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So Amazon decides to form Amazon Studios and to give away $2.7 million to wannabe screenwriters. (Here’s the actual 21-page Amazon Studios Development Agreement contract they have to sign.) Sounds good, right? Not necessarily creatively or financially. It’s easy to understand why Amazon wants to get involved with the creation of entertainment and not just its distribution. Or why filmmakers would want to break into the biz through this contest that gets them noticed, lets them win money, and maybe even lets Warner Bros release their movies. But a growing echo chamber of Hollywood scribes is warning wannabes to beware because of problems with copyright, authorship, Amazon Studios’ free 18-month option on a writer’s work the moment it’s uploaded, and rewriting by Amazon readers. Here’s some of the most confounding language:
Amazon Studios invites filmmakers and screenwriters from all over the world to submit full-length movies and scripts, which will then get feedback from Amazon readers, who will be free to rewrite and amend. Based on reaction (“rate and review”) to stories, scripts and rough “test” films, a panel of judges will award monthly prizes… You agree to be automatically entered into any future contests for which your work is eligible. The specific contest rules for future contests will be posted on this page when they are announced.
Prominent scribe and blogger John August asks this: ”Do you really want random people rewriting your script? To me, this feels like the biggest psychological misstep of the venture… Sure, most aspiring screenwriters yearn for access to the film industry and the chance to get their movies made. That’s why they enter screenwriting competitions, including things like Project Greenlight, which feels like its closest kin. But here’s the thing: each of these writers wanted to get his movie made. I’ve never met a single screenwriter who hoped anonymous strangers would revise him.” August quotes from the Amazon Studios’ FAQ:
Can I make it so that no one else can revise my original work?
No. But if someone makes changes that are bad, their version is not likely to get a lot of attention. And if someone comes along and makes your work better, you’re more likely to win a prize and get your project made. Sometimes other people can bring a different viewpoint or a different set of skills that take the story in a new direction or add new elements that make it even more compelling.
August (Big Fish, Charlie And The Chocolate Factory) gripes: “Hollywood already has a bad track record of messing up projects by bringing in too many writers — and that’s when they’re paying people who have already written and produced movies. The idea that an undiscovered screenwriter in Wichita will rewrite someone else’s screenplay on his own time seems far-fetched, and to me smacks of spec labor. I’m pro new ideas. I think you can make interesting, artistically worthwhile projects through crowdsourcing… But I don’t see Amazon’s model working.”
Blogger Craig Mazin, whose insights into screenwriting are far better than his own hack scripts (Scary Movie 3 and 4, Superhero Movie) opines that the Amazon Studios scheme “kind of disgusts” him because it’s a “bad, bad, bad, bad, bad, bad” deal. “They put this whole ‘Hollywood is old and lame, and we’re the new hotness’ vibe out there. In their intro video, their hip spokesman with the spiky haircut is an inclusive, welcoming voice. Hollywood is represented by a fat old Jew at a desk. Funny thing, though. The actual terms of Amazon’s ‘studio’ are so much worse than those offered by Hollywood studios, it’s grotesque.”
Mazin worries about the lack of credit protection or residuals: “WB could hire a WGA writer under a WGA contract to rewrite the script (if they hire any writer directly at all, it must be under a WGA deal). At that point, the Amazon work becomes source material, and the original writers are not eligible for ANY WGA credit at all. Just a ‘based on a screenplay by’ credit. The WGA writers – even if they only wrote five words – would be the only writers eligible for WGA credit and residuals.”
I’m sure this is just the tip of the iceberg in terms of outcry.
Editor-in-Chief Nikki Finke - tip her here.
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Sad…
Almost as sad as what James Frey is doing with Spielberg’s name.
Can someone please look into this? It’s all over the news.
Boycott I AM #4!
So what is it Frey did that is so wrong? On “IA#4″ he hired an unknown 20-something writer from Columbia (who hasn’t been able to get anything published on his own) they developed Frey’s original idea together, wrote it, utilized all of Frey’s contacts to get it published and the movie rights sold. And this unknown writer has made at least seven figures on the deal.
If I was a kid in an MFA program, faced with this kind of mentorship deal with a NYT bestselling author, or a job in a coffee shop writing in my spare time and having no contacts and little hope of getting published, I would jump at the opportunity to work with Frey in a heartbeat.
The problem, as lots of people with experience in publishing has noted, is the lack of an audit clause in the contract. It’s such an astonishing oversight that, coupled with the other bad terms in the deal, make one suspect it’s deliberate.
The lack of an audit clause means that Frey and Full Fathom Five can *say* “Hey, we just sold your book’s British rights for $1,000.” There may be newspaper articles in England touting the sale of the book for $100,000, but the writer has no way of actually getting that money. The lack of an audit clause screams bad faith. It means you have no way to independently verify any sales figures–thus no way to collect the money you’ve rightfully earned if there’s an accidental oversight. Or if FFF just flat-out lies.
For some strange reason, anyone who tries to amend the contact to fix it while in negotiations with Frey gets shut out.
If you really want to get ripped off & reamed by Frey, that’s your business.
GIGO, or, GARBAGE IN, GARBAGE OUT.
Just to show comparison for this sort of contest, see this year’s crowdsourced film planned to promote Kraft’s Lacta Chocolate: http://adage.com/globalnews/article?article_id=142953
This sounds like an idea more suited for Wikipedia actually, than Amazon.
I agree! This idea is not for anyone who seriously wants to be a writer. Sure it’s ok to have a co-writer, but having your story randomly being revised by hundreds or more? Your original script idea of a love story in Senegal might end up as a comedy with Britney Spears as Superwoman. No thank you. Too many cooks make a bad soup.
Not sure. Crowd sourcing has worked in other area. Granted you don’t want too many chefs in the kitchen. However, in the end, its all about pleasing the person sitting in front of the screen. We all know that’s not easy. So, I’m always open to a second set of eyes. A thousand set of eyes might not be helpful, but worth a try.
I knew it was too good to be true…
I think all the established writers and bloggers crapping on this idea do not realize that Hollywood today is CLOSED FOR BUSINESS to new talent. It is literally closed. NOBODY will read a newcomer, unless they know you or are tight with someone you know. To use John August’s analogy about “a writer from Wichita” — John, a writer from Wichita HAS NO OTHER CHOICE but to enter this shitty contest.
Yes, the contest is flawed. Worse than that, it’s stupifyingly, nauseatingly flawed. Will I enter? You’re damn right. And whose fault is it that I have to stoop to this slave/owner type of relationship with morons all over re-writing my work? Because of the John August’s and crag Mazin’s and the gatekeepers at Warner Bros, Universal, etc. It’s not just me. I have friends who graduated with honors from Ivy League schools who are BRILLIANT people, who have written acclaimed books and are incredibly talented wordsmiths and unless they happen to meet a cute chick who’s a mid-level executive, they ain’t g etting read. It’s impossible.
So, Amazon, sign me up.
Hollywood is not “closed to new business.”
That’s absurd. Write better and get your work out there.
Damn! You told him! I can tell you’re a wannabe writer. It’s not nearly as simple as what you just described. Matter of fact I think most of the comments on this “thread within a thread” are by aspiring writers in New Mexico and Ohio.
Look, it’s very difficult to get anywhere. I’m an established pro so I know. It takes more than ability.
Willie,
I’m an ‘established pro’ and I came from nowhere so spare me the Hollywood is closed to outsiders crap. You sound like one of those pathetic entitlement babies who thinks he’d be a star if only he had the right connections. Grow up. It’s a business; if you write a script that sizzles Hollywood will open its doors. I don’t mean to be harsh, but I’m tired of hearing guys like you whine. It’s a privilege to write movies for a living. Nobody owes you a goddamn thing.
SN
ability is the only thing you need in hollywood. just because you “know” someone in the industry doesn’t mean you are talented. i know 2 people that got drafted in baseball. i must be due for a golden glove soon…
Have any of your brilliant friends thought to stoop to being assistants in this industry? Connections are vital to succeeding in any industry. Unfortunately, you can’t just drop a script or novel on someone’s desk and expect them to blindly dive in because you think you’re special.
You think you’re not a sucker, but you definitely sound like one on this issue.
Oops! Sorry! And here I thought “concept” executed “fantastically well” trumped all else. My bad. Thanks for correcting me.
SN,
I bet you made your mark a long time ago, old man. Try getting a foot in the door nowadays. While I’m no kid, I know some trying to gain entry to screenwriting, and it’s nothing like it was even 10 years ago. For a variey of reason, the largest being that agents nowadays are a bunch of elitist assholes, it’s much, much harder to get read unless you’re “in the club.” So do your homework before you make an ass of yourself next time.
The more I’m reading about this so called “contest”, the more worried I am.
There are legitimate contests and opportunities out there that will not ask you for free options with no WGA rules (or the very least a lawyer) protecting you. There are contests and activities that will offer you exposure and access without putting at risk your ownership to the materials. Your “big break” will not be your big break if your work isn’t yours and Bitter Bob whose own screenplay didn’t sell is rewriting yours from his recliner in his underwear.
Likewise there are people just looking to strip an aspiring screenwriter of their cash, so buyer beware.
Check into CineStory.org They are a NON-PROFIT offering real mentorship and access to Hollywood. The focus is on craft. Let me repeat: CRAFT. Because if you don’t have the goods, all the access in the world won’t get you far.
In the meantime, join a writer’s group, take classes, take a job in the industry, be a personal assistant to a crazy actor… Work the angles. But, don’t let someone else rewrite your script unless:
a. you have a contract that protects you and is a step forward in your career
b. trust them on a creative level and have brought them on officially as a co-writer (and have a partnership agreement!)
c. have been paid a LOT of money to walk away – enough money that gets you a trip to an island with fancy umbrella drinks so it won’t hurt so much when you see the final product.
this is the best advice i have heard on this entire thread. i am a nobody, im bartending and writing and studying. i know it is very hard, but not closed or impossible. i have a close friend who has just finally sold his amazingly funny screenplay for an incredible amount of money. more than what my professors say you can expect for a first timer. he wrote and rewrote his script MANY times and for almost five years before he sold it. so it may be closed to people who are impatient, think they are better than they really are, aren’t willing to do the millions of rewrites, have no social skills and cant network, or just feel entitled to instant success because someone told them they were good.
there are still many opportunities. but this is also hollywood. not any other writing industry. hollywood is by its very nature collaborative and who knows who. so it isn’t good enough just to be a good writer. just like it isnt good enough to be a great actor or director. you have to be an AMAZING networker, humble enough to realize no one owes you anything, be a likable person and be great at grabbing opportunities when they present themselves.
so, sound crushingly hard? yeah, hence all the bitter comments on here. if you are writing because you want to break into hollywood and get rich, you are doing it for the wrong reason and will probably always feel you never got your chance or a fair deal.
i am a bartender and happy writing to write, and producing my personal movies as my art, and acting for the fun and love of it. it fulfills me. i have to do it. it is something i have to do to express myself. that is reward enough to keep doing it. I LOVE IT!! if by some stroke of luck someone wants to PAY me to do this, i will be one of the luckiest people alive. but i wont be bitter and have a shitty life if that does not happen.
Getting read is never the problem. Talent is.
If you have a good idea that’s remotely commercial, or a script that shows an ounce of promise, throw it out there and watch it climb the development ladder straight to the top.
Some valid points HT, but I’ve got 2 words for you…”short film.”
If a monkey riding a pig can go viral, so too can a creative, well-made 3-5 minute short film. Surely a better idea than handing your blood, sweat, & tears over to … who the h*ll knows… and then getting cut out of the credit and $ when someone decides to make it.
Stick with some of the legit contests that simply read your product and vote on it; and don’t ask you to “bend over.”
Good advice, steve, re: the short film. Yeah, the thought crossed my mind. Think i’ll try that. As for contests, I write comedies, and it’s very rare to get acclaim from a contest. Most contests take themselves ultra seriously.
Um…I broke in from “the middle of nowhere” by being a Nicholl Finalist with a COMEDY. Since then I’ve gotten an assignment, and have had an endless number of pitch meetings and meet-and-greets with “the gatekeepers.” Hollywood is very hard to break into, yes–but it is only “closed” if you’re not as talented as you think you are. By the way, having an Ivy League degree and being a good wordsmith does not necessarily equate to being a good SCREENWRITER, just as I could have graduated with distinction from the most prestigious graphic design school on the planet and still be a terrible cartoonist, painter, or sculptor. And regarding this sentence:
“Because of the John August’s and crag Mazin’s and the gatekeepers at Warner Bros, Universal, etc.” …
Your terrible grammar, bitterness, paranoia, air of entitlement, and hostility towards smart and helpful and successful people (who worked unbelievably hard to get where they are), are all strikes against you — so I suggest you work on that.
Hey Arrogant Asshole, i.e. Earthquake,
I give up. Of the two writers I named whose blog do you read hourly? You sound like one of those pathetic wannabes who form an emotional attachment to John August or Linda Segar and follows him or her with blind devotion. Your “credits” don’t exactly blow me away. Sounds to me like you’re still very much struggling. I’ll direct you to Dale’s response below. I happen to know that he’s an actual successful screenwriter. Based on your “credits” you’re not even in the guild.
Now get back to your blog reading. I understand there’s a new thread.
Being a Nicholls semifinalist and and “getting an assignment” hardly make you a success.
maybe those people couldn’t write a screen play. its an artistic craft, not a grade in class
From the Amazon Studeios FAQ:
“If I direct a winning test movie, and Amazon Studios makes a full budget theatrical film based on that project, do I get to direct that full-budget theatrical film?
Not necessarily. We hope to hire talent from Amazon Studios for any professional movies we make when we can but we want to be upfront that we can’t guarantee this. Our priority will be to release the biggest and best movies possible with the cast and crew that promise the most commercial success.”
They’re pretty much promising to sellout at every opportunity possible. Make as much money as you can. Pretty much means be as derivative and unoriginal as you can.
Who would sit at Amazon and read thousands of revisions of thousands of submitted scripts in order to figure out which one works? Or are they saying that the “crowd” will read all the potential thousands of versions of the same script? I’m very confused.
Indentured serv–**cough, cough**Interns.
This shows how confused non-creative people can be about the creative process.
The executives @ amazon think that because their readers can vote a decent “top 250″ list into existence, they can somehow collectively write that screenplay.
Just think what would have happened to Aaron’s “The Social Network” if readers had gotten their hands on it and corrected all the factual and dramatic “errors”.
What makes the great movie scripts great are precisely their mistakes and idiosyncrasies.
I feel sorry for the young writers who will be tricked into this. The experience might well turn them off to screenwriting altogether. That will be on your conscience, Jeff Bezos!
What if you are the one who “made the work better?” Why would you, actually? The “winner of the prize” is the originator of the screenplay, right? It’s all bad.
exactly.
it’s like a rigged carnival game.
if there somehow manages to be a hidden gem in this, doubtful, the incentive is to go in and make “bad” improvements.
Hey Amazon — way to encourage mayhem and mediocrity!!!
I literally just started poking around this thing this morning, and downloaded 10 scripts to read. Some are good, some are bad, as expected…
Unfortunately, there are some VERY good ideas buried within system there… and as we all know, there’s no accounting for taste, so these potentially good ideas will never see the light of day, or a decent script will be re-written by a hack who thinks he can do a better job. (Is that really any different than a studio?)
The whole thing feels like open source filmmaking. That might be good for linux, but.. wait until the copyright suits start coming in.
-RnsW
plus you loose written by credit regardless how many words a new writer puts on the page. SCAM.
This actually applies to a studio purchased screenplay followed by WGA credentialed revision, not the Amazon submission process.
Welcome to the karaoke of film-making. Serious writers will avoid this like the ebola virus. It’s strictly amateur hour designed by Amazon to sell more Kindles…oh, and spur a few law suits.
This really disgusts me. As a writer who keeps knocking at the door, this just reeks of taking adavantage of young people who are only thinking in the moment. The fact that they would have an 18 month option on a script the moment you upload it, before it has won any sort of competition, is just wrong.
There’s this small part of me that feels as if Amazon has a group of professional wirters at the ready and are simply looking for an avenue to stockpile ideas they can in turn hand off to their stable. 2.7 million is a pittance to Amazon under any circumstance – 2.7 million in return for numerous story ideas (Amongst which will be some clever, original takes) is borderline slave labor.
If Amazon had a stable of writers in the wings, why would they need to crowd source for ideas? Why wouldn’t they just use their stable’s ideas? Ideas are easy, execution is hard.
I think the question here should be: “If Amazon had a stable of competent writers in the wings, why would they need to crowd source for ideas?”
I’m sure Amazon wouldn’t keep untalented writers “in their stable”.
If ideas are so easy, then why is Hollywood so devoid of them?
There are far too many less than genius writers that believe their derivative works are original.
Amazon needs to change this deal, but did anyone (at DHD or otherwise) actually vet the following:
At that point, the Amazon work becomes source material, and the original writers are not eligible for ANY WGA credit at all. Just a ‘based on a screenplay by’ credit. The WGA writers – even if they only wrote five words – would be the only writers eligible for WGA credit and residuals.”
I’m not sure that it’s correct. And if it is correct, then I’m not sure the guild enforces it that way. I now a non-guild writer that who was rewritten by a guild member on a movie. Both got credit. The non-guilder got sole”story by” and shared “screenplay by” and was then PAID residuals that otherwise would not have been paid at all.
I bet that situation you are referring to went to guild arbitration. That’s probably what would also happen in the case of these Amazon scripts.
Does the Amazon contest even promise residuals as a component of an award/compensation package?
If a filmmaker or screenwriter creates a project with an original script and it is released by Amazon Studios as a theatrical feature film, the submitter will receive a rights payment of $200,000;
If the movie makes over $60 million at the U.S. box office, the original filmmaker or screenwriter will receive a $400,000 bonus.
In the 2011 Annual Awards, Amazon Studios will award $100,000 to the best script and $1 million to the best movie submitted by December 31, 2011.
Winners for the first monthly awards will be announced near the end of February 2011—$100,000 for the best full-length test movie and $20,000 each for the two best scripts.
The rights payments associated with releasing a full-budget commercial film (the $200,000 referred to above) are separate from and come on top of any money awarded to top submissions through the monthly and annual Amazon Studios Awards.
Doesn’t look like residuals are part of the package. These would likely go to the WGA credited re-writers on the selected scripts anyway.
HOWEVER, how many writers are getted paid $2.7 million per screenplay these days? Not many. This looks like a great deal for the winner, but I can’t say the same about those who do not win and have to give up rights to their scripts for 18 months.
What are they doing with the scripts that don’t win, for 18 months? Will it genuinely take that long to get around to reading something, once uploaded?
As far as the crowd sourcing idea, it’s a bit of shit actually. They’re trying to get some sort of “organic marketing” going around their website, but it’s not thought through and more appears like an attempt to carbon copy the Wiki model, which is in itself questionable.
As someone else said, Amazon needs to trash this part of the contest, and judge submitted material solely on the content originally presented. Keep it clean for God’s sake.
What? You mean the same crowd that steers me away from pizza ovens that could catch fire and towards facial moisturizers that won’t clog my pores cannot be trusted to draft and polish an exciting, full-blooded screenplay about heroic characters taking dangerous paths to find love and adventure?
Shirley, you jest.
Who’s Shirley?
Surely, this is why Amazon Studios will fail. The internet is full of opinionated hacks who can’t construct a proper sentence, let alone spell anything correctly. Leave writing to writers who can actually write.
Who’s Shirley? Love it. Thank you. Was feeling a little blue today. I needed that chuckle.
Having done development for many years and having (attempted to) read many scripts submitted by unrepresented writers, there is not a lot of chance that anything from this project will ever see the light of day without a rewrite by a WGA writer. It would be interesting to know if part of Amazon’s deal with WB is to guarantee that one film gets made to insure publicity for the mother ship?
Why does Warner Bros have a first-look development deal with Amazon anyway? How does that happen?
Jeff Bezos comes to L.A. to borrow money. Maybe he should try borrowing some good ideas on occasion. This isn’t one of them, but it was inevitable some major media entity did it. Hey, maybe Bezos borrowed a bunch of very old flying monkeys to run the program?
The 18 month option perplexed me. Who in their right mind would agree to that online? Check out the entire agreement. It’s more binding than the Celebrity Center.
Why is August always so mad and frightened? As an as-yet-employed screenwriter, it always surprises me how terrified working screenwriters are of losing their jobs to something new. If it hasn’t happened yet, it ain’t happening…the movies need good pros. This isn’t meant to change that. Shifts are always necessary, over-corrections, re-corrections, yeah, the pickings are slim these days, its a tide gentlemen. Besides, this is about Amazon trying to capture audience and customers, not screenwriters…inclusiveness is about the audience becoming invested in the system and therefore Amazon…its not a threat dudes. If I were getting paid big ticket fees for screenwriting, perhaps I’d fear the open source writing exercise more than I do. Its a plaything. For your aunt who always wanted to write something. How on Earth is that a threat to any top-dog gig?
It’s a threat because thousands of wannabe writers are going to start suing screenwriters for “stealing their idea” from open-sourced Amazon scripts.
Exactly! hey wannabes you cannot protect an idea which means anyone looking at your material – ANY ONE – can just lift the idea!
John’s not frightened; he’s looking out for people like you. And if you’re too dense to grasp that, then you’re certainly not a threat to him.
“Blogger Craig Mazin, whose insights into screenwriting are far better than his own hack scripts (Scary Movie 3 and 4, Superhero Movie)…”
Love it.
I have to offer the flip side to the coin. Absent the ‘option’ angle, (if that is the case, STINKS. But screenwriters know this going in; ALL SCRIPTS are rewritten unless you’ve a proven track record of success ie Cameron, Nolan et al. Period. He who pays the bills calls the shots. For writers to think that they simply MUST have their words and only their words — well, THAT IS GREAT. Shoot it yourself. Put the money up and shoot it yourself. NOTHING WRONG WITH THAT. And too, write plays. NO ONE will touch one word if you write a play. But the simple fact is that are EXPERTS in the field of SCREENPLAYS. There are beats. There is theme. There is hook. I READ ALL DAY EVERY DAY. And I can tell you is and this is from experience is that folks who have a software program ALL THINK they can write. IT’S HARD TO WRITE WELL. Even harder to write GREAT. I am blessed. I can ‘hear it.’ I can ‘see it.’ Reason; a GREAT script is a lot like porn–I can’t DESCRIBE it but I know it when I see it. Read the rules of the game and if you can sleep at night knowing it, then participate. If not, then don’t. But here’s the through line; the web is going to be huge when it comes to film. It already has big presence. It’s important that GREAT WRITERS who have GREAT IDEAS, get coverage, tweak, polish and then let luck have HER say. Respectfully, BABZ
Kind of a final word on the status of the screenwriter in the movie biz.
It’s the worst
- no pdf file upload, only rtf = so others can hack your script
- 18 month exclusive option period = for no money down… cool
- ANYBODY can tamper with your script, really ANYBODY….cool
What a con artist job that is!!!
P.S. or maybe I could upload a Billy Wilder script, take his name of, and probably NONE of the amazon / warner bros. readers would notice…he, he, he
I am by no means a great writer or a member of the WGA and I’ve been plugging away for years in Hollywood trying to make it as a writer with only one project produced through a production company and a slew of self produced and directed shorts and a feature film. And as much as Amazon is trying to make their competition / production company sound like a great deal for struggling and wannabe writers alike, be warned you will be reduced to a shadow and be left with very little if anything at all at the end.
For all we know one of us out there is the next William Shakespeare of our time. Imagine how Shakespeare’s amazing works would have turned out if everybody and anybody had a chance to rewrite his plays. He never would have become as historically relevant and famous as he is today and will forever be.
This my friends is the epitome of a bad idea and blatant piracy wrapped up in a pretty package with a pretty little ribbon just long enough to hang yourselves with, when you realize all the rights you’re giving up to your hopefully original and amazing ideas / screenplays.
This is like having worked your whole life to become the first person to set foot on Mars and when that big historical moment comes along, a million hitchhikers jump onto the planet at the very exact moment as you do. Oh well, better luck next time. How in the world can your voice be heard as a creative talent with so many people involved? The answer is it can’t! As simple as that.
As W.C. Fields once said, “There’s a sucker born every minute.” Do any of you really want to fall into that category?
On the plus side there are a lot of mediocre writers out there who know their writing is crap but hopefully will have the new Will Shakespeare come along and make a silk purse out of a sow’s ear and you can make a little money because someone else more talented came along and did your job for you. If that’s the case, more lick to you.
The key to becoming a great writer my friends is writing! Plain and simple. The more you write, the better you will get. But if everybody else is doing the work for you, then if you finally get that big chance by some miracle of providence through Amazon’s competition and some big production company says to you, “What else do you have?” you won’t be able to produce a single thing that they’ll want to invest millions of dollars in.
It’s like having everyone doing your examines for you in medical school, and getting your degree. Then when the big moment finally comes for you to operate on someone you freeze, or even worse, end up killing the patient, all because you didn’t put in the time and effort to actually learn the profession.
Could you imagine a million average people chiming in telling your doctor how to perform a life saving operation on you? All at the amazing Amazon.com hospital? Hmmm… I think I’ll write a script about that, anybody wanna help me write it? Don’t worry, you don’t have to have any sort of real writing skills, just an opinion.
I’m certain there will be hundreds of desperate writers who fall for this shell game. I for one, will not be one of them.
Sorry to break the news to you, Desi, but … reading your expository missive, I see …. too many compound sentences (multiple sentences strung together into a single one connected by a correlative conjunction {“and”, “but”, “or”, “nor” …}). I also see too many present-tense active voice verbs crammed into a single sentence. And I see too many run-on sentences (these contain more than a one idea).
All these indicate poor ideational (look it up) subordination and disorganization.
I can see why you haven’t had much success in the writing craft. It’s a craft, and you don’t know how to do it. You need remediation.
This is for desperate suckers. If you’re struggling to get attention for your material join a respected online contest like the ones at Triggerstreet.com — they are smart enough to require every new member to READ at least a couple of scripts by other entrants first to gain entrance. This weeds out a lot of lazy writers. Their finalists material is always good and yes, can be a calling card with agencies. Do it the RIGHT way!
BTW, this contest will never actually work because it violates too many WGA issues, since WB might end up being a distributor.
Interesting! Thanks for the advice!
The Amazon deal is such a bad move. No sane writer would want to get their scripts rewritten by unseen hands or faces. Why doesn’t Amazon just make it a straight up screen-writing competition or short film competition.
if anyone thinks Amazon plays nicely they ought to do some googling. Their legal agreements with the user/buyer/seller/participant/epublisher leaves amazon with the typical scenario of cutting the user off without arbitration, without a phone number and without recourse. Been there. done that.
bitter? yeah. kind of.