ScriptFaze

The 5 Best Books on Screenwriting

 

Whether you’re mulling over ideas for your very first script—or looking for a better approach to your tenth—reading about screenwriting is a great way to break the mold and improve your skills. The problem is—what to read? As interest in filmmaking has exploded over the past fifteen years, the industry of teaching people HOW to make films has exploded alongside it.. These days, any filmmaking section at Barnes & Nobles includes dozens of books on screenwriting. Still, there are a handful of books that are really worth the read and which I've gone back to repeatedly over the years to gleam new insight. I’m sure there are some great ones not on this list, but at the moment I’m writing this, here are my TOP 5 SCREENWRITING BOOKS, listed in no particular order:

1.    A Story Is A Promise
        by Bill Johnson

First recommended to me by a screenwriting professor, A Story is a Promise delves into the common problems of structure, tone, character and conflict that will make or break ANY successful story—be it in a screenplay, novel, or play. Unlike so many screenwriting books that assault the reader with anecdote and repetition, Bill Johnson’s mostly sparse analysis of what makes a story work is packed full of helpful advice and thoughtful insight into the inner machinations of good drama. First published in a limited run, A Story is a Promise has become the secret-weapon of many a successful writer.

2.    Save The Cat
        by Blake Snyder

Billed as “The Last Book on Screenwriting You’ll Ever Need,” Save The Cat was culled from years of author Blake Synder’s experience writing and selling screenplays in Hollywood. Penned in a laid-back, almost conversation tone, Save The Cat offers simple, straightforward solutions to a medley of common and not-so-common screenwriting challenges that have stumped many a good screenwriter. Focused primarily on the tricks and traps of successful, big-budget Hollywood films, Save the Cat is worth a helluva lot more than the $10.00 (used) price tag it is currently fetching on Amazon. HONESTLY—I wouldn’t recommend delving into a commercial Hollywood script until you’ve read this book.

3.    Write Screenplays That Sell
        by Hal Ackerman

Organized like one of his screenwriting classes at UCLA, Hal Ackerman’s Write Screenplays That Sell moves readers step-by-step through a lesson plan for improving one’s writing and coming out the other side with a screenplay that will, well… Sell. Praised by the best in the business, Write Screenplays That Sell is a bit fat around the edges, but never fails to deliver a one-two punch of professional insight and actionable advice. Based on his years of experience writing scripts and teaching students how to do the same, this book is a great read for screenwriters looking to make the transition from amateur to professional.

4.    Lew Hunter’s Screenwriting 434
        by Lew Hunter

A seminal book on screenwriting, Lew Hunter’s 434 walks its readers through the creation of a full-length feature screenplay, from concept to completed script. Pausing to discuss each and every element of the structure, dialogue, characters and story choices he has made along the way, Hunter teaches by doing, and actually writes an original script over the course of the book. For many writers (including this one), Lew Hunter’s 434 was where their screenwriting journey began. If you read just one book on screenwriting—you won't be disserved by this one.

5.    The Screenwriter’s Bible
        by David Trottier

A bold title indeed—but not that far off from the truth! The Screenwriter’s Bible offers an array of simply-put, helpful advice for newbie screenwriters, but ALSO provides a definitive breakdown of screenwriting FORMAT—something none of the other books on this list do. In the age of high-end screenwriting software, you may ask, who really needs to KNOW the basics of format? Well—you do. To  know your craft is to understand, in part, how screenplays work ON THE PAGE. Even if you never look at it again, a thorough read-through of the formatting sections of this book will make you a savvier writer, and more aware of the options available to you when penning your next script. Buy it online or borrow a friend’s copy—trust me, nearly every screenwriter has one. Amen.
 

How to Write a Great Short Film - Part 1

 

 

 

 

I know many writers (myself included) who find short films a good bit harder to write than features. They’re by no means quicker to write, but pulling together a really great short film written requires a deft touch, and an understanding of what short films must accomplish to be successful--and what should be avoided altogether. 

My own journey with short filmmaking began right after college. I didn’t attend film school as an undergrad, but after wrapping up my super-bankable degree in Anthropology, I deciding it was about time to get down to business and actually make something. My first short film was called In Arizona, and featured a distraught couple trying to move on with their lives after losing a baby. I wanted it all to take place at night--so rather than throwing a blanket over the set’s three windows (easy) I asked the cast and crew to stay up all night for four nights in a row (hard). They did it, and after a very long, very stressful production--I had wrapped production on my first (terrible) short. 

The adventure began In Arizona, but picked up speed quickly. I made three more short films while working as an in-house pitch editor at National Geographic, each just a bit better than the one before it--then a couple years later, returned to UCLA to get an MFA in film directing. And here was where I really learned how to make shorts... Not through instruction received at the school, which was flimsy, but through sheer trial and error--and spending a lot of time watching what worked and didn’t work in the films made by my peers. Made most apparent were three mistakes that must be sidestepped at all costs while setting out to write a great short film--and it’s probably best that I start by sharing them:

 SHORT FILM PITFALLS 

1. FEATURITUS: This is the biggest downfall of short filmmaking, and must be avoided. So many of us make short films as stepping stones to the long-form films we hope to make in the future, and many of us try to SKIP that process altogether and jam an ENTIRE FEATURE FILM into our 5-15 minute short film. And it never works. If you have more than 10 (or so) locations, 5 (or so) actors, or skip time more than twice--you, my friend, most likely have a lousy short film on your hands. Short films should bite off an appropriate amount of story for the medium, then deliver it competently. Don’t suffer from the delusion that someone will see your over-ambitious short film and think, “wow, this filmmaker should be directing features!” Instead they’ll think you have no sense of pacing or rhythm. Shorts that suffer from featuritus are also unnecessarily expensive and complicated to produce, and therefore hurt you on many levels at once. The simpler and more cohesive your short can be--less characters, less locations--the better your chances will be for making a great short.                                                                                                                                                                      
2. THE UN-SHORT: This often goes hand-in-hand with featuritus, but an un-short is any short film longer than 15 minutes. I’m not saying you can’t make a 25 minute short and also make it good--but I am telling you that your chances of making it good will be exponentially lower, and that your chances of getting a festival to program it are almost non-existent. The best possible length for short films is 4-11 minutes. This is the length that nearly all festivals want, because they program well against other movies and more can be fit within a short-film screening block. Many new filmmakers think a longer, 20-25 minute short film is going to be more impressive and show off their feature-ready skills better. The exact opposite is true. The filmmaker that can tell an effective, well-rounded story in 5-8 minutes is the one who will receive the most professional attention, and do best at festivals.                                                                                                                                                                               
3. SEEN IT A THOUSAND TIMES: The third biggest blunder in short filmmaking is doing something cliche, or something that is clearly derivative of a recent big-budget Hollywood film. Sometimes filmmakers are caught up in the excitement of a recent release, and end up copying it, either intentionally or unintentionally. Other times, filmmakers don’t realize they’re walking down a well-beaten path. There have been many fun/funny articles and blog posts written about short film cliches, but in my experience, the worst are storylines that deal with suicide, religious faith, drug use or someone being stalked. The worst technical/directing cliches are the overuse of props (lists, clocks, computer screens) to structure the story, piano music, looking in the mirror for reasons other than hygiene, and timelapse photography. Any rule can be broken, but you are absolutely making it harder--not easier--to create a great short film if you rely on any of these well-worn cliches, or copy a famous filmmaker (Tarantino, Burton, Coen) too closely. 

So, that’s what NOT to do when crafting your next short film. Next up, Part 2: What your short film script SHOULD include. You’ve dodged all the potholes--and now it’s time to make a little magic. 

(Coming soon...)

How to Pitch a TV Show

EVERY TV SHOW THAT YOU'VE EVER SEEN started in the same place: With one or more nervous writers pretending to act calm and collected while simultaneously putting on a song and dance routine for a one or more TV executives trying equally hard to act personable and down-to-earth. We call this ritual the VERBAL PITCH.

The verbal pitch is the process by which you, the writer, will present and attempt to SELL your cool new TV show idea to a network, TV channel, or media conglomerate. And it’s the ONLY game in town. Yes—occasionally some TV shows have sold based on a spec script, but even in those circumstances, the writers still had to drag themselves into someone’s office and TALK THROUGH their ideas further before they got the ultimate greenlight.

And that’s what a verbal pitch is—a talking through of a new TV show concept. When the time comes, TV writers must take their place on the couch of some exec (it’s ALWAYS a couch) and spend 15-20 minutes EXPLAINING how their new show concept would translate to the screen. The goal is a YES, and the best-case scenario is a YES IN THE ROOM. If you do get a YES, the TV company will give you a SCRIPT ORDER and contract you to start developing the show. Most often, however, a pitch will be PASSED on. But if you’ve done your job well and convinced the suits of your competency, that door will be open just a little bit wider in the future—even if they turned you down this time around.

So, how should approach your verbal pitch? What are the most effective methods for communicating your ideas, and how should you best prepare?

Here’s what I suggest:

PREPARING YOUR PITCH

a. Preparation is everything. When you’re “in the room” you want to SEEM natural and at ease, but in reality, you should have PRACTICED your pitch many, many times beforehand. Fifteen minutes may sound like plenty of time to lay out your new show idea, but trust me—those minutes will be FLYING BY, and you don’t want to find yourself at minute fourteen having just started into your pilot synopsis. Write your pitch out beforehand, and read it out-loud at a natural pace and cadence. Time yourself, and make sure you’re bringing it home in the right number of minutes. Pitching is serious business—so give it the preparation and thought beforehand that it deserves.

b. If possible, MEMORIZE your pitch so that you are not reading it off a sheet of paper. There’s no harm in keeping a written version of your pitch nearby just in case you choke mid-way through, but     do your best to INTERNALIZE the pitch beforehand so that it comes off ALMOST like conversation once you’re up and running. Yes, you are a writer—but for fifteen minutes you will need to become an ACTOR as well.

SHAPING YOUR PITCH

a. Generally speaking, once you re in the room with the TV execs, you should start your pitch by GETTING COMFORTABLE. Make nice with the execs and spend several minutes connecting as people. Talk about sports. Talk about fashion. Talk about ANYTHING but your purpose for being in that room. Then, when the moment strikes, transition out of friend mode and into business mode with an off-hand comment like, “So, let me tell you about my show,” or “Well. I guess I better tell you why I’m here.” Generally, THEY will initiate the transition into pitch-time, so be ready to switch gears.

b. Start your pitch by clearly stating your SHOW’S TITLE, GENRE, and LOGLINE. After this, move into your SHOW OVERVIEW. (For a refresher on these terms, read the post HOW TO CREATE A TV PITCH PACKAGE.) Maintain a conversational tone—as though you were pulling this stuff off the topof your head—but keep your sentences brisk and interesting. If you’re expecting a LAUGH at a certain line, but the execs sit there quietly—move on. Assume they heard you the first time, and don’t repeat     yourself.

c. After the show overview, make a choice if you want to pitch the CHARACTERS first, or the PILOT SYNOPSIS. If your show is very character driven, such as Dexter or Weeds, you may want to start by describing your central characters. If it is more plot driven, such as The Wire or 24, you’ll probably want to start with the pilot. Definitely DO BOTH, but the order is up to you.

These days, it’s become increasingly common for writers to bring a CHARACTER BOARD to a pitch with them. You don’t need to do this, but a POSTER full of photographs that suggest the looks of your major characters can certainly be a useful tool in showing execs the type of cast you’re imagining for you program. Some writers will even use brief VIDEO TRAILERS to suggest the look, feel and tone of their new show.

d. Next, briefly describe the SEASON-ONE ARC of your show, and offer some examples of FUTURE EPISODES that may be included in this season. All of this should be kept brief—less is definitely more, but you also want to tell the execs enough about your series that they are confident YOU have done all the work necessary in preparing your show for a long run on television.

e. Finally, SUMMARIZE. Restate the THEME and HOOK of your show, and end on a HIGH NOTE. If you don’t have confidence in your idea, no one else will either, so you should finish your pitch absolutely BEAMING. If you are excited about your show, there’s a better chance THEY will be excited, too. Ending with a JOKE, QUIP, or THEMATIC STATEMENT is often the best way to wrap up your pitch.

GETTING OUT OF THERE

a. When your pitch is concluded, your instinct may be to run out of that office as fast you possibly can. Fight it. ‘Cause if the pitch went well, they will most likely have a questions. If you DON’T get questions after your pitch, it doesn’t mean that all is lost—the execs may have another meeting to get to, or have already had all of their questions answered within your pitch. But getting questions is always a good thing. It means they’re curious. They’re thinking about your show, and trying to decide whether it’s a fit for their company. SO KNOW YOUR SHOW BACKWARDS AND FORWARDS. If they ask you what happens in season three, or want to know more about a character’s motivation, be ready with an answer—whether it’s made up in the moment, or pulled from some section of your pitch package that just didn’t make it into the verbal pitch.

b. When the time is right, leave. Don’t linger. Once the thing is over, it’s over. If you haven’t received a YES in the room (a very rare occurrence), you WILL get a call within the week with a YES or a PASS. In some instances, a TV company may also give you a MAYBE, but this is rare as well. A ‘maybe’ will come accompanied with notes and an invite to pitch again once you have implemented these notes into your show concept. A MAYBE is much better than a PASS, and you will want to take it seriously. There was something about your pitch that they REALLY LIKED, or else they wouldn’t have made themselves available to hear the thing all over again in the future.

FINAL THOUGHTS

a. NEVER DISCUSS BUSINESS. During your pitch, never say things like “this show would be a great match for your company,” or “based on the success of a similar show, you should make a lot of money on my show,” or “the merchandizing possibilities are enormous!” When you do these types of things, you are telling the execs how to do THEIR jobs, and they won’t like it. It will also make you look like an amateur. Your pitch should be SO GOOD that it intrinsically suggests its profit potential, how well it matches their company profile, etc… It is NOT your job to state the obvious. You are a writer—they are the producers.

b. DON’T CUT YOURSELF SHORT. Don’t use expressions like, “I know it’s a little generic, but…” or  “We know we still have work do on this next section, but bear with me.” If you don’t TELL THEM your show’s flaws, they will be less likely to notice them! These sorts of statements also undercut you as a writer. Once again—if YOU have no confidence in your skills, then why the hell should anyone else? There is no pitch ever delivered that had ZERO FLAWS—so focus on the positive, and worry about how to fix the minor holes in your pitch AFTER you’ve been contracted and paid to do so!

c. THERE IS NO ONE WAY TO PITCH. I’ve outlined a strategy used by this writer and many writer’s I know, but it is in no regard the ONLY way to pitch. There are several other successful strategies writers have used to get their ideas across the finish-line and into the script phase, and I would encourage ALL OF YOU to write down any tips, strategies or methods you have used to pitch TV in the COMMENTS section below.             


That’s the reason we started ScriptFaze—to give writers an opportunity to help others out with tips, advice, and practical knowledge. So jump in!

How to Write Every Day

From 2005 to 2011, I wrote constantly--nearly every day. And then... I stopped. Almost three years later I'm climbing back on the screenwriting horse and have had to re-learn how to sit my butt in a chair and produce pages. I recently described this process on a blog I write with my girlfriend, CoupleStylo.com:

 

 

My own journey with writing began in seriousness when I was 25. Before then, I’d written a few short stories I’d felt good about (and many I hadn’t) and as a cultural anthropology major in college, had written just WAY too many essays before the age of 21… So writing, as it were, came pretty easily to me. But my dream had always been to forge a path as a film director, and it took me until I was 25 to realize part of that path was going to require a formidable stack of original screenplays. So at 25, I caught a ride to Portland, Oregon, to crash with my friend Anna who lived up there–and knocked out my first script, Etta Rock, about the small-town adventures of a 17 year old girl trying to find a way to move on from the poverty and provincial nature of her small Pennsylvania town. The script was good, but suffered from a beginner’s inexpertise with movie structure, and is a script I’ve always wanted to return to and get right.

In the years that followed, I wrote probably 15 or so additional screenplays, and was lucky to develop and option just a couple of them to some big Hollywood companies. I also pitched TV shows, etc., etc., and in 2008 I started a screenwriting blog called ScriptFaze. I used it to share what I’d learned about screenwriting and hopefully help make the path a little easier for new writers trying to chart a similar course in Hollywood. I’ve come very close, but have never had a screenplay produced into a film–although I directed a feature last summer written by a friend of mine, Sigurd Ueland. I’ve also written on reality shows (yup, that happens) and for commercials, etc. Within the next year or so, I definitely plan to get a film made that I have written myself–and hopefully, will direct myself as well. Lest you were unsure–it’s not easy!

But this post is really about writing in general. In 2011, I completed the last MAJOR script I’d written, a political thriller about a special forces combatant forced to return to Afghanistan when his son is kidnapped. Basically, Taken but a little smarter and in Afghanistan/Pakistan. It was SO hard to write, and took almost two years to finish (usually I can get a script done in a few months). Afterwards, my manager at the time got it out to a bunch of Hollywood production houses, where it was very well tracked, and got me a lot of interest as a writer–I met with big producers all over town. But no one bought it, and after all that work, I was basically left with nothing. I wrote a quick hour-long TV pilot after that, and then, frankly–I was just a little burned out. I stopped writing, and focused my efforts on directing.

But here I am in 2014, and I haven’t written a new script in almost three years. Pulling my s**t together and getting back on the writing train has been really hard, to be honest. Day after day, I’d wake up certain that this would be the day I’d start kicking ass again–and will delve into a new script which I really care about… I’d get up, down some coffee, sit there–then do anything at all but write. Check Facebook. Email my mom. Garden. The magic was not happening.

But here’s the thing: Writing begets writing. And if anything, I realized I may have been jumping off the cliff too soon. I’d reached a point a few years ago where screenwriting was coming easily–I was fluid with the form, and could produce quickly. But I’m a little rusty now, and rather than start where I’d left off–I began by writing some simple one-page short stories. Then, when I felt ready, the first chapter of an audio book that I hope to release soon. On some days, I’d just write in my journal–something I used to do daily, and also put on hold a few years ago. And then came this blog, and finally–finally–I started beat-sheeting out two new scripts ideas, and in the weeks ahead plan to really hit the ground running. The words are coming easier, the wall has been lowered–and I think I’m finally ready to delve into my next big project–my first feature script in years.

This post has turned out to be fairly personal, but my point in writing it was simply to share that sometimes, the best cure for ‘writer’s block’ is writing something else–something off-topic, or different than the type of writing you usually so. If I’d kept staring at that Final Draft page, waiting for the words to come, wondering how I’d lost my touch–I don’t know that I’d be any further along with it today than I was then. But storytelling is storytelling, and communicating with words is a fluency that extends across genres. Prose, then blogs, then journaling, all helped me ‘get my groove back,’ as did a commitment to writing something, no matter how brief, each and every day. I’ll keep you posted as I get going with these new scripts–but the bottom line is that I’m finally ready, and truly excited to start doing the heavy lifting–for the first time in years.

Thanks for reading!

–-Nathan Marshall @saynathaniel

The A-B-Cs of TV Plotting

Before you start banging yourself up trying to figure out which story points to tuck into which acts in your latest TV pilot, it’ll be helpful to think about your script as traveling down two or three separate roads at the same time:

1.    You’re first road is called your A-plot, and it is that part of your script which fuels the actions of the main characters in the script, and generally pushes the story along, as in: “Oh no, the city is under attack—thank goodness the Power Rangers are here to fight the monster and save us all!”

2.    Your B-plot is that part of your script which expresses the emotional entanglements and problems of your main characters tangentially to the doomsday scenario that is unfolding, as in: Carrie Bradshaw’s life may be in ruins, but wait—who in the world is that dreamboat? Let me date him and report back to my friends!

3.    Hour-long shows will usually also have a C-plot, which focuses on the parallel lives of supporting characters, as in: Tony Soprano’s daughter Meadow rebels against her family by dating an African-American Jewish student at Columbia!


Each of your acts should contain a 60/30/10 breakdown of your A, B and C-plots, respectively. In a half hour show with no C-plot, the ratio should be closer to 60/40. These are rough estimates, however, and you should feel free to take liberties in how you organize your story. The bottom line is to keep your show moving.

Page 17

 

A couple years ago, my friends at scriptfrenzy.org asked me to write an article on screenplay structure, and to break down five “key points” that writers should consider in the development of a well-honed script (see “Article: Screenplay Structure” in the Writer’s Resources section of this website). Well—there are many key points in a screenplay: the midpoint, both act breaks, the inciting incident, the nadir, the climax, page 10, the ending, and so on and so forth--all of which I've discussed in previous posts. Choosing the most crucial FIVE was tricky, but at one key-point immediately rose to the very top of my list: 

 

PAGE 17.

 

Yep—PAGE 17.

 

Page 17 is so important that I would have named this website page17.com if some forward-thinking domain-name broker hadn’t already snapped it up, then offered to resale it for hundreds of dollars… 

Here’s what I said about page 17 on scriptfrenzy.com:

 

Page 17. Next time you watch a DVD, pause it 17 minutes into the film. Trust me—any film. What’s happening at that point in the story? Most likely, the essential character conflict has just been laid out. A teenage Indiana Jones runs to his father for help, but is shushed instead. Shaun convinces his girlfriend to trust him in Shaun of the Dead. Captain Renault asks Rick why he came to Casablanca. On page 17, your audience should realize what the film is really about. It’s not about finding the Holy Grail, Indy—it’s about learning to forgive dad!

 

Couldn’t have said it better myself.

Interview with Screenwriter Sig Ueland on his new film "Coffee, Kill Boss"

 

 

When I started ScriptFaze four years ago, I didn’t predict how much directing I’d be doing in the years to follow... Screenwriting is fun--but 18-hour days on 106-degree sets? Now THAT’S a party.

Last month, I had the opportunity of directing my first feature film, Coffee, Kill Boss. We had a fantastic cast, and at least once every couple of hours someone would be sure to proclaim, “wow--what a great script...” And it was! One of the coolest parts of directing is getting to make projects written by your talented writer friends--and that’s exactly what happened with Coffee. Sig Ueland and I went to UCLA together a few years back, met in a screenwriting class and planned to one day make this film. We finally did it, you can read all about it at www.facebook.com/coffeekillboss or hashtag #CKB on Twitter.

When the production-dust settled, I got around to another fun task--interviewing Sig for Scriptfaze.com! I’ve posted the exchange below, and encourage readers to add comments and discover Sig’s webseries “Space Hospital” on YouTube.

Coffee, Kill Boss will premiere at film festivals in late 2013/early 2014, and be available to the public soon after. As always--thanks so much for reading and for making this blog a bigger deal than I ever planned.

--Nathan Marshall

 

NM: So Sig, what attracted you to screenwriting when you were starting out? What was the first script you wrote?

SU: Before screenwriting, I was performing improv in Chicago. (All writers should spend some time on the stage improvising. It's the best way to learn how to move a scene.) Eventually, I started writing sketches for a group. And then came plays and screenplays, which are essentially really-really long sketches.

My first screenplay was the same as everybody's -- it's about me and my friends! Mine was set in Chicago, which only carries the story so far. 

 

NM: Where did the idea for "Coffee, Kill Boss" come from?

SU: I loved Agatha Christie's "Ten Little Indians," as well as the movie "Murder By Death." Getting people together for a murder seemed like a great idea to a bedwetter growing up in Minnesota.

Cut to the collapse of Lehman Brothers! I was a huge fan of the weekends Treasury Secretary Paulson and the banking chiefs went into a room to stabilize the banking system. These are the same guys that leveraged up their banks at minimum thirty times market cap, right? So the idea of murdering capitalists wasn't a huge leap. 

I do love capitalists as heroes. They look good in suits, and they like to keep busy.  

 

NM: Is there a writer or movie that inspires you above others?

SU: I'm still a big Mike Nichols and Elaine May fan. I love everything they did together and most of what they've done apart. "Who's Afraid of Virginia Wolfe?" (one of my favorite movies and plays), "Heartbreak Kid," "The Graduate," "Mikey and Nicky," "Heaven Can Wait"...and, yes, "Ishtar." Most of all, I like the album sketch stuff they did together.

I'm also a big fan of the actors who came out of improv in the 60s, including early Second City performers like Alan Alda and Ed Asner. And I'm also liking the current improv champs, the Duplass brothers.

Other than that, I mainly root for Minnesotans, the Coen brothers, Terry Gilliam, Loni Anderson. 

 

NM: What was your favorite moment on set during production of "Coffee"?

SU: I like it when they all run around together. I think it's the funny flipside of the unruly mob behavior our forefathers were so worried about. 

 

NM: What are you working on now? What's next in your career?

SU: Right now, I'm working on a love story about unemployment. If you want to get me on a weekly basis, I write and co-produced an animated webseries called Space Hospital. (http://www.youtube.com/spacehospital) Episodes are under two minutes, so it's great to watch while you're relieving yourself.

Hopefully, the next step in my career is somebody gives me a job! Writing, or if they need their driveway shoveled.

 

NM: What's the one thing you hope audiences take away from "Coffee" when it's released?

SU: Killing your co-workers never ends well.

 

Twitter Faze

Hey Folks!

For screenwriting questions and news about ScriptFaze, you can follow ScriptFaze @ScriptFaze or Nathan Marshall @saynathaniel. It's easier to respond to questions on Twitter than via email, so find us there!

Thanks again to all of you for making this blog a success!! :)

--ScriptFaze