12 YEARS A SLAVE Screenwriter Wrote Script for Free!
February 8th, 2014
by Staff
Author and screenwriter John Ridley is not new to the Hollywood scene. His first novel "Stray Dogs" was apated into the movie U-TURN (1997) directed by Oliver Stone. He's been a producer and wrote the successful film RED TAILS (2012) among other accomplishments in television and features.
So would you be surprised if you learned that he wrote the script for 12 YEARS A SLAVE (Solomon Northrup's memoirs of the same name) for free! "There was no development money whatsoever for this project," he told Press Association. "So I said I'd take it on as a spec project, which means I'll write it for free."
"The upside is I get to own that manuscript; the downside is, for what? This was not Transformers, where you can go to a studio, where they say, 'Great. Let's put some big stars in and go.'
"It was either going to be a script that wowed people and show how powerful that memoir and that story was, and how pertinent it is. That was the difficulty of it. That was something that came to me in a partnership but ultimately it was a choice of four year's work without taking a penny."
Ridley, of course, was eventually paid but that took time. (FYI writers, typically you are not paid in full until production begins on your movie, but more on that later.)
"In the end, it worked out brilliantly," Ridley said and I guess, seeing that he was nominated for an Oscar for Best Adapted Screenplay.
All of us creative types have things we're naturally good at, and things we've learned to do, and things we aren't that good at (yet). This creates a creative trap: when approaching a project, we often work on the part we understand best — the part that scares us least. So if you're good at plot, you write the plot first, and then fill in the characters later. If you're good at characters, you write up the characters and then feel your way towards a plot.
Everyone pursuing a screenwriting career will eventually realize this journey is not for the thin of skin or for those who cannot handle the emotional ups and downs this business brings. If you haven’t yet experienced the soul crushing disappointment of finally having written a script that goes into development, but it doesn’t make it to production and sits on a shelf, I don’t envy you. It’s happened to me a handful of times out of my nearly two dozen paid screenwriting assignments. Learn this early — there are no guarantees in the screenwriting game. You take your lumps, heal, and move on to the next screenplay and the next one.
I love Readers! Yes they are the gatekeepers to the Promised Land and like it or not they do have power. But just how much? Well, I’m here to show you. I got my hands on a classified document folks, the holy grail… An actual copy of a real STUDIO MEMO covering GUIDELINES for their READERS.
Scenes must have a reason to exist in your screenplay. Each scene must advance the plot forward through dialogue and/or visual storytelling. Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward. Although some scenes might not even contain any characters, these scenes must still provide information about your plot, as well as your characters’ lives and actions. There is no set rule as to how many lines, paragraphs, or pages constitute a scene.
The following has nothing to do with wet t-shirts. This entry is actually about screenwriting contests - a subject with little marquee value. One of the most popular category of questions that I find in my e-mail box is about screenwriting contests. As I say over and over, I believe that most are a waste of energy and entry fee. Some - like the Nicholl and Disney Fellowships - are very reputable and have launched a few Hollywood careers. Regardless of how reputable any contest might be, the screening process for most seems tenuous. Low fees for contest readers and a bulk of scripts guarantees a sloppy vetting system.