NEWS and ARTICLES | American Screenwriters Association

Celtx- A viable option?

Is Celtx a viable option to Final Draft?

Celtx is an open source alternative to Final Daft that has gained favor among many struggling screenwriters, mainly because it used to be free. Sadly, Celtx has become a product of its own success. Opting for a monthly subscription plan, Celtx is still "low cost," that is until you figure the long term cost of "ownership."

The basic plan is $15 per month (as of 6/17/19), which should present a fairly low barrier for most struggling screenwriters. For basically the cost of a Starbucks coffee, you get a rich, full-features screenwriting platform. But how does that actually stack up against the industry dynamo, Final Draft?

These days, you can own Final Draft, at full price, for $249.00 (which is not cheap). However, there are myriad discounts out there- Writer's Store offers, Education, and even a crazy $99 upgrade (which I personally just used). Even Celtx will cost you $180 for a full year, and at the end, you will simply have to renew again. I used Final Draft 8 for years before upgrading, so my "monthly" cost was about $

Just like in many other tool-intensive fields, there are a fair amount of "brand snobbery" among screenwriters and producers. It's akin to Makita (tools), Fender/Gibson (guitars), and so many more.

Sometimes, not having Final Draft can hinder you. There are some agents/producers/directors that want the Final Draft (.fdx) file so that they can make changes more easily. However, this is more of a "high-class" problem- if you get to the point where they are demanding a .fdx file, you've already won the battle and can afford to take the full-cost plunge.

So, Celtx may be a worthy option if you can't afford Final Draft, and you are okay with making monthly payments forever. Anything beats writing a screenplay in Word! Keep in mind there are other tools available, such as Fade In, Movie Magic Screenwriter, WriterDuet, and newcomer Studio Binder (part of a larger package, and currently FREE)!

How to Ensure That Your Screenplay Fails

Everyone seems to focus on what you should do to succeed as a screenwriter. We are getting a little bored with that, so we decided to focus on how to fail!

Use a variety of fonts to make your screenplay look more interesting. And while you are at it, print it on pink alligator embossed cardstock and bind it with yellow leather.
Suggest actors and actresses, because producers have no clue who would fit your characters.
Provide long location descriptions including all the colors in the sky, what the bystanders look like, all the restaurants and smells, and
while you are at it, explain why you chose those locations.
Include hundreds of named characters that have no lines and add nothing to the story line. Readers love to see long lists of names.
Make your screenplay over 130 pages long. If some is good, more is better.
Include your opinions of which camera angles, techniques, and directions should be used in each scene. Directors appreciate the help.
Give detailed instructions to actors to describe the character: "He speaks with a deep southern drawl, pronouncing his "A's" with a slight "Ow" sound. Make it more Alabama than Tennessee, but not too Texan." Or, "Since he is sad, be sure to include a partially pouty, partially down-turned mouth."
Right justify the whole screenplay. That way the reader doesn't have to open the yellow leather binder as much.
Include the amount you want to be paid for your screenplay on the front cover.
Most importantly, include a cover letter insisting on a sit-down with the producer, director, and actors insisting that you want final decision power for all changes to your screenplay.

Remember, its YOUR screenplay, and don't let THEM forget it!!!(Hopefully, you will identify the dripping sarcasm in this piece!)

Pardon My Aztec

Musings by our Past Executive Director!

Please read this humorous , but poignant look at dealing with "controversial" language in screenplays by our Past Executive Director, Ron Montana. Is you mother listening?

Although the article itself is a bit dated, the information is relevant, even in today's "F-Bomb" world! Click Here for the PDF article

Get Listed on IMDB

IMDB is considered by many to be the most influential and visible place to be listed as a member of the movie or television industry. It is the "Who's Who" for actors, directors, producers, writers, and production crew members, and should be a significant part of your promotion strategy. We are frequently asked how to get listed. It's easier than you think!

Visit the IMDb Resume website (see Resources below for the link) and click on the "Get Started Now" button.
Enter your email address, check the "No, I am a new customer" box and click "Next."
Complete the registration form.
Enter your professional or "stage" name and click "Search." When the results come up, check the box next to "None of These People" and click "Next."
Upload one or more headshots and click "Next."
Fill in all your credits, clicking "Save" after each one. Click "Next."
If applicable, fill in your representation (i.e., agent) information. Click "Next."
Fill in any Guild affiliations and click "Next."
Fill in your education information and click "Next."
Fill in your training information and click "Next."
Click "Finish" and then click "Subscribe Now" if you are ready to publish your resume on IMDb.
Supply your credit card information and click "OK."

Film Your Own Script?

With so many screenplays being written, how do you separate yourself from crowd?

Increasingly, screenwriters are using modern cameras and film-making software to create short showcase films from their screenplays. Creating a short film serves many purposes- it's a low cost door opener, it shows that you are capable of completing a project, and it proclaims loudly that you are the real deal (a rare commodity in Hollywood these days).

Short films can be made relatively inexpensively with a video camera and decent video editing software. Consider contacting your local university or theater group for talent (both in front of, and behind the camera). They are frequently looking for projects they can cut their teeth on.

When you make your own short film, you have complete control. Use it to your benefit and showcase the strengths of your screenplay. It will be a "calling card," of sorts, and may be eligible for inclusion in IMDB.

If you enter the short into film contests, and then win (even an honorable mention), you may start building excitement about your project. Just look at the Saw franchise, Alive in Joburg (District 9, Elyssium), The Customer is Always Right (Sin City), and many more.

If you have a project you are committed to, and work diligently to secure enough funding to make a quality short, you just may crack that glass ceiling sooner than would be otherwise possible.

Screenwriting Tips from Billy Wilder

It is undeniable that learning screenwriting from Billy Wilder would be priceless. He was one of the greatest, and most prolific screenwriters ever to grace the silver screen. His plucky style and no-nonsense writing wowed, thrilled and charmed millions Read more »

Words Matter

Words matter when writing your screenplay. Tight, concise, efficient writing is key to selling your screenplay, as readers will likely round-file your project if it's "fat." Read more »

Will a copyright protect you? PART 2

In PART 1, we described what COPYRIGHT means and what it does. But are you REALLY protected? The answer is: yes and no. The exact second that you print a copy of your work, it receives the full force and protection of U.S. constitutional law. If someone (and it's rare), steals your work, you have the right to sue and (possibly) collect damages. Now, here's the "but": Read more »

Will a copyright protect you? PART 1

Is your screenplay, film, or other creative work protected? It depends. Although "Copyright" exists at the moment of creation, that alone does not protect your rights. Copyright law requires that you take proactive steps to secure your copyright, particularly if you need to sue over infringement.

So, just WHAT is a copyright? Here is an excerpt from The US Copyright Office's "What Is Copyright" FAQ:

What Is Copyright?
Copyright is a form of protection provided by the laws of the United States (title 17, U. S. Code) to the authors of “original works of authorship,” including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available to both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following:
• reproduce the work in copies or phonorecords
• prepare derivative works based upon the work
• distribute copies or phonorecords of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending
• perform the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works
• display the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work
• perform the work publicly (in the case of sound recordings*) by means of a digital audio transmission

In addition, certain authors of works of visual art have the rights of attribution and integrity as described in section 106A of the 1976 Copyright Act. For further information, see Circular 40, Copyright Registration for Works of the Visual Arts. It is illegal for anyone to violate any of the rights provided by the copyright law to the owner of copyright. These rights, however, are not unlimited in scope. Sections 107 through 122 of the 1976 Copyright Act establish limitations on these rights. In some cases, these limitations are specified exemptions from copyright liability. One major limitation is the doctrine of “fair use,” which is given a statutory basis in section 107 of the 1976 Copyright Act. In other instances, the limitation takes the form of a “compulsory license” under which certain limited uses of copyrighted works are permitted upon payment of specified royalties and compliance with statutory conditions. For further information about the limitations of any of these rights, consult the copyright law or write to the Copyright Office.

CLEAR AS MUD, RIGHT?

Stay tuned for our continuing series. Next, ARE YOU REALLY PROTECTED?

Decrease the Risk of Getting Nixed- Part 1

Or, Rules of the Road for New/Emerging Screenwriters.

Over the coming weeks, we will be discussing the rules that new/emerging screenwriters are required to follow when formatting their screenplay. Please note that these are not in any particular order of importance!

This guide is a collection of screenwriting style and composition rules, compiled over a long period of time. It is part of the collective collaborations of many different voices. I don't take credit for these rules, instead, offering them as generalized guidelines and reminders. The rules, although universal and finite, are often applied subjectively by experienced writers, and may be demanded or ignored by individual readers. Generally speaking, if you have not sold a screenplay that was subsequently made into a wide-release film, you need to follow these rules. Disregard them at your own peril! As always, if you have comments, corrections, and/or general thoughts, feel free to contact us! Now- OFF TO THE RACES!

ONLY USE FADE IN FOR THE VERY BEGINNING, AND FADE OUT FOR THE VERY END
Don’t mistake "fade in" and "fade out" for scene transitions. They are very different. "FADE" is used solely for the start and end notifications for your screenplay.

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