Screenwriting

The Blacklist: My Experience

blcklst-alma

Yesterday a new partnership was announced between The Blacklist and ALMA Guionistas, that will give Spanish screenwriters the opportunity to enjoy discounted rates in the script-hosting services of the site. As a novel writer from Spain who has spent some time in Los Angeles, I feel compelled to write about my personal experience regarding The Blacklist, in case it proves helpful to anyone in a similar situation as mine.

First off, and I want to be very clear: this is good news. Any opportunity for Spanish screenwriters to approach the channels of the Hollywood script market is not only welcome, but much needed. So, congratulations to ALMA for making this partnership happen. It is a very hopeful first step.

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Screenwriting

Script Problems

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If there ever was something smarter than learning from one’s errors, that would be learning from other people’s errors too. (They can often be the same ones, granted.) Late last year, FastCo.Create and The Blackboard published an infographic displaying data gathered by an anonymous script reader. “Over 300 scripts from 5 different studios” constituted the sample. Besides some merely circumstantial stats such as genre, heroes’ and villain’s (and writers’) sex, or page count —or the surprising and incomprehensible fact that 2 of those 300 scripts were located in “the endless skies” (sic)—, the most interesting conclusions are the Recurring script problems, listed in descending order of frequency. I do this beating my own chest in the first place, because when we try to “design the perfect script” is when we usually fall in all these common places.

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