Monday, November 8, 2010

Column: Screenwriting: Would You Hesitate? by Karen Albright Lin

I was a novelist and food writer. I never intended to write screenplays. The format and story formula seemed like foreign languages. The industry insiders were untouchable. The prospect of marketing (rent The Player) intimidated me. Why would I, a mere land-locked Coloradan, consider taking a peek into big screen craft and that clicky California world?

FADE IN

I may never have explored screenwriting if it hadn’t been for a pitch practice session at a writer’s conference and a Hollywood producer intrigued by my log line for a novel in progress.
Enter KEN BERK who offered to get my story into the right hands if I would write it as a feature-length script. There’s not enough room in this blog entry for the number of exclamation marks I felt at the offer. Did I hesitate?

Not for one BEAT. I saw dollar signs and my character MATCH CUT with JULIA ROBERTS. I drove home—floated home—and crash-learned the industry expectations. I cut the story down to two hours, one page per minute. I made it more visual with pithier dialogue, vivid action, and grand reversals.

About the time I was doing my fourth polish of ACT I my screenwriting career was punctuated by its first dramatic reversal. I received word that ACT III had ended too soon for the young producer. Not exactly the climax I’d hoped for and not the one expected by any of us who know him. Ken Berk, my “inciting incident,” my connection to the industry, and, at the time, my muse, had died.

I could have let the pursuit take a quiet FADE OUT. But I didn’t. Thanks to the inspiration of Ken, and another screenwriter I met through PPW, Jan Jones, I continued writing in this new and dynamic form. I’ve had the absolute pleasure of writing (and co-writing) eight completed feature-length screenplays in six genres (several more in progress) and five short scripts. I’ve been represented by a Hollywood agent, an entertainment attorney, and NY agents who sell books to Hollywood. I’ve worked on short scripts with an indie producer and an indie director—one script was produced. I’ve been honored with a dozen screenwriting awards and am now using many of the screenwriting skills to power-up my fourth novel.

Have you ever seen one of my stories in a movie theater? No, but I hope you will in the future.
The side-trip took quite a bit of time away from my novels and literary cookbooks. If I had the chance to go back in time, would I hesitate to make the same decision? Not for one BEAT.
There’s power and excitement in learning a new skill.

Would you hesitate?

If not, check in on my future blog entries in which I’ll discuss the basics of screenwriting format, the business, story expectations, representation, and adapting your novel, short story, or memoir into a screenplay. Most importantly, I will encourage you to take a valuable detour, write a screenplay and see how it will improve your storytelling and prose. Until next time, keep your dialogue snappy and your directions brief. Don’t step on the director. Avoid dusk and dawn.



Karen is an editor, ghost writer, pitch coach, speaker and award-winning author of novels, cookbooks, and screenplays. She’s written over a dozen solo and collaborative scripts (with Janet Fogg, Christian Lyons and director Erich Toll) each has garnered international, national and regional recognition: Moondance Film Festival, BlueCat, All She Wrote, Lighthouse Writers, Boulder Asian Film Festival, SouthWest Writers Contest, and PPW Contest. Find out more at www.karenalbrightlin.com

No comments:

Post a Comment