The Screenwriter's Forum Q&A (Archive)
March 14th, 2004
The Screenwriter's Forum Part II
John DeMarco is a professional screenwriter and a member of the Writers Guild since 1985. He began his writing career in advertising writing radio and television commercials. In 1987 he submitted a screenplay to a producer, while the script didn't sell he was given an assignment to write a movie based on the music business. The movie was never produced, but it started him on his writing career that led to the 1990 release of his screenplay IMPULSE (pictured left) by Warner Bros. Since this time John has been extremely busy with other projects
Q: John, great job with your Q&A, my question: character sketches, how
do you go about created a character? If you wouldn't mind a giving me as
much info as possible :) Thanks, Katie.
KATIE, I create a character by first determing their age, family upbringing, did they come from a poor, middle class, rich - What is their education background? Then get into their personality traits. Are they an A type [hyper] or laid back? You might want to role model someone you know. Remember characters that you create must be real. They must also stay in character -- how would they react in certain situations? Don't manipulate them to make it work. Act it out in your mind. This is where development comes in. Make sure the audience knows who they are dealing with. I hope this helps you. Feel free to email more if you like. John De Marco
Q:I've just been asked to submit a script I've written to an agency and as naive as it sounds they've asked for a one line pitch to go with it and I'm not sure what that is? Help! Thanks Maria.
A: Maria, a one line pitch would be like: "Die Hard in a plane" Story of a
pshychotic that takes over a 747.
John De Marco
Q: John: To keep an audience interested in your story what should a person do? Should I change the moods of the characters? Also does length have anything to do with writing a screenplay? -Steve Helms
A: Steve Helms, the only way to keep the pot boiling and audience interest
is to put twists and turns -- character mood won't do it, unless you're
character is pschyo. The problem most writers have is the second act
lets down. As far as length -- you should try to keep it 125 pages.
John De Marco
Q:John what percentage is common for agents to get? Even for the non-WGA ones is there a suggested amount that you recommend? Are non-WGA agents a bad way to go? I've been getting visitors who have asked me this! -Webmaster(Chris Wehner)
A: Chris, agents get ten percent if they signed with the WGA. If you have an
agent that is not a signatory of the WGA they can get what the traffic
will take. If you have someone that will champion your cause go with
them -- you can always make a change later.
John De Marco
Q: John I have just completed a screenplay based on the life of Imelda Marcos. I made 4 different trips to the Philippines and I spent a total of 3 hours with Imelda at her home and in Congress. I would like to know if you have any ideas on how I would go about putting a package deal togather. I don't have an agent at this time but I do have an attorney. Thanks Lyle Sardie
A: Lyle Sardie - I assume your lawyer is an entertainment
lawyer if he resides in Hollywood he could make calls to
studios. If he doesn't then have him contact a
coorespondant attorney in L.A. to assist.
I would also send the script from and if you can a letter from
Imelda her giving her approval. This sounds like a TV
MOVIE -- I haven't read your scipt but it sounds like
something that would sell.
John De Marco
Q: John whenever I finish the first draft of a script I feel confident in
the work and the people I bounce it off tell me its great. After a few
re-writes I'm not so confident. Is this normal insecurity or can it be
that the script actually stinks and it takes me a few drafts to realize
it?
Mario Garcia
A: Marion Garcia -- first NEVER show your first draft to anybody!
After you finish your rewriting and are happy with it then you
can show it to anyone you like. Freinds, unless they are in
the business are not good barometers. And yes there is a
tendacity to feel less confident, ignore it -- keep improving
your script till you are happy with it.If you still think it's bad
go to PROWRITER on UTOPIA.
John De Marco
Q: Dear John I don't think I can make it. I don't know if I have what it
takes to be a screenwriter? Huh, I don't have the right to call myself a
screenwriter. Three years and only one $1500 dollar option to speak of.
You have know idea of knowing if I do either, but can you share with me
any words of encouragment? Any inspirational stories? Thanks Mysterious
Maxie.
A: MAXIE - I suggest you read the article I wrote MY FIRST TEN
SCRIPTS ARE STILL COLLECTING DUST before
Warner Bros did my movie. [find under above] The fact
that you did get an option means you have what it takes
to make a sale. You may need some input on your script
writing.
John De Marco
Q: My husband has completed 2 screenplays and I'm in the 3rd act of my
first with 2 more stories fully outlined. Would it be to our advantage
to market our screenplays as a team i.e. more stories to choose from. Or
should we market ourselves independently targeting our stories to
specific agents production houses based on genre?
D.J. Kolb
A: DJ KOLB, If you can write as a team I would suggest you do so. You could use your maiden name on the script if you want. John De Marco
I'm writing a screenplay that contains several scenes in Spanish. I want to know the best way to communicate these without interrupting the flow of the story. What is acceptable? I've been told to write "in Spanish" to under the name of the character speaking. If this is the case, do I need to write this under the character's name everytime he or she speaks or just the first time when the character is introduced in the scene?
Roberto.
A: ROBERTO, If the character always speaks in Spanish you only need to
do it once. If the character jumps back and forth you need to note that.
John De Marco
Q: I've been writing feature-length screenplays and cold-querying production companies for two years. I have developed a short list of creative executives who will read my work but they always end up saying "this won't sell, send us your next one." Am I making progress?
Cynthia Webb
A: Cynthia Webb. Keep sending your work, as long as you keep writing and getting read you are making progress. They may not like your story but like the writing. I would also suggest that now that you have developed a relationship with a few executives, that you call or write a three to five page outline of the story to see if they think it's something they want. John De Marco
Q: In your opinion are bad movies a result of the so few scripts available for production companies to choose from, or what other reasons could there be? I am working on scripts for children's full length motion pictures and am curious about the market. Where can I find out more about this market?
Kim
A: Kim. No one starts out to do a bad movie. There are thousands of scripts
available. When my film was produced that year 25,000 scripts were
registered at the WGA -- five hundred movies were made that year [91].
Movies are made because a studio likes the story they don't always
work. As far as children stories go, the market is very small. It
depends on what you mean by children -- ages ten to tweleve are
considered kids movies. Major studios only or TV. I think TV is a
better shot -- cable or Public Broadcasting. Kids moives are very
iffy by that I mean it's hard to market. Studios want some assurances
that's why star vechicles are made first.
John De Marco
I like your advice about playing the three-act story in your head before
you start writing. Do you bounce the story off people, family members,
another writer at that point, or just go with your gut? Thanks.
Joanne Macrae
Joanne. I just started writing a very rough draft and when that's completed I bounce the story off a few friends in the business. John De MarcoQ: Is it common for a screenplay to contain what music or song is playing during a scene? Does this get totally over-looked anyway.
Stephen Cork
A: Steven. No it is not common that script have music in them. I would not bother to set in music. The director will make that decisision. Remember the script is a blueprint only. John De Marco
Q:John, what's TEMPO mean? An agent told me the TEMPO of my script was way off, and he rejected my script becuase of it. And he also said I bring the curtain down when I shouldn't? Richard Ferrain.
A: Richard. TEMPO is another word for PACE. If you don't keep the
pot boiling the script lets the reader off the hook. Bringing the curtain
down means you have let the audience in on the ending too soon.
It's predictable. Agents today have no sense of develpoment therefore
they don't offer much in the way of how to improve the script. Also he
may have not liked the story and this was his way of saying no.
John De Marco
Q: "The Usual Suspects," is that considered a character driven script?
I like that movie, and that type of writing. - Bobby C.
A: Bobby, "The Usual Suspects" is a character driven script and is
probably a good example of how really good charcters combined
with action make a block buster movie.
John De Marco
Q: Hiya there. I'm a cartoonist, and I've just landed myself an agent.
My agent's in touch with the Fox Kids Network about optioning
some of my cartoon ideas into animated cartoons. However, I
first need to write a sample script. I'm doing that -however, I've
never written a script before, and it's a learning experience.
I've been able to find info on scene formatting, and other tips, but I'm
stymied on one point...
In my script, I have a character - and I want her to be a surprise.
See, she's the dead girlfriend of the main character - only she's not dead.
She's turns out to be the mystery female in the ski-mask, with the gun.
Anyway, here's my dilemma: do I write her initial arrival as the masked
lady in as MASKED LADY or do I give it away in the cript that this is
actually my character in a disguise? See, she won't be suspected by
the audience watching the movie - so I kind of wonder if I should
reveal it in the script beforehand.
What's the proper way to do this?
A: CARTONIST, I would show the MASKED LADY in a mask
not letting the audience know who she is until you want to
reveal her. Mysterious charaters are very intriguing to an
audience -- however if you show her before she appears
masked --they will recognize her voice, unless she has the
ability to disguise her voice. Annimation allows one take great
liberites over live action. Take advantage of this -- it might give
more debth to your character.
John De Marco
Q:Do you believe in the Act-Goal Paradigm? When you write do you think in
terms of turning points, etc...or do you analyse your script after the
rough draft?--Fredrik Wallen
A: Fredrik, the most important thing is to get the story down without regard
to typos, format or any other goals. Don't worry about anything until you
see if the story has legs, if the story has a beginning middle and
end. What I do is before I write anything I play the three acts in my
mind. I have a rough idea of where to go, then I sit down and write.
My script IMPULSE produced by Warner Bros took me a few weeks of
thinking about the story then I write a rough draft of about a hundred
fifty pages. I then broke down the acts after decidiong where the
turning points were to come. I then wrote ten drafts to get it in
shape for marketing, at that point when I said to myself this is it, I
did a polish. The script sold for mid six figures and then another
two rewrites were done for the director. You will find as you get
into the second and third drafts what hooks, turning points and
character development will come naturally.
John De Marco
Q:Hi, Im trying to find out if I use Courier or New Courier on WORD 6.0 to
write film scripts AND if I choose 10 or 12 from the font button. Also
do you know what margins on WORD 6.0 I use to write film scripts?
(TOP, BOTTOM, LEFT, RIGHT AND FOR CHARACTER NAME AND DIALOGUE). I am
using macros but I DONT KNOW where to set my macros. WORD 97 will be
such a blockbuster, that I think a small book, WRITING AND
FORMATTING YOUR SCRIPT WITH WORD with the most recent trends in
formatting would prove invaluable to the public and profitable to its
author. I WILL NOT be writing the book but hope someone else does.
Every year bring out an update with the latest in formatting trends,
etc! The cost would be $25 for the book and would include an 800 number
or email question hotline for buyers. Thanks for your help!!! Anna
A: I use 12 pt. Courier it seems to be the most used by pro-writers.
1 inch top and bottom 1 1/2 inch right and left. Set tabs for
Character at 3 -- for direction under character name ie [smiles] at
2.5 and dialog at 1.5. You can get a copy of format from the AMERICAN
FILM INSTIUTE in Los Angeles. If you are really crazed about formating
buy a script format program.
John De Marco
Q: John, is what Patrick McDarrah said true? That writers shouldn't try and write like Tarrantino and Esrterhas? Because it seems that those types of character driven scripts sell, and I want to sell...not just write for a VISION. A vision is nice if you've got a $300,000 check in hand, or you own your own production company. I'm tired of those of you who have made it telling us to write for a stinking vision!--Donna
A: Donna
If it's character driven or plot driven it's called the "writer's
vision" of the screenplay. You have to have a vision of the three
acts or you will never complete anything. The vision is the overall
story in broad general terms. Stinking Vision sounds like a good
title.
John De Marco
Q:John, I used to write on a typewriter. I recently bought a new computer I use Microsoft Works now,but the fonts are not exactly the same. What'size and type do you reccomend, Thanks.--Gregg Delso
A:Gregg: I use twelve pt. courrier -- it seems to be the prefered type face. John De Marco
Nathaniel&Email=Ssludge@aol.com&
Question+for+John+De+Demarco=
I am finishing my first script and would like to take a class or weekend seminar to increase my beginning knowledge of screenwriting. Any suggestionson where I should look? One local class is available but gets canceled for lack of interest.
A:Nathaniel I don't know where you live, I suggest your local college. John De Marco
Q:Question for Mr. DeMarco= How many pages is not enough, and how many is too much?
C.C.
A:C.C. I would say the magic number in Hollywood is 120 but not over 125. YOu should write for as many pages as it takes. I just finished a script for a director --- it was 138 pages - after editing it came down to 122. John De Marco
Q:Greetings from Denmark! My questions:
For month I have been playing around with an idea for a romantic comedy. Do you have any advice on writing this genre? What pitfalls should I avoid?
Where can I obtain a listing of A and B/B+ actors?
How do you best hide "heavy exposition" in a scene?
Reading an article about Deborah Todd; in the September issue of Script Magazine, I wondered if you know if Hanna-Barbera still offers a free nine-week writing program for aspiring animation writers?
Thanks for your time. Eric Lilleor
A:Eric From Denmark In as much as you're "palying with an idea" of writing a romantic comedy, but haven't committed, the only pitfall is not sitting down and writing. Once you have an idea that will drive the story that is unique I'll be happy to tell you if it works. You can obtain a list of actors from SAG in Hollywood. You can't hide "heavy exposition" If it's on the page it's in plain site. John De Marco
To All Concered: I have been getting mail that has been asking how long someone should consider a writing career --- it's a job -- you better like it and be able to support yourself for the long haul. Emillio Estaves is doing a new film with his father -- his script took three years to gt off the ground -- Forrest Gump took ten years after the book. I have a script that has taken three years and it was optioned twice. It's a slow process. John De Marco
Q: I'd really be interested in seeing information about writing for television, ie. the best way to break in the best people to contact whether you should obtain an agent or go directly to the production company that produces the show.---John Kim
A: To write for TV requires that you write a few spec scritps of shows that you want to write for and then submit to an agent. TV writing really requires that you live in L.A. Most production companies will not accept scrips without agency submission. John De Marco
Q: I am interested in writing a screenplay of a real event. However, I've been told I will need to obtain rights to the story first. How do I proceed? ---John
A: I suggest you contact a lawyer that can tell you if the event is public domain or if it involved a person that owns his own story. John De Marco
Q:When will a screenwriter know they just don't have what it takes? When should we just give up and try a new hobby?
Chris
A:Chris, this is a tough business, you have to stay in the game if you want a chance to get to bat. It may take a year or two to get a hit. It's like any other job, You have to work at it everyday. I guess you have to decide if you want to be a writer. This business moves very slow. You should get an agent and get the material out. Keep writing. Usually when people ask me if they should quit they have already gotten tired of the work. Stay with it. Time lock yourself. Say if I don't make a score in the next year I'll quit. John De Marco
Q: JOHN DE MARCO: What is the proper use of "CUT TO:", should it be after every scene? Or should it even be used at all? I know "the play is the thing", but what do you suggest.
Dan C.
A: Dan, CUT TO is used only if it is really important to punch an action. I very rarely use this direction. The screenplay is really a road map for the director. He will decide on fade, cut, match dissolve etc. Sticke with INT. EXT. and you'll stay out of trouble. John De Marco
Q: What are the most common mistakes made by first time, or beginner screenwriters? It seems everyone thinks they've got a good movie idea, only a few know how to put it down so it'll sell. I quess my question is how do I get past the "good idea" and make it a "screenplay", and what mistakes should I avoid as a beginner?
Thanks, Peter W.
A: Peter W. I think beginners make the mistake of writing about a personal expierence they have had. This is usually not the way to go. If you have an idea, then look for the parabale in your story. Break down the story into three acts, a page per act and see where it goes. Getting ideas is tough part. Pick out a gener you are comfortable with, mystery action romance whatever -- develop the characters so they are real in your mind -- character driven ideas are the best to develop because it entices the reader. Don't try to copy a style. I would suggest subscription to Scenairo magazine -- a quarterly that prints complete screenplays both current and past. They are at 104 5th Av NY NY 10011. John De Marco
Q:I wanted to ask you a question? How long did it take to complete your first story...?
Daniel
A: It took me six months to complete my first screenplay,now it takes three months. John de Marco
Q: Should we use the last name of the villian when writing a screenplay, or can we just use his first? I was told use first name for protagonist and last for villian? (You know when I'm writing my screenplay I center the name and then add dialog).
A:You can use first or last name for any characters. The play is the thing. John De Marco
Q:John do I need to go out and buy a screenwriting program or can I just use my microsoft works? Thanks much.
Lori
A:I don't use a program I use microsoft and make my own macros. John De Marco
Q:What are you doing now? Has it been hard getting work, especially the last few years?
VINCE
A:I do not have an agent and have been able to sell two screenplays and am currently working with a director and producer on a project and am in development with a production company at Universal. I am now interviewing agents in New York and Los Angeles. John De Marco
Q:-What books do you recommend a beginner screenwriter read? Thanks.-
-Laura-
A:There is a book by Bo Goldman that is very good. I do suggest you take some creative writing at your community college and read a lot of screenplays they are available on the net and probably at Utopia. John De Marco
Q: Many times in my scripts I refer to a POV character, capitalize say, MARY'S POV, drop down a line and then begin a thing about what she is seeing. Some say don't do this, it's a director's direction, but I just want to emphasize the fact the camera should be on Mary's face, another way of saying CLOSEUP. Am I wrong or right for doing this?
Michael A:It's okay to use MARY'S POV but this is NOT another way to say CLOSE UP --- IT IS WHAT MARY SEES that represents POV -- When you want to come back to her you write BACK TO SCENE. John De Marco
Q:A development executive recently told me that If I did not live in the Hollywood area, or at least California, then it would be impossible for me to make it as a writer! How true is that statement?
Brian
A: It is helpful to live in Hollywood but if you can connect with an agent or a lawyer that can present your script, it will work ecept for TV -- movie script buys are based on the writing. John De Marco
Q: How important is the title of my screenplay. I know its content is very important. But would a great title help it to get read?
A: The title is very important it tells the reader what to expect and helps to market the picture. John De Marco
Q:You stated in the FORUM section, that character driven scripts are a good sell in Hollywood. Is that code for "Low-Budget" screenwriting, as apposed to writing blow-em-up/action flicks? Especially with the downsizing that seems to be going on in Hollywood.
Chris W.
A: Character driven does not mean low budget -- Get Shorty, The Usual Suspects cost big bucks -- believe it or not Curage Under Fire is considered a character piece. John De Marco
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