Any Screenwriters On The Board??
- Thread starter LeftyLuchini
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Screenplay Sells For Almost a Million Dollars:
Screenplay Sells For Almost a Million Dollars:
From Idea to Outline: A Free Final Draft Webinar
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Got a story idea but feel overwhelmed turning it into a script? Start with an outline. Join us for a FREE webinar on using Final Draft's outlining tools to go from idea to outline to finished draft.
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The Final Draft Team[/td]
From Idea to Script: How to Create Beat Boards and Outlines in Final Draft
Got a story idea but feel overwhelmed turning it into a script? Start with an outline. Join us for a FREE webinar on using Final Draft's outlining tools to go from idea to outline to finished draft.In this session, you'll learn how to:
- Go step by step from your simplest idea to a complete outline using the Beat Board, Outline Editor, and Outline Elements
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- Use Outline Elements as your guide all the way to a finished draft
Hosted by: Alex Switzky, Head of Customer Success at Final Draft
Spots are limited — reserve yours today.
See you there,
The Final Draft Team
Welcome! You are invited to join a webinar: From Idea To Script: How to Create Beat Boards and Outlines in Final Draft. After registering, you will receive a confirmation email about joining the webinar.
-Step by step guidance on using the Beat Board, Outline Editor, and Outline Elements to go from your simplest idea to a full outline in Final Draft 13 -Learn to use the versatile Beat Board as scrapbook, relationship web, scene by scene sequencer and more -Unlock the simple technique that will...
This is exactly why it's not the craziest deal. They already had people attached. That's the getcha gotcha with all of this. When I was going through the pitching process, the actors before attaching wanted to know what production companies were involved. The issue with that is, the production companies wanted to know what actors were attached. This is par for the course. I'm sure the five pager is dope af. But a major part on why it got bought was because of who was attached
Has anyone heard of "Motivation-Reaction Units?"
I stumbled upon the term yesterday, and went down the rabbit hole. It makes sense to me. So I'll be going through my screenplay over the next few weeks, making revisions.
I also bought Dwight Swain's book: "Techniques of the Selling Writer."
I stumbled upon the term yesterday, and went down the rabbit hole. It makes sense to me. So I'll be going through my screenplay over the next few weeks, making revisions.
I also bought Dwight Swain's book: "Techniques of the Selling Writer."
This was a good watch. Shoutout to him for calling out people who've never done anything or sold anything but somehow have a guide or class on how to be a successful screenwriter.
Not sure how you feel about AI, but Claude, apparently, is pretty good at helping to write stories.
Submitted my TV Pilot to Zero Gravity in July. Haven't heard from them yet. Also, I'm not sure anything will come of it. Apparently, they ask for scripts all the time.
I wrote two episodes and have the bible for the first season, with the possibility of a second season. The show is made to counter Yellowstone.
I got so many scripts and got evals of 6 from black list, but no luck yet...it's hard out there....
Hi Zero Gravity team,
Thank you for the instructions on submitting. I am attaching the pilot script for THE BARDENS, along with the completed submission form.
Title: The Bardens
Format: One-hour drama pilot
Logline: When Texas cattle rancher John Barden dies, his widow and his estranged ex-wife go to war over a $55 million debt, a loan Alice's family made to John three decades ago and was never repaid. John never appears on screen. He doesn't need to: he's in every scene, every crisis, every consequence. The show inverts the Yellowstone premise. The Bardens aren't defending land from outsiders. They're sitting on stolen money, and the woman they stole it from has come to collect.
I wrote two episodes and have the bible for the first season, with the possibility of a second season. The show is made to counter Yellowstone.
I got so many scripts and got evals of 6 from black list, but no luck yet...it's hard out there....
Hi Zero Gravity team,
Thank you for the instructions on submitting. I am attaching the pilot script for THE BARDENS, along with the completed submission form.
Title: The Bardens
Format: One-hour drama pilot
Logline: When Texas cattle rancher John Barden dies, his widow and his estranged ex-wife go to war over a $55 million debt, a loan Alice's family made to John three decades ago and was never repaid. John never appears on screen. He doesn't need to: he's in every scene, every crisis, every consequence. The show inverts the Yellowstone premise. The Bardens aren't defending land from outsiders. They're sitting on stolen money, and the woman they stole it from has come to collect.
A lot of Black writers are being accused of using AI, but these detectors aren't 100% reliable. Folks with ADHD, autism, and non-native English speakers are more likely to be falsely flagged. I suspect other biases are lurking in the training data as well. It might be a good idea to start a handwritten journal for each project and hold on to old drafts.
WGA East Strikes Deal With Cloak to Safeguard Screenplays from AI Scraping
The Writers Guild of America East has struck a partnership with the AI shielding tool Cloak to help writers safeguard their work from AI models.
variety.com
WGA East Strikes Deal With Cloak to Safeguard Screenplays from AI Scraping
The Writers Guild of America East has struck a partnership with the AI shielding tool Cloak, a service that aims to help writers safeguard their work from training AI models.
The partnership will provide WGAE members with free access to Cloak, while non-WGAE members can pay $10 for Cloak once they register their script with the guild. Cloak’s software makes a script resistant to scraping by most AI models while preserving its formatting, making it harder for those models to train on writers’ work.
The effort responds to years of training from those models on screenplays without explicit permission, which has sparked questions over the legality of using those scripts without permission. The union has maintained that using scripts to train AI models does not constitute fair use.
“The WGAE partnership with Cloak expands our efforts to protect members’ work and fight back against AI companies exploiting writers and other creative workers,” WGAE president Tom Fontana said in a statement. “We’re excited about the partnership with Cloak because it means members don’t need to worry that their work will be used to train AI models after they send it to producers or agents – or simply that the product of weeks, months, or years of work will be reduced to an AI-generated summary of an email attachment.”
“For the past 3 years, the assumption was that anything you put out onto the internet is at risk of being ingested by AI, so I developed Cloak as a way to give agency back to writers to protect against unwanted AI training, AI notes, and analysis,” Cloak founder Rishi Ambavanekar added. “Until now, there hasn’t been a real technically-sound way to fight back against AI and determine how the content you create actually interacts with it. I hope Cloak can keep creative writing in the hands of people and not as data being processed by machines. I want to thank the WGAE and look forward to seeing writers have more confidence in sharing their work far and wide.”
The deal came as part of the WGAE’s AI efforts, which include an AI task force. Larry J. Cohen, the co-chair of the task force, said the deal represented a “natural and necessary extension of our fight to protect our members’ creative rights and the integrity of their work.”
““Generative AI models are often falsely advertised on the promise that they will make our work obsolete, but the truth is, the creative process is human and always will be,” Cohen added. “That’s why the Guild is advocating for better protections against and awareness of the risks posed by AI – not just through our contracts, but through legislation and member education.”
The WGAE has been broadly resistant to the incorporation of AI into the filmmaking process. The guild ended its 12-year partnership with Urbanworld, the BIPOC-focused film festival, in July over the festival’s decision to introduce a programming lane for AI-generated films and shorts. It also launched an #AINeedsHumans campaign to mobilize its members around the technology’s improper use, and it made AI a pillar of its negotiations with Hollywood studios during its 148-day strike in 2023.
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