Filmmaking Community discussion

Hi!

I'm a Canadian fiction writer. I've written a literary trilogy of about 10,000 words in total. The story takes place in a single geographic locale, a tropical coast. It has a small cast of characters. The story arc covers twenty years and it rests on two visceral action sequences, both at sea. The conclusion of the story is concerned with the characters' actions, their interrelationships, and the consequences of each individual's behaviour as the loop closes.

This story will be published by a UK literary magazine in London on October 22. The editor is a published-produced screenwriter and agrees with my sense that the story would lend itself to the screen. I've been working on this tale for over four years and I found myself envisioning the scenes in a cinematic way as I wrote. This is not uncommon for writers, but this trilogy story—for me—was particularly so.

With no personal grounding in screenwriting or playwriting, I'm possibly interested in collaboration and I wonder how this movie of the mind can take some sandy steps towards reality?

Mitchell
https://mitchellaneous.com/write-clicks/

The odds are so long for getting a screenplay sale as a complete outsider with no pedigree that you're better off not even considering it. It just doesn't happen that way. Its a common delusion among writers that someone from Hollywood will simply sign them a six-figure check.

In reality, you don't even think about sticking-your-toe-in-these- waters until you have done a few years of studying, reading, training, and preparing yourself and your works. Familiarizing yourself with this world.

You need to have a bunch of screenplays-in-hand, not just one. You need to morph your prose skills into screenwriting skills--its completely different.

By the way, a spec script is usually around 19,000 words; and at least 90-115 pps. If your trilogy is only 10,000 words total--? Right there, that poses a problem.

If you really want to pursue this it will be a major upheaval in whatever you're currently doing. You'd have to really jump tracks.

I can point you to some links, and books to start reading, but that's about all...

Thx. No doubt you are on target with your comments. I have no delusions of grandeur. Literature is hard enough -- for example, a Goodreads search of my uncommon surname produces 280 English language published novels and creative non-fiction. I could be a Smith or a Jones, then what? Also, my question aimed at collaboration; joining forces with an experienced hand, not jumping from steer wrestling to lion taming. I have no interest in a second Everest, to switch metaphorical impossibilities. Your word count guideline is solid, specific info - danke seea. Cheers, from a cold lake on a still night.

Well said. Yeah its not so much that I am 'accusing' you of anything; its just that its a very tempting and seductive common daydream for all writers. The technical obstacles involved however--are enormous; and they represent adapting yourself as much as adapting the written product you have in hand.

To find a good collaborator for instance--this in itself has many hidden nuances. Likely as not, he would probably just try to steal your idea. You have to be wary. Any decent screenwriter usually has projects of his own, and wouldn't have any motive to collaborate with a complete beginner. After all, he wouldn't get the credit and probably not much money. So only for the sake of glomming your idea would one get involved. It really is that raw and cutthroat a business.

You can teach yourself screenwriting --this can take six weeks to six years--and then that is still just getting started. Its a whole mindset involved; marketing; networking; etc.

Available for questions anytime.

No worries. All helpful stuff -- appreciated!

Of all of my writing, only this slow-to-grow grinder has appeared in my head in rushes. (If that's the right word :-) The piece has plot and characters teased out, by way of much sweat and hundreds of re-writes. There must be of some value in that, some embedded equity, vs. a blank sheet of paper, I figure.

My screenwriter friends have spoken of the same pot of gold syndrome that you warn of -- DON'T look into the Ark! I am shamefully optimistic too, so I set up well for concept rip-off. Your words are wise. My collaboration idea came about mostly because I know of a funded opp that is based on a partnership between writers and performance arts producers - screen, stage. It reminded me of my trilogy.

Thanks again, my devotions are firmly set in short stories and a novel my editor and I are savaging these days. But, I am enjoying investigating a little down this cinematic rabbit hole.

Best,
Mitch