I submitted my script, it said success, and then I was sent to Paypal where I got an error message. Im not sure what to do now. Please let me know.

Best

Richard

Thank you for offering this fellowship to new screen writers like me. If you would like to know more about my background please see my website for bio and back story listed above.

I really enjoy your website and look forward to following your work and teachings.

Lori Smiskol
The Emerald Tablets Productions

Thanks Jake. You did it again.

I would like to attend the acting for writers workshops on a payment plan ($100)and pay in full by November 28, 2011.
I am setting up my paypal account but it won’t transfer by Wednesday because of my relocation. Let me know if this arrangement works or not.

Toni McKain

Sorry it took me so long to get back to you. It sounds from your description that your movie is built around parallels and echoes, so it may be that flashbacks are absolutely necessary and organic to your process (as they are in a movie like Blue Valentine). Or it may be that there are other ways to achieve echoes in the present day story (for example, in Pan’s Labyrinth). If flashbacks are haunting you this way, and your instincts are pushing you in that direction, I’d recommend you go for it. Instead of asking yourself “Is this hubris?” or “Can I make this work?” see if you can shift your focus to questions that inspire your creativity like: “how could it work”, “what would it look like”, “when would the flashbacks start?” etc. The truth is, in screenwriting, you can make anything work. So see how far you can push this by following your instincts. Or if you feel you need help getting there, let me know and we can set up a private consult via Skype or get you signed up for an online class.

Happy writing!
Jake

So glad you enjoyed the seminar. Would love to consult with you one on one. Given your directing aspirations, you may want to check out the Acting For Writers class which starts on Wednesday. As far as I’m concerned, Isabel Milenski, who’s teaching it for me, is one of the best directors in the business. And having the chance to learn from her is definitely something I’d take advantage of. (I’m actually going to be sitting in on the class the first day as a student). Though it may not exactly be a directing class, I think you might find it aligns well with your aspirations– and like all my classes if for any reason you find it doesn’t, you can request a complete refund after the first class.
Jake

Thanks so much. You really helped me define what I was doing right, and what I needed to add or understand about scenes,acts, and the stages of a structued manuscript – very impressive.
I’m working on a manuscript and it’s nice to know that you’re available to consult with.
I want to screenwrite and become a Director, so if you have a class for writer to director, I’Ll probably sign up.

Thanks for your honest insight. I have had two final drafts stolen and alterd and I’m dealing with that. They were registered with WGA-West and one was produced.
What i need is a good entertainment lawyer, any suggestions.
I look forward to your seminar on November 2, 2011.
I’m working on two novels that will convert to screenplays, one child animation and a YA. You’re right, I need to stop worrying and get them finished.

Toni

Oy’v Voy- Flashbacks!

As an aspiring screenwriter, I just can’t believe I can write as well as the pros and pull off a film hinging upon flashbacks. Too much risk of boredom; but, one of the themes I’m working with is how in a small Jewish community (mixed religious and non-religious Jews) the exchanges between people are layered, we have history. We often find, a year later, virtually in the same physical SPOT on the street, we encounter a person who’s profoundly impacted our lives. And suddenly it becomes clear that I’m different, or they are. The evolution of this growth, IS the story,but it isn’t necessarily appreciated until we’re back in that same spot again.

These are actually religious ideas, ie each say Pesach (Passover) we’re reliving the Exodus. We call that memory. But it’s more. In a Jewish spiritual sense, we’re actually redoing, ie reintending (using a psychology term) the original Exodus. Does this make sense? Time is circular. We come back around and revisit, have another try at coming out of Egypt and clinging to God, Torah, Israel, etc… and yet, we faulter. You mention it re: Sophie’s Choice – her challenge again to choose between two men. It’s really the same struggle until mastered. We keep having Passover till we get it right:). Does that make sense? It’s a “tikun” revisted until mastered.

So, if flashbacks are an essential link, a turning point when the character(s) find themselves transformed, challenged, or freed, whatever, can this work? I am suffering from hubris imagining I can pull off flashbacks? Or or they integral part of the story and that’s why they keep haunting me this way.

Ok, well, thanks for reading and any suggestions you might have, i’d appreciate very much.
ruth

Thanks!

I very much appreciate your feedback.
Ruth

It’s crazy but the pictures of you all at the table with your laptops and on the veranda with Jake and his trusty white board makes me the most jealous. What have you done to me, Jake?

And judging from the double exposure picture it looks like one of your session had a really big crowd!!

Wasn’t there anyone there to tell Henry not to eat the plantlife?!

And of course I’m not surprised that it’s Linda standing so close to the handsome man as he points out some special sight. I can’t wait to hear what other sights he might have shown you!!

And the lush green grass in front of that pavillion is so lovely I could plotz.

It truly looks like an experience not to be forgotten.

B

My name is Piet Marais and I reside in Johannesburg South Africa. Your 7pm is our 4am which makes it difficult to attend the class even online. I believe I did see somewhere that it’s possible to view the class afterwards and still participate?

Regards,
Piet

Do you have a “Write Your Screeplay” class that will be starting in September 2011? I am very interested in taking your class.

Please let me know.

Thank you!
Tonya Thomas

Do you have a Screenwriting Workshop that will be starting in September 2011? I am very interested in taking your class.

Please let me know.

Thank you!
Tonya Thomas

-d

Thanx

i am a film student in new jersey. i’m writing a tv show thats still in its ground stages, and would love to attend this workshop. however, i am uneployed at the moment, and cannot afford the fee. do you have some type of program that allows students to go for free? please get back to me as soon as possible. thanks so much.

patrice

Thanks so much for your comments. All movies have a fine line between what is just enough, and what is too much. The problem of course is that this line is different for everyone in the audience. I completely understand how the dinosaurs were just too much for many people. And I do agree that the CGI wasn’t perfect. At the same time, for me, the dinosaurs worked thematically, because it was once again a moment of surprising beauty “oh wow, Dinosaurs” in which once again death was present (the startling reveal of the dinosaur’s wound). I also thought the moment where the “bully” dinosaur put its foot on the other’s head was one of the most charming moments in the film (and once again thematically related in terms of nature/grace). I also felt what Malick was doing here, though evocative of 2001, was very different. There’s no doubt that Malick pushes the envelope as far as what an audience will tolerate. Some of the people I saw the film with felt the same way that you did. It’s the challenge that every artist faces. When you are true to your vision and push it as far as you can, you are almost certainly going to alienate a part of your audience (you can see the same thing with Black Swan, which also pushes some things a bit too far for some people, and yet was profoundly moving for others). The good news is that regardless of how much you liked or didn’t like the film, there is a ton you can learn from it as a writer. So hopefully you’ll continue to read my series of articles. I’d love to hear your further thoughts.

Jacob Krueger

Thank you

Great to hear from you. Yes, I love to work with total beginners!
This class is designed for just that– to get your writing flowing in
a fun way even if you have no experience at all, and to introduce you
to a process that will help you to make writing a part of your life
and continue to grow as a writer. You’re going to love it.

Feel free to contact me if you have any other questions. I look
forward to working with you!

Jake

Thanks,

Pat “Jade Chan” Chandler

Jake

Thanks for your question! Students in this class focus on all kinds of dramatic writing, from feature film scripts to short films and series specs.

I keep my classes small so everyone gets lots of individual attention and to foster a strong sense of close-knit community among the writers.

The structure of the class grows directly out of the writing students are doing, so every class is slightly different. But here’s what each class has in common:

Every class begins with a writing exercise designed to jump start your writing and help you explore different aspects of the craft in a fun and organic way.

There are opportunities to share both your in class and out of class writing and receive feedback from both me and your classmates.

Each week you get a writing homework assignment designed to build upon the writing we do and the ideas we discuss in class, and push your story to the next level.

Lectures grow directly out of the writing you and your classmates are doing, allowing us to all learn from each other and apply the lessons of your fellow students work to your own writing.

We will dissect a movie chose by the students, and explore it in terms of seven act structure, so that you can learn how to apply seven act structure to your own writing.

You will discover an approach toward building a screenplay organically, and learn how to keep the ideas flowing when you feel inspired, and how to get them flowing again when you feel stuck.

You will learn how to give feedback that is helpful to other students– and more importantly how to feedback on your own writing in ways that help you find the opportunities even when you don’t like how things are coming out.

And most importantly, you will learn how to build a writing lifestyle that you can carry with you beyond the class, so that you start writing and keep writing.

Let me know if you have any other questions, or give a call at 917-464-3594 and we can discuss directly.

Hope to see you in class!

Jake

Thanks for you comment! We’re used to working with artists, so don’t worry, we’ll come up with a payment plan that works for you. Give my assistant Jess a call at 917-464-3594 and she’ll go over the options with you.

Jake

I’m interested in taking the Monday night 8 week class but I’m waiting to see how much my taxes are first. I saw that you have a payment plan could you tell me how that works?

Thanks so much and I look forward to hearing from you soon.

Best,
Jill

Here’s what’s great about the online class– you get the exact same lectures all my new york city students are receiving, you can ask questions via chat and get them answered live during the class, and you get weekly writing exercises to keep you going between classes, not to mention free replays that allow you to watch the class again to pick up anything you missed.

You also get a benefit that the in class students don’t get– a free 30 minute one-on-one consultation with me at the end of the class, during which we can discuss your work in depth.

Of course, there’s no substitute to being in the room, but I’ve worked hard to make these online classes the next best thing. You can watch some video of my lectures on my blog or my youtube channel. But what I’d really recommend is checking out the first class. There’s a 100% money back guarantee– so if for any reason you feel the online class is anything other than exactly what you’re looking for, all you need to do is let me know, and I will happily refund your money.

(By the way, if you do visit the youtube site, please ignore the sound issues on some of the older videos. The online classes are shot with a high quality lavalier mic to make sure you can hear me clearly)

Jake

only helps when you get a fresh look at your pages — being able kill your darlings and spot those diamonds in the rough that need a little work to shine.

H

I’m looking into an online option for the Wednesday Class. Still working out the details, but hope to announce something in mid to late January.

Jake

Hopeful for feedback!

Thanks,
Arna Dan and Kin

Writing made me direct films, and directing I’m able to tell the story from the words on the paper which is the passage way to the writer’s most inner thoughts and feelings. This our work meaning!

Most importantly, I’m thankful that I strive to make a living from this…how cool is that?

I am very thankful for God giving me a wonderful mind where I can think so creatively. I was told I have a great imagination. To me, that is why I ventured into screenwriting. I wanted to use my abilities to write screenplays. In fact, this has become my passion in life. I will never forsake the wonderful gifts God gave me and will use them to entertain others.

Are you still doing actors block hypnosis?

Thanks for this fabulous comment. Some great examples of movies that “break the rules” but still work great. I’d add almost every scene of “When Harry Met Sally” as examples that break the “don’t write a scene where two characters talk about a third” rule. As with everything in screenwriting, this kind of information can be extremely helpful when your scene ISN’T working. But sometimes the best scenes break the rules in interesting ways.

Jake

I’ll shoot you an email to discuss. Hoping to offer online classes again in the fall, starting October 18th.

Jake

I also enjoyed Mamet’s bluntly informative email and I have to say I agree with most of what he said. The one thing I would like to point out is that there are always exceptions. Use the information from Mamet, and the hundreds of other screenwriting gurus out there, as a rock to build from. And if you’re a student stick hard and fast to these rules until you’ve learned them well enough to know when to break them. But understand that some of the best moments in film come from breaking these rules of Hollywood.

Don’t give out important info in dialogue. Show. Don’t tell: “Luke, I am your father.” “Leia is your sister”

Don’t use a lot of dialogue. The film should be about the images and the action: “Any Marx Brothers Film”

Abrasive characters can’t be your protagonist: “House”

And many films use the “talking about a third person” or “you know…” approach, because the info is important, they don’t have the time to show it, and showing it would screw up the pacing or emotion. As long as it’s handled well the audience doesn’t even notice or at the very least forgives the cinematic faux pas because the ends justifies the means.

I think it all boils down to “Whatever works.” You can do anything you want to really. As long as it works in the film.

This post was mentioned on Twitter by jacobkrueger: Power your plot with these essential structural elements: http://tinyurl.com/poweryourplot...