Screenwriting Twitter is a thing that can be educational, empowering, and oftentimes amusing.
For those uninitiated, screenwriting Twitter is where all the would-be, hopeful, and think-they-are-expert screenwriters, along with a few actual industry folks, hang out when they’re not writing because, well, writing is procrastinating for most and Twitter is the epitome of procrastination.
In any event, on any given day you are likely to find robust debates on all things screenwriting, from copyrighting your work to whether you should share loglines with the rest of the world to how to format your sluglines (bold!). Keep in mind there is a camp of writers who contend there are no rules of screenwriting, that you can do as you like because no one, including Hollywood (which some say isn’t a thing), knows what they want or can agree on how they want it. There are “guidelines” and “conventions” and patterns, but if you trust books like Save the Cat you should be shunned and shamed. That’s because it follows a proven formula of how movies have been made and, heaven forbid, if your story should follow an existing pattern or formula and not think outside of the box (but that’s fodder for another article altogether).
Bottom line, you must take everything you read or hear and ultimately make up your own mind because no one in this industry really knows anything.
Screenwriting Twitter (#screenwriting) is also great for networking and building relationships with other like-minded screenwriters. I’ve followed a few Twitter “regulars” and interacted with some of their tweets, but I haven’t really developed any “friendships” or “connections” yet. These things take time. I did draw the attention of Stage 32 (an online screenwriting site that provides script services, webinars, and pitch meetings with execs – for a fee, of course!) who sent me a nice message saying they’d seen me on Twitter and invited me to contact them to help further my career. I haven’t taken them up on the “offer” yet. It seems there is money involved and, well, I don’t have any.
I also enjoy Twitter for its occasional fun tweets. You can often find threads about favorite movies, movie tropes, and jokes about screenwriting. It’s somehow comforting to know that others are going through the same feelings of doubt and insecurities about writing as you are and that you can laugh about it.
Additional reading: The power of Twitter for screenwriters
Most of the time, the screenwriting community is supportive and encouraging. Members routinely chime in to help celebrate even the smallest of individual accomplishments, whether that is finishing a first draft of a script, placing in a contest, or, better yet, landing a manager, agent, job in a TV writers’ room, or a spec sale! I’m in this camp because I firmly believe in supporting creatives regardless of where they are in their careers.
That can’t be said of many in the Facebook screenwriting community who can be downright rude, insensitive, and condescending. This group would much rather malign you for your incomplete loglines, your pesky questions about the craft, or your requests for feedback on your work. It’s gotten so bad in a couple of the screenwriting Facebook groups that I’ve quit the groups and have had to block some users. I just don’t have time or patience to put up with haters and “better-than-you-alls.”
That’s not to say that all Facebook screenwriting groups behave that way. The Tennessee Screenwriting Association, of which I am a page administrator, strives to be supportive and always encouraging. We know screenwriters are at various levels of their career and if we can help them out or point them in the right direction to furthering their craft, we’ll happily do that.
I guess what I’m saying is, pick and choose your friends and groups carefully. No one likes a hater, no one likes a know-it-all.
So, enough about that. Time to recap the week:
So, last week I had a goal of finishing a spec script based on the TV show What We Do in the Shadows (the new season starts next week on FX!). I’m still not there yet, but I’m closer. Maybe this week will see me cross the finish line.
I also had planned to outline a new comedy pilot, which is a spinoff to my 2019 Austin Film Festival finalist screenplay ZARS: Zombie Apprehension & Relocation Service. I’ve already got the teaser or cold open written (that’s generally what is known as the first scene of the script that serves as a tease to the episode ahead). I also have a couple scenes mapped out, but I still need to come up with the connective tissue that will hold everything together.
Both of those projects will be at the top of my to do list for this week. Then it’s on to my feature script Jerry Lonely and planning/outlining/character work for a mystery novel I’ve got up my sleeve.
I finished reading The Good Death by S.D. Sykes and Lightning Strike by William Kent Krueger and wrote a book review for BookPage. I’ll let you know when it gets published. In the meantime, my review of Small Favors by Erin A. Craig has been posted on Chapter 16’s website.
Next up is City on Fire by Don Wilson (it doesn’t go on sale until April but I’ve got an ARC!) and Horror Library Vol. 1, a collection of horror short stories newly republished by Dark Moon Books.
And on the comic book front, I’m reading Batman: The Adventures Continue, Season One, which reprints the first eight issues of the comic book series continuation of the Batman animated TV series.
That’s it for this time out. Tune in again next week as I ramble on about something else.
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