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What’s The Best Skin Tags Removal Product?

January 24th, 2014 by admin

skin-tagThere are many people who suffer from skin tag problems. Not that having skin tags comes with any medical complications, but the mere appearance of these elements on the skin causes much worry for those who desire to have smooth skins. Some people may have just one or a few tags whereas others may have too much. In both these circumstances, it becomes of great importance to get rid of skin tags and get the beautiful skin that everyone desires. There are of course a number of ways to get rid of skin tags. Cutting and suturing are some of the methods of removing them. When you go to the hospital, freezing with liquid nitrogen may be a good technique.

There are a number of skin tag removal products available for home use. Some of these may present in the form of formulas, which have been manufactured by companies and made available through purchase. There are even some instructions on how to prepare skin tag removal products using ingredients available from home. Regardless of the product you choose to try out, one thing is for sure, you need to take care to be safe. You do not need to harm yourself with the choice of the wrong product in an attempt to get rid of skin tags, which are really harmless.

How To Avoid Skin Tag Irritation

Whereas skin tags will usually not cause you any irritation, this is virtually guaranteed when you interfere with them a lot. Constant rubbing and picking of them may just cause a number of problems which you may not be happy about. Skin tags are harmless growths, which grow on the groin, under your breasts, on eyelids and sometimes the neck area. They are benign and do not pose any threat to you unless you confuse them for a different skin condition. When you have noticed that the problem is indeed a skin tag, you need to avoid twisting all the time, as this will usually result in irritation. At the same time, using some skin tag removal products may not really work well with some kinds of skin. This implies that you need to be sure of the safety of the product that you buy from the chemist or online before applying it to your skin.

When you resort to cutting the skin tag instead of using skin tag removal products for application, you will need to use the right method. Numb the place and use sterilized equipment to avoid infections. Otherwise, you may just start a bigger problem.

Does SnoreRX Actually Work?

January 20th, 2014 by admin

In the virtual sea of anti-snoring devices, one of the best ones is certainly SnoreRX – a jaw supporting mouthpiece, created to be used during the night in order to prevent snoring and other possible health issues. However, potential buyers probably wonder what makes this product better than others of its kind, and this SnoreRX review is a good start.

This is what the SnoreRX looks like.

This is what the SnoreRX looks like.

One thing that users mention the most is the high adjustability level of this device. Unlike other mouthpieces that have micro adjustments, this one is suitable for literally any jaw. During the night, people move their jaws in different directions, so it is crucial to have a mouthpiece that will allow this movement, and that will not cause any pain.

In addition, this device has a perfect locking system, which means once the jaw finds the right position, the mouthpiece locks itself. Mouthpieces usually come with many risks, but that is not a case with SnoreRX, which is an FDA approved snoring device. Plus, if you find it doesn’t work for you, it is always possible to take advantage of the 30 day return policy. It’s a guarantee, really, so there is really little risk for you.

Anti-Snoring Devices – Tons To Choose From

The market today offers several anti-snoring devices that promise to help the snorer and his bed partner sleep better. Nonetheless, not every snoring problem is the same, and although some people may think that if a device does not work for them it must be a scam, the truth is that one must understand the nature of one’s own snoring problem. Different snoring issues have different solutions, and often one device (a mouthpiece, as an example) may not work for everybody.

People usually get scared and skeptical when it comes to placing something in their mouth, and that is for a good reason. Many devices are made of acrylic that can be dangerous, but the high quality devices, like SnoreRX, or Good Morning Snore Solution, contain only medical grade components. Although its price may be a bit higher than with other devices of this kind, after the first night of using a high quality mouthpiece, one can see that it is worth the money.

The major advantage of SnoreRX over other devices is its ability to let the user move the jaw freely while keeping the nasal passages clear for airflow. Just like the above linked review says, the most important thing is to find the mouthpiece that is safe, flexible for different users, and efficient  – the SnoreRX has it all.

What We Owe to Panic Away

October 10th, 2013 by admin

Young business woman panicIt may seem hard to believe, but my girlfriend was able to get rid of anxiety disorder in barely a week. I was the one who asked her to read a Panic Away review online to see how effective this product is. She took my advice and read one that was written by a credible reviewer. After learning all the details regarding Panic Away, she decided to give it a go. She purchased the product and she was given a book, a CD and DVD and she receives anxiety attack coaching through her email. It really made her happy and satisfied. She’s back to her jolly self after recovering from this health problem. If there’s one thing more about the product that I like apart from the fact that it cured her anxiety disorder, it’s the tips on how to make one’s lifestyle healthier. My girlfriend was not the type who pays attention to her diet. She used to eat everything that she craves for. She did not mind eating junks and edibles with too much preservatives. She was never involved with sports or any other activities that call for physical effort. But she’s a changed woman now. She is healthier and more active and we owe it to Panic Away.

Panic Away Resolves Anxiety Problems

Whenever I remember my experience with anxiety disorder, I cannot help but be thankful for doing some research. I only bumped with this particular review by accident. I was actually looking for drugs that can prevent panic attacks during that time. But by good luck, I found a source of information concerning Panic Away. Just the name itself made me truly intrigued. I read the review and was surprised that it’s actually not a medicine. It’s a method that teaches sufferers of anxiety disorder how to get through this condition. It only helps patients how to deal with panic attack and how this can be avoided. When I learned all this, I refrained from purchasing any medicine. I actually did not like the idea of consuming drugs. Antidepressants were the usual type of drugs that I consumed during that time. I realized then that anti depressants are for individuals who endure depression and I was not one of them. I knew I was going through something else but it’s not depression. Thankfully, with Panic Away, I was not required to take anything by mouth. It’s been a month since I hit upon the Panic Away review. Now, I am a satisfied follower of this product and I won’t mind recommending it to people who think they have anxiety problem.

Learning About Skin Tag Removal

August 16th, 2013 by admin

I am now reaching middle age and starting to notice the signs of my aging. One of them is that my health is starting to dwindle down. I have been trying to eat better and starting exercising to help improve my health. Another issue that I have, is the that I am starting to get skin tags. They are the small pieces of skin that hang from different areas of the body. The place that I usually have them are on my neck. I don’t really like having them there because it is very noticeable. In the winter time I can just wear turtleneck sweaters, but in the summer it is hard to cover them up.

pfI have been doing some research on the internet about skin tag removal and found a couple different options I could try. I would first have to see my doctor and make sure none of them are cancerous. Most of them usually aren’t, but I just want to make sure before I start trying to remove them from my body. One method that I found online, was to use clear nail polish and paint over over the skin tag. There was also another one that involved placing ice on the skin tag in order to numb it, then using scissors to cut it off. These options both seem pretty brutal to me, so I decided to keep searching for something safer.

The option that seemed the safest to me was the use of a natural skin tag removal. It is made from plant extracts and is suppose to dry out the skin tag naturally. It then is suppose to flake away. I actually went ahead and purchased the product and it is suppose to arrive to my apartment in a couple days. It was a pretty cheap product as well, so I am happy with the purchase. I actually came across a lot of skin tag removal products, including a Dermatend review at http://howtoremoveskintags.biz/. If it doesn’t work, then I won’t be too mad.

It’s my freshman year in college and I have decided that I wanted to be dietitian. Right now taken a class that deals with nutrition and health. As of now, we’re learning about different skin conditions people can have. One of the things I learned about were skin tags. Skin tags look like small pieces of skin that hang off from different body parts. You can get skin tags under your breasts, your eyelids, and your neck. There most likely caused by skin rubbing up against other skin. We also learned about different skin tag removal products. Most of them all seem to be safe don’t seem to cause any harmful side effects. I’ve been taking notes about different skin tag removal procedures, because my mother has them.

She is now like the fact that I’m taking this class, because I’ll be able to help her health conditions. I think that she will be happy when her skin tags are gone. She will have more self-esteem when she goes to the beach this summer. My father would also be happy, because his wife would not be depressed all the time. It will be a win-win situation for the both of them.

Can New Ideas Work In Hollywood? Why Yes…

August 15th, 2013 by admin

What chance does someone with new ideas have, anyway?”

hollywoodThat’s what a reader asked after learning that Hollywood has four dozen projects in the works based on old TV shows. There’s no question about it: Hollywood loves what it thinks will be a sure thing. Thus, the stampede to bring TV shows to the screen rages on. (Combat recently marched into view.) And the summer screen slate offers ready proof that sequelmania is still rampant – thanks to more entries in the Batman, Die Hard and Under Siege sagas. (And brace yourself: Another outing with Ace Ventura is coming.) Hollywood is so anxious to cash in on the familiar that its executives are even reaching for the bookshelves; not only for bestsellers, but for old chestnuts. Classics headed for the screen include Othello, Sense and Sensibility, yet another Jane Eyre and a sexed-up Scarlet Letter (with a Hollywoodized ending that would shock Hawthorne!).

But don’t look at the screen slate as a downer. Look at it as inspiration. Now, more than ever, original ideas are in demand. When those ideas are packaged in well-executed screenplays, with compelling characters and great dialogue, they lead to sales. Every week, at least one or two new projects based on original screenplays are announced in the pages of the Hollywood trade mags.

Consider the possibilities of the following titles, all recently announced:

* From Behind the Sun – Science fiction/adventure, laden with special effects, about a scientist who discovers a superior human species that could threaten the world.

firestorm* Firestorm – Daily Variety says this one’s known as “Cliffhanger in a forest fire.” Sound like a potential franchise? By first-time screenwriter Christopher Britton Soth this one earned $325,000 up front. If and when the picture gets made, Soth will get $425,000 more. That’s what you call a hot sale.

* Paul Bunyan: The True Story of a 100-Foot-Tall Lumberjack and His 9,000-Pound Blue Ox Today (We presume the title will eventually be shortened) – What happens when the 19th-century folklore hero and his ox are found preserved beneath the ice at the North Pole? Aimed at families, it’s said to be a big-budget, special-effects fantasy.

* The Patsy-a former 1960s radical is framed for the assassination of the President.

* Pipes – About an Indiana Jones-type search for diamond veins in Canada. It’s been dubbed The Seven Samurai in the Great Northwest.

* Flying Tigers – A look at the famous US flying squad that helped China fight the Japanese.

* Play Ball – The Cuban national baseball team squares off against the Americans in the World Series – but the US team is comprised of … Cuban expatriots.

* The Doorkeeper – A political thriller about a down and nearly out senator who has a shot at redemption, with an assist from his young intern, the “doorkeeper,” in Capitol lingo.

* Prey – Another thriller, this one about a computer professor bent on revenge following a terrorist attack that leaves his wife and child dead. Summing up this script’s allure, producer David Foster says, “The script is tense and taut. It’s staccato. It’s Everyman put in an extraordinary situation.”

* Insurrection – A biography of slave Nat Turner. But, stresses producer George Jackson, don’t expect a snoozy history lesson. “We’re really going to shake it up. It’s going to be a drama about one of black America’s first revolutionaries.”

* Daylight – Call it “Die Hard in a tunnel.” Dozens of people are trapped in a New York tunnel after a tanker truck explodes.

* Hard Hearts – A love story about two bounty hunters in love who want to get out of the business. They can’t because they need to pay for their wedding. So they take on one last assignment . . .

* Afterlife – The mind of a middle-age terminally ill scientist is transplanted into the buff body of … a serial killer! As an added twist, the character spurns the advances of young babes, in an attempt to reunite with his middle-age wife. This one racked up a big price tag of $2 million. But it was no accident. The screenwriter, Joss Whedon, earlier pumped plenty of inventive twists into Speed.

Sure things aside, Hollywood also remains the Dream Factory. So dream away for original stories and characters in solid scripts that will wake up executives and producers. But remember: As with any arena where the stakes are high, competition is fierce. Be equipped for the battle. Thick skin helps. So does determination. A sense of humor doesn’t hurt, either. It’s one way to get through that avalanche of sequels, regurgitated TV shows and other movies you could swear you’ve seen before.

Getting Your Script Off The Ground

August 7th, 2013 by admin

Pick up your pencil, fire up the keyboard, and prepare to write a movie! Follow along as a screenwriter and instructor guides you through the, unique structure of screenplays until, step-by-step, you’ve written a complete script.

How do you sell a screenplay to Hollywood? First you have to write one.

tysoA screenplay isn’t like any other piece of writing. Even the mere look of its words on the paper tells you this kind of writing is different from straight prose. Different, yes. But more difficult? Not necessarily.

To successfully write a screenplay–meaning that you finish the script you start–you must learn the unique elements of a script and how those elements work together to form the launching platform for a movie. In the next three issues of Writer’s Digest, I’ll explain those elements as you write. Together, step-by-step, we’ll write a complete screenplay.

In the first part of this series, you will first learn the unique structure of screenplays’ how to develop screen characters, and outline a plot for your script. In Week 2 you’ll be learning more about story hooks and your script’s inciting incident (or why this all happened in the first place), and the differences between story and plot; makes today different in the life of your protagonist. It may be that the protagonist has just met someone and fallen in love, or it may be the last straw that forces a person to decide she isn’t going to take some impossible situation in her life any longer, or there may have been a murder.

Whatever the specifics, the inciting incident is the event, scene or sequence of scenes that makes today different for your main character. It helps to define the goal of your character. And it kicks off your script’s plot.

Plot-driven stories, such as crime, mystery, sf, fantasy, westerns and action-adventure stories, often begin with the problem that must be solved. In these genres, the inciting incident frequently occurs at the start or shortly before the movie opens.

In The Rock, Alcatraz prison is taken hostage by a disgruntled general; this is the action that, when he learns of it 15 minutes into the story, becomes the inciting incident that challenges and changes the protagonist.

In Jurassic Park, the inciting incident occurs when the park developer arrives at the co-protagonists’ excavation site and offers them a large sum to inspect his park.

Character-driven stories, such as comedies, drama, romance and family stories, generally introduce the inciting incident 10 or 15 minutes into the film.

Phenomenon opens on the protagonist’s birthday. In the first 15 minutes, we see that George has an unrequited love, his job, his trying to master Spanish and we meet all the main characters in his life. That night, after his party, he steps outside for a breath of fresh air. A radiant light appears to him and he falls unconscious. This is the inciting incident that will irrevocably change his life.

In Sleepless in Seattle the protagonist, having doubts about her impending marriage, hears of the sleepless widower on her car radio. She feels an immediate connection to him that compels her to seek him out.

What is the inciting incident in your script?

wsBefore proceeding, make a list of at least five things that could happen to your protagonist that would make today different for her than any other day and serve to kick off your plot. Write for 15 minutes without interruption.

In your writing, don’t confuse story hook and inciting incident. The hook influences your story overall; the inciting incident is the moment that your plot gets started. Long after your inciting incident is past (although not forgotten, you hope), your hook should still be keeping your audience enthralled.

This Week’s Assignment

Write the first 15 pages of your script, including the scene that features your story’s inciting incident. Don’t worry about correct script format right now, you have time to learn it. (See the sidebar “Some Facts About Format” for more on arranging your words on the page.)

Remember, you don’t have to get it right the first time. Just do it. Start today.

Week 3 Plot Points

This week you will write pages 16-30 of your script.

As we discussed in Week 1, your script must have both story and plot. As you’ve been planning and writing your screenplay, you’ve already done a lot of work on these two elements, as well as character. Plot, story and character are three of the most important elements of a screenplay.

This week you will write a scene in which those three elements collide, in which obstacles, conflict or tensions cause the protagonist’s situation to change. Such a scene is called a plot point. In this week’s assignment, you will be writing the plot point that ends Act 1 and propels your script into Act 2.

For example, the plot point that ends Act 1 of Witness is the scene where the detective (Harrison Ford), after telling his boss he has found the murderer, is wounded in a parking garage. The detective, realizing his boss has betrayed him, must now save the young witness. As a consequence, the wounded detective drives the Amish boy and his mother to the safety of the anonymous Amish farm, which begins Act 2.

Notice how the plot point makes it harder for the detective to accomplish his goal, which is to solve the crime. Your plot points should, too. Put obstacles in your main character’s way; make her face difficult choices. With each setback, the audience will become more involved with her, and with your story.

This Week’s Assignment

Write the next 15 pages of your screenplay (pages 16-30). What action has your character been forced to take so far? What happens at the end of your first act that forces the character into a new situation? Also, see a film that is in the same category as yours and note which scenes you found memorable.

Solid Scriptwriting Tips For Beginners

July 31st, 2013 by admin

sstbEvery script reader in Hollywood has his or her own pet peeves. But certain fundamentals impress everyone. Out of my experience reading scripts for Media Center Productions, Knight/Tyson Productions and Symphony Pictures, I can offer four rules to follow — and four tendencies to avoid. Heed my advice, and you’ll make it easier for script readers to pass your work to producers.

* The 120-page rule. Because one script page equals approximately one minute of screen time, any script I pick up that weighs more than 120 pages immediately loses points. Readers read a lot of script — 10-25 a week. So if I must read five scripts tonight and yours is a long one, it better be worth the extra time (I have yet to read one that was).

* The novel tendency. A screenplay is meant to be seen and heard. Some write screenplays like novels, as though the character is the thing. Not so. Plot is the thing. I look for:

/Exposition — background information that helps the reader understand the story. Don’t unload all this information in one long scene; layer it throughout the story.

/Rising action — that moves the story forward with twists and turns, set-ups and payoffs.

/A climax — when the protagonist finally overcomes his opposition.

/Resolution — that ties up loose ends and allows the audience to relax, to come down from the emotional high they just experienced in the climax.

Characters exist only to promote the plot. Writers love to waste time with a screenplay sham called character development, which often means long, talky scenes about the characters, past personal problems. But if that past problem doesn’t directly relate to the story (either at that moment or later as the plot unfolds), then presenting it is a waste of time.

When character development is needed, it must occur visually. In 1991′s Oscar-winning The Silence of the Lambs, for instance, FBI agent Clarice Starling responds to the death around her by remembering when her father was killed. We get the information visually@ we see her father, we see the funeral.

Novels can afford the time to explain every intention, every inner feeling the characters may have, and every past personal crisis. Screenplays can’t. Use your available time to present an enthralling story in one short scene after another.

* Be one-minute rule. If a scene runs more than a page, the scene is too long. That’s right. One-page scenes are a good length; less is even better. Next time you watch a movie, time the scenes. You’ll find they go faster the you think.

Your story must move quickly. You can condense scenes by getting right to the point, then moving on. Cut out whatever doesn’t contribute to the story.

dt* The “real” dialogue tendency There’s a difference between real dialogue and realistic dialogue. Real dialogue is what you hear every day of you life — real people talking about real events and real feelings. Avoid real dialogue; it’s wordy, undirected and often dull. Realistic dialogue sounds real, but you never actually hear anyone talk that way — though you might wish you did. Create dialogue that will be worth paying $7.50 to hear.

* The subtext rule. The key to dialogue is subtext. Writers too often have their characters baldly say exactly what they feel. But in the above monologue, Hannibal isn’t just talking; he’s trying to get inside Clarice’s head. The more he knows about her, the more influence he’ll have over her. When I read a script, I want to be forced to figure out character intentions, rather than have everything spelled out for me. Don’t confuse me, but allow me to be mentally involved.

Subtext means lies; it’s the meaning behind the words. Characters should lie to each other, mask certain character traits and designs (such as greed and fear), and keep true feelings hidden behind words that indicate only harmony. Why? Because dramatic tension in feature films results from what characters do to each other, not what they say to each other.

* Me harmony tendency. Creating scenes in which the characters get along stupendously while unfortunate events in the story provide the conflict around them is a major mistake. External conflict is fine, but conflict between characters is a thousand times more interesting. In every scene, there should be conflict — at times expressed overtly, but mostly suggested by subtext.

* The antagonist rule. No matter what genre your script fits in, the best source of conflict is a strong antagonist. In fact, your screenplay can’t survive without one. Love your antagonist as much as you love your protagonist, and an irresistible story will unfold.

* The beauty of this caring relationship is that whenever you need conflict, your antagonist will provide it. Obstacles don’t arise by chance, but are carefully and thoughtfully planned. That’s interesting. That’s dramatic. That’s what viewers want.

* The antagonism-by-reason-of-insanity tendency. All too often, the reason for the antagonist’s opposition is simply a bad case of dementia — which he doesn’t demonstrate in the least until the climax, where he explodes.

If you must use insanity as the motivating force behind the antagonism, let us know from the beginning that the person is deranged. Don’t make it a surprise. And don’t make it the motive.

Hannibal Lecter isn’t a raving lunatic; he’s a cold, calculated sociopath whose motives run much deeper than mere insanity. He has a specific plan, and a specific way of carrying it out. Make the antagonist as interesting as humanly possible.

Writing Different Plot Types Has Different Benefits, Advantages

July 15th, 2013 by admin

The film industry finds life a lot simpler if it divides stories into two categories: A script is either plot-driven or it is character-driven.

 

The Plot-Driven Story

 

pthdA plot-driven story is one in which the events take precedence over the characters; characters become secondary to the action.

The easiest way to identify a plot-driven story is to look at the main character. Plot-driven characters are essentially static: They’re the same at the end of the film as they were at the beginning. They’re frozen as a sort of mythic or archetypal hero. James Bond never changes (except faces, now and then); Indiana Jones never changes; and nether do the basic stock of characters played by Steven Seagal, Chuck Norris, Jean-Claude Van Damme or any of the stable of action heroes. What’s important is that good triumphs over evil and that justice is served.

Plot-driven films are works of the body rather than of the mind. The audience gets restless when people talk too much or sit still for too long. The movie experience is visceral rather than intellectual. These films speak to our unconscious needs, whether it be the triumph of love or revenge. We don’t want to think; we want to feel these movies.

A good action film is kinesthetic. Technically, kinesthesia is the sensation of position and movement in the viewer’s body as it’s perceived through the nerve ends in our muscles, tendons and joints. If you’ve ever seen the high-speed car chase in Bullitt with Steve McQueen or the runaway ore car sequence in Indiana Jones and the Temple of Doom, then you know what I’m talking about. The point of view is so engaging that you’ll find yourself leaning into the curves and bracing yourself when the car torpedoes over a hill or around a curve.

 

The Character-Driven Story

 

pgsThe character-driven plot, on the other hand, concentrates attention on the people in the story rather than the action. Where plot-driven stories are physical, character-driven plots are emotional. Events are secondary to the people. An action hero is the same at the end of the film, but the hero (or anti-hero) of a character-driven film has undergone internal change by the end of the film. Instead of character following action, here character development predominates. We’re interested in what the characters do because their actions reveal who they are.

Interpreting action helps us understand the motives of people. In an action film, the characters are preshaped for us–we know who they are and what they stand for before we even begin. In the character film, however, we focus our attention on the people and try to understand the who, what and why of them. We never have to ask why James Bond or Indiana Jones does anything; we know their characters and motives by heart.

But the human condition is much more complex, and sometimes we want to explore this territory and try to learn what it means to be human. Certainty and righteousness give way to moral dilemma. Tolstoy pointed out that “real stories aren’t about good versus bad. Real stories are about good versus good”–people who find themselves caught up in situations that have no clear right or wrong answer.

A true moral dilemma provides the structure for a character-driven plot. It provides inspiration and energy. The plot-driven story has a moral dilemma as well, but it’s almost always bipolar, which means there are two choices: good or evil, right or wrong. But in a character-driven story, we’re on more uncertain ground. The audience shares in the dilemma. What would we do in the same circumstance?

The example I’m about to give you is from a college course in situational ethics. The problem takes on dimension not in the abstract, but in the concrete, when it has to apply to a person’s choice of how to act. That’s the substance of a character-driven story.

Here is the scenario: You’re a transplant surgeon. You’ve just received word that a heart is available for transplant from a donor who died in a car accident. Four of your patients are qualified for the transplant. They are:

* a 12-year-old girl, the only child of a middle-class family;

* a 37-year-old father of three teenagers who makes $12.75 an hour as a shipyard worker;

* a 42-year-old alcoholic, homeless woman;

* a 50-year-old man who is the CEO of a company that employs several hundred people (and, who, incidentally is willing to pay $250,000 for the transplant–money that could be used to help save other lives).

You’re responsible for choosing who gets the transplant. The person you choose will reveal a lot about who you are and the way you think. Your choice reflects your social biases. A valid, compelling and logical argument can be made for any of the four patients, and yet you must decide that one of the patients deserves the transplant most.

So in your character-driven script, you create a doctor, give her a name and a hospital, and put her to the test. We meet each of the four patients; suddenly they have names, pasts and presents, and it’s up to the doctor to decide their futures. She hates being forced into the role of playing God, and yet she must act. Whatever decision she makes, however much she agonizes over it, she will be simultaneously right and wrong. She must pay a price for whatever decision she makes: There is no clear way through this dilemma.

In a character-driven story we focus on the doctor. We want to know who she is and why she makes the decision she makes. We want to know what the decision does to her. Does the burden of such responsibility demoralize and crush her? Or does she rise through the chaos to become a stronger, more confident woman? The story becomes a testing ground for ideas; abstractions get faces, and what started as a mind game now takes on a deeper, more profound quality. Our doctor will be a different person by the end of the story. She’ll either grow or wither as the result of the experience. This is the true potential of a character-driven story.

Now It’s Time for You to Choose

Should you write a plot- or a character-driven story? There are good reasons for choosing either.

PRO: writing a plot-driven story

* The industry loves genre pictures; as a whole, they’re much more commercially viable than character-driven stories. (Translation: They make big bucks at the box office and are therefore easier to sell.)

* They tend to be formulaic in terms of structure and characters and therefore easier to write.

* They’re bigger-budget pictures and appeal to a wider audience than character-driven pictures.

* It’s easier to cast actors and directors for plot-driven stories.

* They pay a lot better than character-driven pictures.

CON: writing a plot-driven story

* They tend to be formulaic in terms of both structure and characters. (It’s tough to be original when the same film has already been written a thousand times.)

* The competition is fierce, and Hollywood favors big-name writers over no-name writers.

* Budgets for action pictures run from high to very high which further reduces the chances of selling your script.

* Plot-driven stories are less forgiving when it comes to plot weaknesses. They must be crafted extraordinarily well.

PRO: writing a character-driven story

* More freedom to explore complex issues and the nature of what it means to be human in our world.

* More freedom to explore your own personal agendas.

* Lower budgets mean lower financial risks, which increases the possibilities for selling your script–especially if you write a story in the low-budget range (between $5 million and $8 million).

* Certain actors and directors hunger for this kind of material. It showcases their talent, and some of them will work for minimums just to do a solid piece of work.

* Character-driven stories are more forgiving when it comes to plot deficiencies. Because our attention is focused on the characters, details of plot don’t seem as important as they do in a plot-driven story.

* A good character-driven story is always a good portfolio piece to show off your talent as a writer even if it doesn’t sell.

CON: writing a character-driven story

* Although Hollywood clamors for well-written character pieces, as a general rule they don’t do nearly as well at the box office as action films.

* The pay isn’t as good as it is for plot-driven films.

Theatre Scripts Becoming Strong Source Of Content For Studios

July 1st, 2013 by admin

tsbssThe Drama Dept., perhaps best known for its recent Off-Broadway hit “As Bees in Honey Drown,” by Douglas Carter Beane, who heads the company. Earlier this year, the Drama Dept. joined forces with the New York-based New Line and Fine Line Cinema. In exchange for contributing $25,000 to each of the theatre’s four staged productions, New Line earns the chance to develop features based on the plays. Put another way, the movie company gets right of first refusal and the writer is given a shot at penning the script.

Although it’s too early to know how the arrangement will ultimately play itself out, as of this first season, “New Line and the Drama Dept. jointly selected the five playwrights whose work the theatre will stage this year,” says Mike Rosenberg, the Drama Dept.’ s managing director. Despite what one might think, he stresses, the Drama Dept. is not changing its mission in terms of the kind of plays it will mount. A movie deal is not the bottom line. “If one of our plays is turned into a film, fine; if not, that’s fine, too.” Indeed, Rosenberg continues, “When we met with New Line, we said, ‘We’ll show you plays that make great movies,’ to which their answer was, ‘No, you show us great plays!’ And that’s when we decided–after meeting with several movie companies–to work with them!”

Still, all the playwrights involved, at least so far, already have movie credits under their belts. These include Peter Hedges, Richard Greenberg, Nicky Silver, Frank Puliese, and Douglas Carter Beane. But that’s precisely the point, says Rosenberg, suggesting that with or without the New Line deal, these playwrights –whose works the Drama Dept. stages anyway–are screenwriters. So why not piggyback their talents where everyone can potentially benefit?

“From the outset, the Drama Dept. has been a place where the artists–from the writers to the designers to the actors– have control. That means an actor who has been with us a long time may initiate a project. And if that can happen, why shouldn’t we maintain control as a play moves from a reading to a production to a film?” Rosenberg asks.

“Typically, a film producer will come in, buy the rights to the play if he’s interested, and may or may not use the playwright as the screenwriter. The actors and the theatre company are completely left out.” In the best of all possible worlds, Rosenberg maintains, the Drama Dept.-New Line partnership will change that equation, for the actors and directors, as well as the writers.

tvsHe adds, “The package is attractive from the film producer’s point of view, too. Hypothetically, he can get Frank Puliese, director Christopher Ashley, and actors like Cynthia Nixon, Peter Gallagher, and Sarah Jessica Parker, all of whom work with us, for $4-$6 million. An outside arrangement could cost the producer $40-$60 million.”

Mark Rusk, senior vice-president of production at New Line, does not deny the financial benefits of the arrangement, but says frankly, ‘The prospect of a right of first refusal leading to a film deal is remote. It’s not the material that attracts us to the Drama Dept. but rather the track records of the writers involved in the program. And a lot of our interest is driven by Douglas Carter Beane’s connection to the company. We’ve already commissioned one of his pitches. [Separate from the deal with Drama Dept.]

“This arrangement provides a flow of material in a dignified way as opposed to the atmosphere created by the competitive marketplace,” Rusk continues. “At the same time we’re helping a theatre company and developing an ongoing relationship with the writers in the group. We also like the fact that the Drama Dept. has a stable of actors we can use for readings. But you’re treading into a dark area when you start talking about any film company committing itself to using a group of actors in the actual film ahead of time.”

Seeking Autonomy

The Atlantic Theater Company, founded by David Mamet, enjoys a relationship with Robert De Niro’s New York-based Tribeca Productions. The latter has the right of first refusal to produce Atlantic’s plays as films, as well as to develop–meaning, look at for possible movie production–original screenplays, treatments, and even books that Atlantic writers have inked. Indeed, Tribeca is already developing one of Atlantic’s produced plays, “Shaker Heights,” by Quincy Long.

But this arrangement is an interim measure, explains Neil Pepe, Atlantic’s artistic director. “We’d eventually like to form our own for-profit film production company, where we’d either coproduce with another company [like Tribeca], or perhaps produce movies on our own. But, in either case, we’d have control. Our hope is to utilize our own directors and actors as well as our writers. ‘In that way, the group is similar to the Drama Dept. The Atlantic company has set up a film workshop to develop film projects–some may be based on plays, others may be original screen projects.

“This idea seemed like a natural progression for us as more and more of our writers and actors got into film,” Pepe says. “There’s William Macy, Kristen Johnson, who’s on the TV show ‘Third Rock From the Sun,’ and Felicity Huffman. She’s on ‘Sports Night.’ Another one of our actors, Clark Gregg, wrote a screenplay that Robert Zemeckis will be directing.”

So far Atlantic isn’t developing any screenplays with its most illustrious member–founder David Mamet, who has written/directed a host of films– “Glengarry Glen Ross,” “The Edge,” and “The Spanish Prisoner,” to name a few. But it’s certainly a relationship that the company would like to explore, adds Pepe.

Mentoring for New Skills

New Dramatists has had an on-site screenwriting workshop for eight years. Sponsored by New Amsterdam Entertainment–a small, independent film production company based in New York–the workshop plays host to New Dramatists members who want to try their hand at film writing.

“They submit ideas–these may be for original screenplays or adaptations–and I pair them with members of the film community who wish to work with writers in a mentoring role,” explains Sherry Magdid, literary manager at New Dramatists. “These mentors, who are usually producers and/or development executives, work with our writers over a period of time, leading to a closed reading of the screenplay, perhaps followed by an open reading.”

Interestingly, the mentors may or may not be New Amsterdam Entertainment staffers. Networking clearly takes place, but neither the New Dramatists nor its members have a formal contract with any of the mentors, or with New Amsterdam Entertainment, for that matter. In fact, New Amsterdam Entertainment doesn’t even have right of first refusal. Mitchell Calm, president of New Amsterdam Entertainment, says he has no interest in that prospect, even though his company is underwriting the New Dramatists screenwriting program.

“It’s the wrong thing to do because it’s a form of arm-twisting,” he asserts. “If I like working with a writer or if a writer likes working with me, then we’ll take it from there.” Galin adds candidly that the majority of screenplays that come out of these programs are not viable anyway. “The scripts are successful if they’re completed. The goal is for writers to walk away understanding that the skills for writing screenplays are different from that of playwriting.”

Calm makes the further point that in his view many of these programs–leading to right of first refusal–should be viewed with suspicion. “While there are financial benefits to the writer if his script is bought, he’s still earning far less than he would be outside that agreement. The contract becomes an opportunity for film companies to save money. The fact is, usually they’re investing in particular people–writers they may want to work with in the future–as opposed to scripts. Or they’re doing it for public relations reasons.