have an idea for a film depicting a social collaspse and its controversial
how would i go about it to start it all off .

---

Ref 27. Ref to #25: Jack, I can't break down the odds for you--and they could be trying to be very helpful. Cows do fly too--at least they did in TWISTER! I'd NEVER take one agency's word that my script needed work.But if three agencies or respected professionals say the same things about it--I'd certainly take it seriously then. However, maybe I'm a titch paranoid, but I wouldn't go to the service they reccomended. There's plenty of great script consultants out there including Margo Prescott, Carol Caruso and Lou Grantt--I've heard great things from friends that have used them. There are many many others, some of whom have pages in this Hollywood Screenwriters network. If you go that route, I'd check around, find out what kind of help each offers, what they actually do for the money and talk to them via phone or e-mail and try to get a handle on how they treat the writer then make my decision.Good luck.

---

Ref 28. Ref to #26: Buy a good how-to screenwriting book like Lew Hunter's or Michael Hagues' books and learn how to write a screenplay and read it.Then decide if you really want to write a screenplay at all.

---

Ref 29. Dear Wendy, I have 2 completed screenplays and would like to obtain representation.
I have been told by several agents that I should submit a query and/or treatment. I have
a treatment already, but I don't know what a query is. Please help!!!! How do I write a query
and what does the format look like? What's the difference between a query and a synopsis
or treatment?

---

Ref 30. Dear Wendy, your columns and helpful hints have triggered me so, into the writing of my own screenplay of nothing but "tension",
that i must thank you lovingly, for some of the thoughts that now dance in my head. I'd like to send you some ideas for possible revision,
but not through this page, because then i will have made it public, which i don't want to do. Can you please tell me how this can be achieved?

thank you,
j.christopher Wall

---

Ref 31. Dear Wendy, what do I have to do, if I want to write a sequel to a
successful motion picture? Thank you for your answer. RalfF.

---

Ref 32. Wendy: It's been several months since I've written to you. During this time I have done a lot. I finished my second screenplay; and I am preparing to write my third. I figure I can pound out about two per year, in I try.
My first script has been requested by four production companies, (many thanx to your help with the query!). I received one rejection letter, although no "read" script returned. (The other companies haven't responded yet). Am I supposed to received anything back once a script is "read" by the production company? I was actually looking forward to reading through editing notes, etc.
As always, you answers are much appreciated.

Melissa in Chicago

---

Ref 39. Ref to #29: A query is short letter that states the subject of the script in 2-3 lines in a vivid
and exciting way. A synopsis is a longer (1-2 pages) going through the main plot points. For
more information, read the columns hot-linked to this page.

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Ref 40. wouldn't worry about ideas made public if you've already written the script and registered/or
copyrighted it as you're months ahead of anyone else! Besides, as much as we don't like to
admit it, our ideas are not unique. What is unique is your execution of them--that's what they
really pay the bucks for. So I'd be happy to critique it on-line, but that's the best I can do.

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Ref 42. Ref to # 32: Unfortunately, that is norm. The best case scenario is that they call you and talk
to you--then they give you their take on the script. Rarely do they take the time to do that in
a letter. I have never heard of a writer who has gotten a script back with notes written on it
because that is not how the reader works. S/he writes a separate coverage and does not sully
the script as it may have to be copied, passed on to others, etc. So, even if you did include an
SASE for it's return, it will look perhaps a little worn but that's all. For a critique, you should
join a script group, take a class or find other s'writers to trade with. Prodcos and agencies
simply cannot take the time to do that.

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