Ask The Script Mentor, #15: Ghostwriting and Mentoring Services

March 7, 2017 by Geno Scala

Q. I see you offer ghostwriting services. I started a novel, and really don’t have time to finish it. Is that something you might be able to do- finish a manuscript already started?

A. Hello, sir. Very impressive website you have. You had asked, in response my article on hiring a ghostwriter, if helping you finish your book is something we can do. The answer is “Yes”, although it’s a somewhat unusual and rare request. I have an excellent novelist on staff that would be perfect for this type of work. I’d have to know where you are in the project, how many pages you are hoping to have when finished, and a few smaller details in order to provide you an accurate quote for the project. I’d also need to know what kind of budget you’re working with. I can work within most budgets, but it does affect some of the decisions we’d make going forward.

Thank you for inquiring about helping you with the project, and I look forward to working with you soon!

Q. Hi Geno, I hope you are doing well. I’ve been busy the last couple of weeks, mainly keeping my head down and re-writing my script based off of your excellent notes. I’d like to sign up for your mentoring services, and re-send the ACTUAL “first ten” pages of my script for you to review, if you have time. I also have a logline that is much better than the one that the reader from the contest wrote. I used you logline formula and it was easy after that!

A. Hi K! I’m flattered that you’ve thought enough about our services to inquire about additional assistance. The interactive workshop is not scheduled at the moment, but I hope to schedule some in the near future.

We basically did the “first ten” pages (even though, technically, it wasn’t the first ten). You were given an idea of some of the real issues the script has from a SPEC screenplay perspective, so I don’t see a need to pay for- and receive- more of the same. At this point, all that would be necessary would be The Script Mentor Package or The TSM One-On-One mentoring, which includes the money-back guarantee in writing!

The Script Mentor Package, at $399.00 (originally $799) would give you a full review of the concept, screenplay and structure, as well as advice on a proper logline, query letter and synopsis. These three areas (L/S/Q) are instrumental in your marketing approach. After the screenplay is as good as it can be, we would also assist you in a networking and marketing strategy. With this package, you can continue working with The Script Mentor for up to one month.

The TSM One-on-One exclusive service at $1499.00 (originally $7500.00), provides you with the above assistance, and we’d assist you in choosing a minimum of ten competitions we feel is best suited to your screenplay, writing level, and most helpful to your writing career at this point. With this package, you can work with The Script Mentor for up to three months- no matter how many projects you’d like to work on.

Also, with this service, we would provide you with a written money-back guarantee if a certain level of success is not established with this screenplay. No other service in the world offers a money-back guarantee- ever. This is how strongly we feel about our mentoring assistance and program. Now, neither of these programs is inexpensive, so it would be an investment on your behalf, but if you’re investing in a career that you want, it’s a small investment.

Q. Hey Geno! Thank you. My name is B.C. My father was the former Underboss of the Colombo Crime Family in NY. He disappeared on May 26th 1999, and with my help, the government was able to bring the killers to justice. After 8 long years, we found his remains. Geno, so many people are sending me screenplay examples along w/ NDA’S, but I have not read one that feels right. I was hoping that maybe we can collaborate or maybe you can help put me on the right track? I feel lost if that makes sense. Hope to speak with you if you are interested.

Thank YOU in Advance!

B. Jr.

A. Hi B! I read your profile during my due diligence prior to connecting, and I appreciate you reaching out to me- both on this, and just for linking in. I’ve watched all of those mob history shows, so I’ve seen several of the shows highlighting your Dad’s story, and I know it well. I’m from Staten Island, and let’s just say my family and I and our friends have had a “colorful” past with the families as well.

I came across a mention of a book; did that ever get completed and published? If so, usually, you’d be looking at adapting that book into a screenplay. Book adaptations are a very specific type of screenplay writing, and most writers will tell you they’ve done and they’re good at it- but they’re not. Most haven’t a clue. I’ve done nine (9) in the past two years. I know how to do them, and it’s not easy. As for collaborating, the closest we get as far as collaborations are the ghostwriting assignments. We write the screenplay you want- it’s under your name, and you get all of the credit and retain all of the rights. This is what we do for a living, and we do it well.

Many of my clients are in the industry- actors, celebrities- many who can’t read or write well at all, but want credits for screenplays or have a pet project they want to star in, etc. Because I’m a ghost, my identity- and that of my client- is almost ALWAYS secret, but last year, we did four screenplays, a TV reality show outline and a TV bible for a celebrity currently starring in TWO cable shows running concurrently. My other clients include several A-list actors and authors who have never written screenplays before.

Normally, we would discuss the project, decide the actual story line, genre, etc. and as we write it, you would receive ten (10) pages at a time to review and suggest changes in direction, if any. We would do this for up to fifty (50) pages. When the project is completed, you’ll have an opportunity to review the screenplay in total.

You also have one FREE rewrite should you decide you do not like how something turned out, etc. We would work very closely most of the time, as the service is not inexpensive. I don’t charge the WGA rate, but as highly-recognized and multi-awarded writers, we ain’t cheap! We HAVE been able to work within almost any budget, though, and if I can’t, I can usually refer you to someone who can. We get at least 50% down payment to start and the balance prior to receiving the finished project. There will be a signed contract with strict deadlines, and we’ve never missed a deadline yet.

I also stay with the client through the marketing and networking strategy as well, which I also provide to them, and I GUARANTEE a certain level of success in the screenwriting contest world- a great way to gain exposure for the project. I also have hundreds of my own connections that I would help forward the project to, if it fits their interest. If this sounds about what you’d be interested in, hit me back. My email is thescriptmentor@hotmail.com. You can find my website(s) at www.thescriptmentor.com and www.sharkeatingman.com. I look forward to talking in the near future!

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Q. Hi Geno! I was going to contact you regarding adapting my novel into a screenplay. I saw that clicked on the book on Amazon, but didn’t buy it. I was hoping to get your feedback and evaluation of the story BEFORE I contacted you.

It probably wouldn’t break you to spend the three bucks to purchase the Kindle version of my book. If you’re familiar with eBooks, you surely realize there’s an simpler way to distinguish good writing from all the crap that’s self-published every day. All you need to do is click on the book cover, and you can read the first 10% of the book.

Since I saw no sign you’ve done the due diligence that could start an informed discussion about adapting my thriller, I’ve decided AGAINST using your services.

A. Hi, “D”- I’m really not IN the evaluation business, so it’s irrelevant to me HOW a novelist writes. Trust me when I tell you, most of the self-published “novels” and manuscripts/screenplays I’ve received from authors or celebrities who THINK they’re writers are practically unreadable.

Truth be told, I DID go to Amazon and I DID read the reviews, and your bio, and I DID read the Preface and the first couple of chapters. I even thought about buying the eBook, but I have about 70 eBooks on my Kindle that I’ve never read. Why? Because the dang screen is like a 3 x 5 postcard, and I can hardly see any of it. Adding “another” to that stack wouldn’t do me any good.

I am very busy myself, and said as much in my first email. We’ve been very fortunate to have started the year so strongly, and as of last night, we land a couple of more adaptation clients. As a rule, however, I don’t “buy” original source material and spend the time to read it. Time is money. As part of any contract, the original source material is always provided to us- free of charge- and we charge $250 for the reading of that material. This money is then applied towards the contracted total. It’s during this reading time where we actually evaluate and outline a potential screenplay, including characters, locations, main plot, subplots, develop a logline, a general synopsis, etc.

My only concern is CONCEPT; whether or not a particular story would make a good movie. If the author thinks so, that’s a starting point. Going simply by the title, I thought it was an awesome title and the genre sounded like it was right up my ally. In fact, I have a screenplay that, based solely on your title, I see as possibly having some similarities. They may be 180 degree different but, again, I’m basing it only on the title.

Another thought that goes into the process of selecting a project is overall SALES. I have no idea what your sales are, but I can tell you, based on your LinkedIn profile, you don’t make it easy for someone to simply click and get to the book. It shouldn’t take that much to attach a link to the Amazon posting to you profile, or post it as an update. If you notice on several of my client’s work, I am part of their team in promotion as well. I post their book link, their audio link; I tweet out announcements. I probably do more marketing on social media on their books than they do!

I’m hoping, in the future, you might reconsider using our services.

Q. Hello! I’m interested in having the first 10 pages of my in-the-works screenplay reviewed, and would like to also have my one-page synopsis (and logline) evaluated. Would you be willing to do that? If so, what would you charge?

Thanks for your time!

Rob

A. Hi Rob! Thank you for contacting us at The Script Mentor. If you go to our website at www.thescriptmentor.com, you’ll see our services for our first ten-page review. I will include the logline and synopsis review as part of that first ten page review, at no extra charge.

Simply pay for the First Ten-page review ($19.99) and then send the first ten pages (or more) in PDF or Final Draft, if you are using Final Draft software, to thescriptmentor@hotmail dot com. I am also sending you a short questionnaire that you can complete and send back as well. It’ll provide a bit more information about yourself and your writing background, and give us an idea of your baseline writing skills at this point, as well as some additional info on the script that we’ll need to provide a better analysis (such AS the logline).

We know it’s a lot to trust someone to allow them to read your screenplay, and we’re honored to do it. It’s an honor we do not take lightly. Give us 24-48 hours after receiving this information back from you and I hope we can get a solid review in your hands, with notes that will help guide you to the next step in your project.

Q. Thank you Geno for your honesty, and your interest in my project. You won’t get bored with this project. There’s a lot more to come when you consider I spent 28 years putting this project together….

Looking at your credentials I would assume that you have your shit together. Obviously this is probably one of the biggest projects that could ever be developed in the entire United States based on the fact that it’s been a cover-up for 30+ years are you ready for some sort of that kind of entertainment?

A. Whether I have my shit together or not, is not for me to say; I’m successful in my chosen third career and businesses and putting two (months away from three) children through college doing what I’m good at; writing screenplays and teaching screenwriting through my mentorship. I do question anyone’s claim that says “biggest project ever developed”, and that alone raises concerns of being realistic or having realistic goals for the project. I think you’d understand where I’m coming from if you knew how many scripts I’ve received as a producer from people claiming their script was the next “Star Wars” or “will win 10 Academy Awards when completed”, blah, blah, blah. I’ll reserve judgment until I read and watch all of your videos, but you’ve piqued my interest thus far. Again, I know nothing about THIS project, but looking forward to learn more. You’ve written books, and had a documentary done; what’s next?

Q. (CONT’D) Thanks for sharing your thoughts. My goal is to clear my name. Next I’m going to prove how easy it was to use fabricated evidence to try and send me to prison for 67 years. Then we’re going to prove why this was done to me. I have one book published and 2 done and ready for ink. I’ll be chatting with our investigation team about your experience and offers. We’re going to make history with this investigation 28 years in the making. You will be part of our project; three (3) books and three (3) movies.

A. Adapting one of the three books (eventually, all three) into feature film screenplays DOUBLES your potential revenue stream. While you’re marketing the novel, the screenplay competitions and network/marketing strategy for the script makes inroads in that industry. The marketing of the screenplay, and any success it will achieve, helps the book sales, and the book sales help advertise the script.

To form the novel(s) into a marketable script is where the real talent comes from; THAT’S what you’re paying for, mostly. I’ll also need to know what kind of (realistic) budget you have to work with for these projects. You mentioned several different projects, so we could put together a package deal. This doesn’t include the research (I have a research assistant on staff), reading the original source material, outlines, loglines, query letters, synopsis, AND my 30-year Rolodex of contacts that would take ANY project I’m involved in and read it- no questions asked.

Now, if you’re looking for a writer for $1,000 or $1500, you will end up with a nice pile of paper for your bookcase. No one charging that amount knows how to write, and doesn’t have one fraction of the network I have. Most likely, they don’t know how to correctly adapt a novel INTO a screenplay, but they’ll tell you they do. Writing adaptations is a learned craft; I wrote four in 2016; nine in total. All of the authors saw a spike in the book sales as a result of the marketing strategy and publicity the scripts brought. The contests these scripts were entered into should start choosing winners soon.

One client really wanted his project in George Lucas’ hands to read. We knew someone who used to work for him, and were able to get it to him. That guy read it, and thought the script adaptation was great! We only hope YOU have the same reaction to YOUR screenplay adaptation once we write it!

Recording Movies With iPhone: A Growing Trend

December 17, 2015 by Geno Scala

Today, billions of people use smartphones, and despite their overwhelming popularity already, that number is only expected to grow. Indeed, experts have predicted that total number of overall users will exceed 6 billion in as little as five years. For many of those users, smartphones are more than mere tools used for communication, rather they are used for everything from entertainment to telling time. And for the more creative and photographically inclined, they can be used to make movies.

Using one’s phone to shoot and publish video is not a novel concept, of course. Websites like Vimeo and Youtube exist mostly for that reason. Most of the user generated content on those sites, in which cell phone is used for recording, are rather casual, including tutorials, reviews, comedy and the like. However, in recent years, more and more individuals are using their mobile devices to create films, not merely for the entertainment of a few friends on social media, but to be released and considered alongside traditional media.

Such is the case for the 2011 short film, Framed. Created by French filmmaker, Maël Sevestre, the film was shot on iPhone 4S and recorded over the course of just a few days, using minimal materials. Yet, the film was lauded by critics for its beauty and simplicity, despite minor problems with regard to things like color. Similar to the writing and shooting process, the editing of the film was completed in less than a day and uploaded to Vimeo. It currently stands at nearly half a million views.

More recently, a movie entitled Tangerine employed this method, using a more updated iPhone 5S. The movie, created by Sean Baker, was released at Sundance, where it took both the audience and judges by surprise. Despite its lack of convention, the film was considered one of the best at the festival, and was the only feature to be shot almost completely on a smartphone (others had used one for certain shots or scenes, but not as a primary source).

These two are just examples of the many filmmakers who are beginning to employ the devices they use daily into their normal line of work. Of course, for both of the aforementioned films, the process was not just using an iphone in hand. There were a few apps, add-on lenses and tripods involved, in addition to editing; each was a completely professional endeavor which just happened to be made using instruments that are not so common within the industry.

What’s promising about these new developments, though, is both access and cost. Not only will more individuals have means to create somewhat professional films at their disposal, the cost of using iPhone versus other cameras is significantly less. Of course, the quality of the camera itself is not better than that of, say, a 35mm. However, it’s likely the quality of camera on smartphones will only improve with time, and, perhaps, it will become the norm.

5 Movies Worth Seeing Right Now

December 10, 2015 by Geno Scala

With awards season just around the corner, many pundits are making predictions about what is likely to be honored by organizations like the Academy of Motion picture Arts and Sciences, otherwise known as the Oscars. Many are good at such predictions, using what and who the Academy has awarded in the past as some sort of scale. Nevertheless, this blog is not about what will or should be honored, rather it is a list of great movies which have come out this year, many of them within the last couple of the months, that should be seen by viewers and movie lovers.

20th Century Fox

The Martian: America’s fascination with capturing outer space appears to be making a resurgence. Given the 2013 release of the award-winning, Gravity, and the highly anticipated return of Star Wars this winter, this incredibly popular film captured audiences globally, because of growing interests. The film is shot beautifully, with the support of a more than stellar cast and expert direction from none other than Ridley Scott. While literary lovers typically lament when movies are adapted from books they love, there weren’t many with a lack of appreciation for this production, and for good reason.

Open Road Films
Spotlight: This film is as bold as the true story it’s based on. Yet, it balances somehow, with incredible poise, the controversial subject matter, leaving the audience to judge for themselves who is at fault. With a spate of power-house actors on the cast, one might assume that there would be clashing of some sort, or that one would inevitably outshine the other, but that doesn’t happen here. Consequently, a large part of the film’s success should be attributed to the film’s director and co-writer, Thomas McCarthy. Bring this film to life in the way that he did is true artistry.
Amazon Studios, 40 Acres and a Mule Filmworks
Chi-Raq: This is one of the more creative films to be released this year, which had movie critics raving that Chi-Raq is the Brooklyn native, Spike Lee’s, best film in years, decades, perhaps. Based on the classic Greek comedy, Lysistrata, the film expertly uses satire to carry its message of the staggering amount of murders happening on Chicago’s south side, as a result of gun violence. While unbalanced with regard to pacing and story development, the film is incredibly poignant and relevant, and, as previously stated, beyond creative.
A24 Films
Room: Also based on a novel, this movie is an emotional roller coaster from beginning to end. Any film that can keep the audience intrigued, even when it knows the premise, is exactly why people enjoy the art of movies. The relevance of the story itself cannot be understated, in light of very similar events that have taken place in the news within the last few years. And not unlike Netflix hit, Unbreakable Kimmy Schmidt, but certainly with a different approach, the movie allows us to understand the emotional toll but incredible strength of the victims which endure abductions and kidnapping, and relate to them as more than mere headlines.
Altitude Film Distribution
Amy: This is the only documentary on the list; it needed to be included. This movie shows the gone-too-soon British pop star’s rise and demise. The importance of the film is its ability to highlight the beast of the industry and other contributing factors to one’s ruin and, in this case, death. Yet, it’s not all pain and sorrow. The innate, raw talent of the singer is carefully highlighted, and the director is careful to center her love of music as her ultimate passion, which suggests it, rather than the horrendous way she passed, should be her legacy.

Submit Your Script To Amazon For Free, Using The Company’s New App

November 23, 2015 by

Everyday, Hollywood is moving further away from the members-only, closed door machine it has notoriously been. The world of entertainment is more competitive than ever, and the popularity of content across the vast array of media presently available, has everyone on their toes, hoping to create the next big show with enough virality and excitement to keep the attention spans of the internet generation. This race to create content versus mere syndication of older shows, has been embraced by everyone from Netflix to Youtube, and even the major networks have upped their collective game, as I mentioned in my previous blog. Hence, there is a lot opportunity for aspiring writers looking to break into the industry.

In an attempt to solidify its product as a real competitor to Netflix, and with similar services popping up from the likes of Tidal, Amazon is making this process of acquiring talent a little bit easier and a lot more exciting. Just weeks ago the company launched its screenwriting app, which not only formats stories into screenplays as one types, it employs an offline feature, and enables uploads of common formats.

Of course, Amazon is not the first to develop a scriptwriting app. There are others, like Final Draft and Scriptly. However, what differentiates the product from others is that it allows users to submit the content created on the app directly to Amazon, to be considered for new shows and/or movies for the company’s Amazon Studios.

Prior the launch of this service, the company did allow individuals to submit scripts for consideration, but only those pertaining to feature films, comedies and shows for children and adolescents. With the Amazon Storywriter App, however, scribes will have the opportunity to submit dramas to the studio, as well; and if scripts are selected, writers will have the option of selling to the studio for an amount equal to a writers’ guild minimum–somewhere in the ballpark of $200,000 for a movie and around $50,000 for a TV show.

This new app creates a marketplace for experienced writers, who just need the right opportunity to showcase their talents, as well as for novices, who may not have as much experience but have great ideas for a story. It also puts Amazon slightly ahead of competition, putting the company in position to get first dibs on material created on the app, in addition to generating interest and positioning its content as being open to everyone.

Nevertheless, as arstechnica.com warns, writers should have their intellectual property adequately protected. By law, Amazon may have the right to produce and publish similar content, so long as the material isn’t “substantially” similar. It would behoove any interested party to establish an understanding of what substantial means and to what they are agreeing by granting the company rights to their work.

How Netflix Is Changing The World of Entertainment

November 11, 2015 by Geno Scala

Just a little more than a decade ago, most people were familiar with Netflix as the company from which you could rent DVD’s (pre-BlueRay) and possibly never return them. At the time of its IPO, the company only boasted some 600,000 members stateside. Then, with the rise of technology and a virtual shift in the ways which people consume media, the company almost went bankrupt. Today, however, the company’s valued at nearly $27 billion, and has, for all intents, changed everything about the way we entertain ourselves. Here’s how.

One of the first things the company did was switch the focus of the product to streaming movies versus renting them. This proved to be lucrative for the company, considering that most people interested in a particular movie probably want to watch it within the next hour opposed to within the next week. The understanding of this concept, particularly in the face of often illegal movie streaming sites, was a huge boost not only for the company but for Hollywood as well, which could no longer depend on VHS sales or even box office, since more individuals had devices from which they could see a movie in the comfort of their home. This transition exemplified the prescience and inventive nature of this young company, but it was only a foreshadowing of what was to come.

Presently, Netflix is known for its original works as a studio, with popular, award-winning shows like Orange is The New Black and House of Cards, among others. These new ventures have completely changed the television landscape. It’s not uncommon for people to spend hours or days consuming a full season of a particular show–the company uploads entire seasons to its platform for its customers to watch at their discretion–or what some call binge-watching. Subsequently, its direct competitors Hulu and, now, Amazon have ramped up their content in an effort to win over subscribers no longer satisfied with status-quo TV, such as that offered by network and cable programming. But that is changing as well.

In a recent article, the Business Insider details changes that companies like Fox, Viacom and Time Warner are making to effectively win back primarily younger customers. Those changes have included showing less commercials, which would seem taboo in the world of advertising, and in direct opposition to the companies’ objectives: to make profit. However, there is a consensus that consumers have different expectations for television, and in order to please, one would have to accommodate.

That isn’t all, however. Netflix and sites like it aren’t just showing less commercial ads, they’re actively and arguably producing better content. In a recent talks with Bloomberg, producer Kathleen Grace talks about “The Netflix Effect,” and how the company’s focus on better content has resulted in the entire industry seeking the best of the best, in terms of writing, stories and production, to compete for the limited time most consumers are now willing to give a program.

Netflix has already changed the world of TV and shows no signs of stopping. In fact, its recent venture into the movie world will prove just how powerful the company is and ultimately drive a similar level of competition as we’ve seen with networks. Perhaps the company is moving to a place where it will show only original content. Far fetched as it may seem, Netflix has already shown that impossible is nothing; we’ll just have to wait and see.

10 Things To Consider Before Submitting A Script

November 6, 2015 by Geno Scala

1. Open strong
Start with a bang. Decision makers read tons of scripts daily (and nightly) make sure yours gives them a reason to continue; time is literally money in Hollywood. While tradition has suggested it’s important to hook the reader in the first 10 pages, experts have suggested that scriptwriters cut that time in half to make it interesting. To do that, create conflict quickly and make it interesting. You only get one chance.

2. Keep description short and sweet
As a writer, you know how every detail about the story and how it should be carried. Thus, it’s hard not to exact every bit of intricate detail to put into the script to ensure that reader sees what you see. Boil the info down to the basics and allow the reader to fill in the blanks.

3. Mix it up
Yes, it’s been nearly a century since the silent movie; no one’s suggesting that. However, it’s very important to keep a balance between dialogue and action. Consider what you would want to see on the screen. A show or movie with people just talking at each would be boring to viewers. The same goes for the readers of your script.

4. Think outside the box
If you’ve seen it before, chances are everyone’s seen it before and nobody wants to see it again. Creating an entirely original piece is difficult but rewarding if you’re looking to make progress. Start with the absurd and boil it down to something worthwhile once you’ve allowed your creativity to flow. The same old, same old is just that.

5. Employ the Goldilocks Method
No script should be too short or too lengthy. Give yourself enough space to tell a good story, in full, and nothing more. Flesh out any details that are necessary to the plot or character; likewise, remove any extraneous moments and ideas. Make it “just right”.

6. Proofread, Proofread, Proofread Again
Any grammatical errors, misspellings or improper punctuation is the wrong first impression and could automatically become trashed, even if the content is good. Proofread everything, but not just once. Let the script sit for a while then go back with a fresh set of eyes, or even find a trusted friend or partner that can take a look at it for you.

7. Less is more
As a creative, it’s natural to have so many ideas as well as urges to get them out. When it comes to characters. Less is more. Spend your energy developing individual characters instead introducing 20 different ones. Readers won’t always be able to make the connections between new characters and those previously introduced. A confused reader is an uninterested reader, and as stated before, the goal is to make everything as clear as possible.

8. Make it interesting
Another way to keep things interesting but simple is including conflict in your storyline. As often as possible, create a need, a desire, or an actual conflict/fight for your characters.

9. Pace yourself
One thing to remember however, is to not use all of your good conflicts in one place. It’s important to make sure that every part of your story, from beginning to middle to end is interesting and relevant. One of the biggest problems for screenwriters is inability to maintain interest throughout the entire script. Remember, balance is the most important thing for this work.

10. Finish well
The way the story ends is just as important as the beginning. Some even suggest writing the ending before the beginning, that way you have a map for how to get there. Otherwise, you’ve done everything else right from above, then you get to the end, and you’ve lost your way, or don’t resolve the conflict. Always have a good, clear goal. Think of it as an opportunity to seal the deal. If someone’s made it to the end of your script, they’re interested. Make it worth their while.

Ten Years of Oscar-Winning Screenplays

September 29, 2015 by Geno Scala

Ten Years of Best Screenplays – Geno Scala from Geno Scala

All Writers Need to Be Able to Write Scripts, Here’s Why and How

August 6, 2015 by Geno Scala

With the growing popularity of video content, brands are rushing to adapt to telling their stories in a video format. According to ReelSEO, it’s expected that by 2019, 80% of the world’s internet traffic will be video. That’s a huge number that brands will have no choice but to embrace.

As content shifts from something we read to clips and promotional videos, writers and content marketers are going to be depended on to get involved in writing these scripts and concepts. Many of them have never written anything for video before, but that doesn’t mean they aren’t up to the task. They just need to keep in mind a few things as they adapt their writing into a different means of consumption.

Keep Up With the Latest Video Trends

Many successful marketing videos are appropriations or parodies of what’s already out there. HubSpot created a parody of Gangnam Style. Grasshopper created Sh*t Entrepreneurs Say. Both companies modeled their content after current video trends.

Don’t get ahead of yourself and start copying every viral video you see, but keeping abreast of popular trends will inspire your own work and teach you about what kinds of content do and do not work for video.

Think Carefully About the “How”

It’s fun to write elaborate chase scenes filled with lots of explosions, but unless you personally know how to produce and shoot these scenes in real life, within budget, it’s probably not going to happen. Video production is hard. There’s a ton of prep work to get the set ready, each shot takes time to set up and shoot, and you are limited by the skills the team you’re working with has in their back pocket. When you’re writing, do you best to write within your resources and consider in detail how your team is going to be able to pull it off.

Think Short and Sweet

Most people won’t watch a video for more than 60 seconds. Writing a script for a marketing video is practically a different world from writing for SEO—you need to be as concise as possible.

Wistia, a video hosting company for businesses, found that if a video is 30 seconds long, people will watch 80 percent of the video on average. If a video is 60 minutes or more, people will only watch about 25 percent of the video.

Script writing is an exciting new challenge for content marketers and freelance writers. After a slight learning curve, you’ll be sure to pick up on the do’s and don’ts before you know it.

Louisiana Makes Headlines with Cap on Film Tax Credits

July 6, 2015 by Geno Scala

It is no secret that major productions can bolster economies, revitalize neighborhoods, and transform communities. Different parts of the country often compete to attract major film and television players, and the tax credit is one of the most critical tools in a government’s arsenal to attract businesses. Louisiana recently made news by imposing an annual $180 million cap. This number is significantly lower than what Louisiana (sometimes called “Hollywood South”) usually certifies. Previously, the state annually allowed for $250-270 million. Louisiana’s Film Entertainment Association is considering legal action as a result.

The film industry’s presence in places like North Carolina and Michigan clearly indicate that when tax credits are diminished, jobs tend to follow as filmmakers flock to other locations that eagerly offer greater opportunities for cost abatements. As State Representative Henry Burns of Shreveport told local media, ““There are other states out there stretching their arms, wanting to welcome our film industry in there. And just that uncertainty sometimes will cause people to leave.” The state of Georgia, in particular, has long been a competitor who will likely see an increase in film-related activity as a result.

Movie makers and lawmakers alike are hoping to revisit the film credits debate next January with a new governor. Until that time, the greatest concern is that film credits already in the system may not be redeemable under the cap. Should that the case, then the cap might well be unlawful. That issue will be also be subject to further legislation.

Until these issues are more fully explored, all the remains to be seen is if the state can retain its proud tradition as a regional powerhouse when it comes to film production.

Digital Streaming Services Continue Meteoric Rise

June 5, 2015 by Geno Scala

According to a report released by PricewaterhouseCoopers LLP, the electronic home video sector remains very much on track to overtake traditional US Cinema as early as 2018.This would establish the market segment as the lead revenue generator in film. This news may be stunning to some, but both savvy consumers and industry experts have anticipated the intensification of the this upwards trend for in online entertainment for quite some time.

The Global Entertainment and Media Outlook report for 2015 to 2019 posited a number of major changes in the industry which may be well on their way to fruition. Altogether, PricewaterhouseCoopers anticipates that, in just three years time, electronic home video will generate $13.8 billion dollars in the US alone.

For the first time ever, this figure exceeds predictions for the domestic film revenue for the cinema industry, which current calculations suggest will follow at $13.1 billion. Electronic home video service very well could double in revenue. The report quotes the figure of $8.4 billion in 2014 rising as high as $16.54 billion in 2019, hitting an impressive annual growth rate of 14.6%. Over that same time, cinema revenue is expected to grow at a more modest rate of 3.9%, from $11.2 billion in 2014 to $13.5 billion in 2019.

Electronic home video is comprised of on-demand programming, streaming services like Netflix and Hulu, and similar ventures by premium-cable channels like HBO and Starz. Electronic home video revenue therefore includes both rental and subscriptions to streaming platforms. Cinema revenue, on the other hand, depends on the box office and advertising.

Business Insider quoted Todd Supplee, the Senior Director with PricewaterhouseCoopers’ Entertainment, Media & Communications practices, as saying:

“[Traditional cinema’s] status as the prime storytelling medium in pop culture is still acknowledged but, in an era of Netflix, HBO and Showtime, high-end TV drama is making inroads into cinema’s dominance, and many OTT services (services that provide content through the internet) have announced they will start making films.”

His understanding of the trend touched upon the fact that these platforms, especially those that are subscription-based, cater to clients that have largely already committed to continued payment. Because the revenue structure is therefore much more stable relative to cinema, which can often be a gamble in terms of the returns on investment, the streaming services’ productions are experiencing a creative high-point well beyond what is usually happening on the silver screen.