The Spec Life » Tools

Writing Your Script On An iPad

mr. Spec — Thu, 22 Apr 2010 17:02:04 +0000

I’ve covered writing a screenplay on the iPhone not once but twice. And, frankly, neither experience was satisfying – mostly due to the iPhone’s small screen size and the apps lack of maturity.

But the iPad has a much larger screen plus the applications to attempt a decent word processing experience. And my old friend Biaggio from Joke Productions found a clever way to write scripts with his iPad and Pages. Check out the YouTube video that was featured across the net a few days ago.

It’s not ideal – like most screenwriters, I’m used to Final Draft’s tab-based workflow – but it’s a great patch until FD releases their already-announced iPad app. I’m also keeping my eye on Script Pro – which shows a lot of promise as a simple app. Watch for a review in the near future.

Screenwriting on the iPhone • Part 2

mr. Spec — Wed, 06 Jan 2010 14:00:46 +0000

This is a follow-up to my first post about using Screenplay to write scripts on the iPhone. To recap, although I love the idea of a dedicated screenwriting app on the iPhone (Final Draft, can you hear me?), Screenplay fell way short of what I’m looking for.

Ironically, a general note-taking/word processing app does a much better job of handling screenwriting on the iPhone. Writeroom is not an unfamiliar name to Mac-based writers. Their ultra-simple, fullscreen word processor has been famous for years and their iPhone effort is (in my opinion) an even greater triumph.

As long as you’re willing to use the caps-lock on your iPhone, Writeroom allows a much smoother workflow than Screenplay. To begin, the iPhone’s screen doesn’t exactly have a lot of extra real estate and (unlike Screenplay) Writeroom surrenders ALL of it to writing. Compare the screenshot at the top of this post with the Screenplay one in my first post and you’ll see what I’m talking about. There’s simply no comparison between how much real estate they claim for the UI.

And, as long as you use the simple formatting reflected in the screenshot, you can import your WR file directly into Final Draft as a .txt file and go to work on it immediately. This is something that Screenplay crows loudly about being able to do – but Writeroom simply delivers.

Sure, Screenplay has a lot more bells and whistles – but when they aren’t accessible in the traditional Final Draft/Screenwriter fashion, why teach yourself a new set of skills when you can just start writing with Writeroom? There are already a million different reasons why we aren’t writing right now. Don’t let a poor interface become yet another hurdle between you and “FADE OUT”.

Writeroom @ the iTunes App Store

Screenwriting on the iPhone • Part 1

mr. Spec — Mon, 16 Nov 2009 14:26:24 +0000

This is the first of a two-part post I plan on throwing up about screenwriting on the iPhone and I want to be clear up front that there is *no* way I’d ever try and write anything of size on such a small device – the scale of the screen and keyboard would become very maddening, very quickly. But if I could use a full-size, Bluetooth keyboard this would be a very different article.

That said, I do find myself without a laptop often enough that the iPhone can be effective in some situations. And there are actually a couple of decent ways to work on a script using the iPhone.

The most obvious of these is Screenplay, the only screenwriting application currently available for the phone. After a disastrous first version that crippled (among other features) spellcheck, they’ve released v2 which is much more inline with traditional programs like Final Draft and Screenwriter.

As you can see from the picture above, the main screenplay elements are included in this app. But, unlike FD et al, there is no way for the program to intuitively know you’re writing Action, for instance. Instead, you’re forced to define which field you’d like from a UI at the bottom of the iPhone’s screen. In addition, you need to preload your character names, locations, etc. if you want to easily be able to reference them in the future.

Which is the crux of Screenplay’s problem – the major feature that all of us using professional screenwriting apps appreciate is ease of use. When I start typing in a main character’s name, FD immediately indents, capitalizes, etc. – without any input from me. What takes zero steps in a real screenwriting program becomes multiple steps in Screenplay. Multiply this by the number of times you switch between location, action, character names, dialogue and – whew – you are looking at a lot of effort. And before someone screams about FD and Screenwriter costing exponentially more than Screenplay, I’ll point out that Celtx is able to accomplish this as well – and it’s FREE.

I’d also point out that there are various ways to get your stuff on and off the device. You can upload a screenplay to your website, manually enter that URL into the app, and download from there. Or you can use their own “dedicated screenplay storage account”, which is described as being “currently provided free of charge”. So keep that credit card handy if you wanna jump on that option.

But none of these methods are as easy as competitors like Writeroom (which is what Part 2 of this article will cover). All require (surprise, surprise) a maddening amount of effort on the part of the writer – which is just another way to say it’s gonna suck up time when you could be writing.

Which is why this app isn’t something I find myself using very often. Sure, it was cheap enough to take a chance on (I bought it when it was $1.99 – now it’s $7.99). But does it actually help me accomplish anything?

Nope.

So, if you’re looking for a screenwriting program for the iPhone, I’d check out Part 2 of this article which covers a very worthy alternative that – ironically – is more suited for screenwriting than the app called Screenplay.

Done Is The Engine Of More

mr. Spec — Sun, 15 Nov 2009 19:09:22 +0000

I first came across this *brilliant* bit of inspiration on John Roger’s blog Kung Fu Monkey. It’s hanging in the writer’s room at “Leverage” and undoubtedly in many other places as well, but I’m not sure where it originally came from.

That said, check out how motivating the stuff can be…”Done is the engine of more” gets my fingers on the keyboard more mornings than I’d care to admit. And my showrunner buddies think it’s genius. I hope it helps you, too.

WGA’s Guide To Writing For TV

mr. Spec — Wed, 04 Nov 2009 12:26:24 +0000

One of the cool things about writing for TV is the hierarchy built-in by the WGA. Unlike acting for instance, there are clearly-defined rungs on the way up to becoming a showrunner.

The WGA has a *great* resource detailing the different staffing positions, their salaries, and the specific responsibilities each job entails. Check out Writing for Episodic TV (it’s free) and you’ll not only get some great info but also some inspirational quotes from heavyweights like John Wells and Amy Lippman.

The Query Letter That Worked

mr. Spec — Tue, 03 Nov 2009 11:26:24 +0000

Once you’re sure you’re ready, there are a number of ways to query an agent – the most powerful being The Referral (it’s so important, I’m capitalizing it!). There’s no better intro than having an established professional step up to the bat for you.

But that’s not the type of query I’m writing about today. I’m going to talk about a “blind” email query – which is to say an unsolicited request for a read.

This can be a controversial subject – Alex Epstein raised the subject with a former agent’s assistant and she dismissed the idea out of turn as futile and a waste of time.

Luckily, my “research” has proved otherwise. When I queried agents who’d never heard of me in mid 2008, I ended up being read at Endeavor, William Morris, ICM, UTA, and Gersh. For the few who don’t know these names, I’m talking about *serious* talent agencies with the largest TV departments in the world.

So how’d my email go? This is the gist of it:

NAME: Ari Agent
SUBJECT: “NAME OF MY PROJECT”

Dear Ari,

My original pilot, “Project Name” has gotten great responses from everyone I’ve shown it to…including two network showrunners. I’m looking for representation and – having looked at your client list – feel like I’m exactly the type of client you’d be interested in.

I can send the pilot over immediately. I also have another one-hour pilot on my shelf in addition to a sharp spec episode of “Californication”.

I’ll leave it at that – have a great day!

Best regards,

mr. Obsession

And that’s all! Short and concise, I made a conscious effort to send them out early Thursday afternoon in hopes of winding up in the weekend read pile.

One thing to keep in mind: the percentage of responses to queries is crazy-low…maybe 20% if you’re very very very lucky. Don’t be discouraged by silence – you’ve lost nothing at all by trying. Hit them back in a few weeks again – I’ve gotten more than one read off persistence.

And be sure to keep a history of your queries. I tracked all of my submissions in a database program called Bento. A lightweight version of the venerable DB program Filemaker, it allowed me to record (and track) the names and dates of the people I queried. I also had fields for response details, email addies, and the type of company.

Whether you use Bento or something else, be *sure* to track these communications. You never know when you might here from someone a few months from now. Ten years ago, I had friends who tracked all of their networking on 3×5 cards. Technology allows for a much more efficient workflow now and there’s no reason not to have notes about everyone who could potentially help down the road.

Tracking Your Writing Projects

mr. Spec — Mon, 02 Nov 2009 14:26:24 +0000

Like most writers, I have tons of ideas for potential projects. For a while, I arrogantly tried to keep them organized in my head – but realized I was losing a lot of gold thanks to an aging mind.

So I went looking for something to organize my projects. The most obvious way was via an Excel spreadsheet – I’ve read about more than one writer who used Excel to order their different scripts. Unfortunately, my grasp of Excel isn’t what it should be and I – frankly – needed something simpler.

I first used DevonNote for a couple of years, but the lack of database stability and access drove to to look elsewhere. And my search was a short one: I found a *very* worthy competitor. Scrivener gets tons and tons of love and respect from almost all professional writing disciplines. For the purposes of this discussion, the only thing we really care about it how it handles screenwriting.

It’s literally a database tracking all of my projects in one place – I have different master lists (Current TV, Current Film, Completed TV, etc.) with the project titles and loglines linking to the actual treatment. All within the same program (see image at head of article – that’s my screen in Scrivener). There’s a built-in text editor, so I just work on my treatments inside the program. The only time I leave Scrivener is when I’m headed to Final Draft to pound out the actual script.

My only complaint was the lack of integration with my iPhone (which I *always* have with me). But that’s more of a wish than a need – I can use other apps on my iPhone to stay productive (Writeroom…I’m looking at you).

So how does Scrivener match up against DevonNotes? The short answer is: beautifully. Not only is there a built-in screenwriting program, but it also has crazy-robust outlining features. In particular, it allows you to use a cork-board to look at scenes (or beats or storylines or whatever) and move them around – just like in FD. Frankly, in a much better GUI than FD. And it’s about 25% the cost of FD.

So – whatever flavor of app you choose – tracking projects is both crucial and rewarding. It’s something every writer should be doing.

Scrivener’s website

Websites & Blogs for TV Writers

mr. Spec — Fri, 30 Oct 2009 16:26:24 +0000

TV Scripts & Bibles – The mother lode for anyone who needs (or just wants) to read TV scripts. Not only are there episodes of current shows, there are unaired pilots from *serious* writers. This is the first place to look when you’re getting ready to spec a show and want to see what their specific formatting looks like.

TV Development Info • The Futon Critic – This site is *crucial* during staffing season – I was able to track pilot orders, who’s producing, etc. this year and it helped target potential employers. It also allows you to stay current on what’s going on – and this is never a bad thing when you’re doing general meetings.

Complications Ensue – Alex Epstein tore through Hollywood in the 90s before moving north to Montreal, where he’s an A-list TV and feature writer for the robust Canadian market. His insights are incredibly valuable, he’s very responsive to questions, and amazingly prolific.

JohnAugust.com – John August’s resumé is ridiculous – he’s written films like “Big Fish” & “Go” but also has experience creating TV shows. That he makes himself available to answer fan’s questions is a gift that every writer should enjoy while he’s feeling generous.

Jane Espenson – One of the best sites for TV writers has been dormant for a while now. Which isn’t to say the plethora of info Jane’s left behind isn’t worth it’s weight in gold. I’ve read almost every post – and learned tons in the process.

This Is Your Pilot Speaking – Margaux Froley is an up-and-coming TV writer whose most recent credit is Staff Writing on “Privileged”. She also was one of the winners at the Warner Brothers Television Workshop, so read her stuff carefully…she knows what she’s talking about.

Kung Fu Monkey – John Rogers created and runs “Leverage”. His posts about staffing are the mother lode for folks going through that process, but he also answers fan’s questions about structure, character, and all that good stuff.

Sutter Ink – Kurt Sutter wrote ridiculously-brilliant episodes of “The Shield” before creating “Sons of Anarchy”. No man needs more of an introduction than that. His blog covers writing and also general info about the business aspect of TV writing.

Breaking It Down @ Boring Future Generations – My favorite section of Boring Future Generations is the Breaking It Down area, where the blog’s writer – you guessed it! – breaks down episodes of different shows. This is great if you’re starting out and need to see what type of info you should be stripping out when studying a show before beginning a spec. Essential reading and highly recommended.

Hollywood Writers’ Office Assistants Social (HWAS) – Aimed at people who are staffing for the first time, this cool little site has lots of interesting interviews with folks who don’t usually get interviewed – but have the answers folks on the path can definitely use.

“Burn Notice” Blog – No longer live (the last update was in 2007), “Burn Notice” creator Matt Nix wrote a number of pieces chronicling the creation and execution of the show. Great stuff about staffing and the dynamics between staff writers.

“Brothers & Sisters” Writer’s Assistant Blog – This blog offers insight into what goes on behind the scenes at a network one-hour.

A couple of other cool blogs I have in my RSS feeds include: Running With My Eyes Closed, Boring Future Generations, & What It’s Like.

Back up your scripts for free

mr. Spec — Tue, 27 Oct 2009 16:00:24 +0000

I have thousands of pictures of my family on my Mac, yet the only thing I’m obsessed with backing up is my Writing folder. I back that folder up to my Mobile Me account, a network attached hard drive, and to an internet storage site every day.

And that’s what this post is about: backing up into “the cloud” with Dropbox. Cloud storage is a euphemism for web-based storage solutions and DB is considered one of the most reliable. You sign up for a free account, install the software on your computer(s) (Mac, Windows, Linux, whatever), point it towards the folders you want backed up and it begins uploading copies to your DB account.

Once everything is there, Dropbox updates the copies on its servers whenever you make a change. Save that new draft of your pilot? DB immediately throws that new copy onto its server without saying a word.

You can also access the DB site from any web browser and download any file you’ve backed up to their servers. Handy in so many ways.

And – just for kicks – you can sync DB between multiple computers. Do most of your writing at home but travel with a laptop? Just install the software on both computers and it will sync your folders between them – meaning you always have the latest version of your writing – regardless of where you’re writing from. All you need is an internet connection.

DB also has an excellent iPhone app that allows access to your entire account and all of the files inside. It’s awesome for guys like me who are constantly backing up PDF versions of my scripts – I always have the latest version in my pocket!

Sound like a dream? It kind of is. And the best part is the price – nothing. DB offers 2GB of storage at absolutely no cost.

Wanna give it a try? Here’s the link: Dropbox

Only Buy One Book

mr. Spec — Wed, 21 Oct 2009 14:00:24 +0000

I’m not sure how many screenwriting books I’ve purchased/been given in the past decade. Dozens would be a conservative estimate but only a couple actually left an impression. The best thing I found about having this large library was their resellability – listed as a lot on Ebay, they sold quite quickly two years ago.

So when I began looking for a great book specifically on writing for TV, I wanted to maintain focus on what I was really trying to do – write something *great*. Not be fluent in a million different ways to attack structure.

So I limited my purchase to one book. I found a well-reviewed book by an author who’d actually been paid to do what he was writing about. And I treated it as gospel.

I choose “Crafty TV Writing” by Alex Epstein. I read it straight through and then I’d re-read a chapter every morning before hitting Final Draft.

And, Wow! It really allowed me to focus on writing. There weren’t a million different possibilities in my head (“Should I go with the Syd Field’s idea or McKee’s?”) – there was always just one. Alex knows what he’s talking about, so I didn’t question his method – I just applied it to what I was doing.

The pilot that came out of this routine ended up getting the attention of a major TV agent, an equally impressive manager, and the showrunners of a network series I came close to staffing on shortly thereafter. I attribute this directly to de-cluttering my mind and removing distractions from my routine. I highly recommend it to any writer looking for an escape hatch from an endless search for the “best” way to write something.