Living Single

OBS writer genre’s and fellow member support

Children: Guides for how to give and receive script coverage, Outlines and Treatments, Screenwriting Tips from Storysense.com, Group Expectations & Guidelines | Fruitvale Station [Updated October 2020], Coverage | Samples, Sidney’s Kidney – Logline, FSWG_Agenda_06282020, FSWG_05312020_Meeting Notes, New Feedback Request for Bonita, test, Completed Fruitvale Station Writers Tasks, FSWG_Agenda_05312020, Get Out Group Meeting Reminder — MAY 31, 2020, R U AMARU?, THE AMAZING DAYS OF ALEX MAZZE script, New Coverage Requests for May 17th, Zaddy Script Coverage from Marquis, 101 Loglines from Screencraft, Words- Lots of Words for You, Instructions for Giving Notes and Feedback, Sundance Episodic Lab & Development Track Application Requirements, Horror Scripts to Study, Agenda for April 26th Meeting, Coverage Request From Meemee, FSWG-04102020-Mtg-Notes, The Nutshell Technique Charts, Writing Resources, Workshops, Programs & more | 2020 – 2021 Cycle, Group Expectations & Guidelines | Fruitvale Station, April 19, 2020 Agenda | Fruitvale Station Writers Group, New Feedback Request for Meemee, A QUESTION OF FAITH POSITIVE PROCESS, PROTOCOLS & PROCEDURES – FEEL FREE TO COLLABORATE ON any changes, Knives Out Script, Step-by-Step Instructions for Giving Notes and Feedback, Aaron’s demo doc of SoCal Dialogue, Site Maintenance – April 4th-7th, Feedback Request for Christopher, Get Out Group Members: PLEASE READ THESE POSTS, Using Docs to communicate a request for Coverage, Script – Nightmare on Elm Street Remake, GROUP RULES, NORMS, FEEDBACK, GROUP RULES, NORMS, QUESTIONS, FEEDBACK, GROUP RULES, NORMS, QUESTIONS, FEEDBACK, RULES, GROUP NORMS, QUESTIONS, Moderator and Group Rules

26 responses to “Living Single”

    • Hi, Lise. At the request of the production company, we need to individually track everyone who views the film on our site. Therefore, you can inbox me and I’ll use the code generator provided to forward a password to you. Thank you!

  1. I’ve found helpful screenplay coverage in the past! Always remember that feedback can be subjective, and different readers may have different perspectives and preferences. Constructive feedback can often provide valuable insights and help you improve your screenplay.
    I try to remain open-minded and objective when receiving feedback. Try to focus on the constructive aspects of the notes and consider how they can enhance your screenplay. It’s also helpful to seek feedback from multiple sources to get a well-rounded perspective.
    Remember, the ultimate goal is to create the best possible screenplay, so it’s important to consider and evaluate the feedback you receive, even if it doesn’t align with your initial vision.

  2. A succinct bit of well-appreciated advice at just the write time. Waiting to do the “character pass” can have serious plot consequences if the character’s foundation hasn’t been interwoven throughout from the beginning. Thanks for the fresh take. This old word-dog can learn new tricks. Time to hit the obituaries.

  3. OH WOW!!! This was so amazing! I loved every detailed and learned so much; like “mirror character”. I’ve never heard that term before. Thanks as well for that historical insight on forgotten stories of people from the past like the street names; Pico for example; Pio Pico who was a governor of Cali from 1845 to 1846 and was of African ancestry. Thanks so much for this!!!

  4. How incredibly helpful. This was like a masterclass in character development. I’m kind of surprised that character is so much much more powerful than plot. This is a great example of why this is true. If the characters are developed enough, the plot can spring forth from their struggles. It is awesome to have so many angles to create deep characters in one place. I’ll refer to it often. Much appreciated.

    • There is no plot without having the character first. Actors don’t play plots they play people for a reason. Focusing too much on what happens without proper nourishment given to who it happens to is exactly how bad screenplays are born. At the end of the day, we’re more compelled and moved by human transformation than a mere series of events. You can get a real bang for your buck by manipulating your reader’s feelings by getting them invested in your characters. See screenplays Moonlight, American Fiction, Fruitvale Station, The Joker, The Dark Knight, Nightcrawler, Little Miss Sunshine, or Eternal Sunshine of the Spotless Mind for examples of stories where who it is happening to is masterfully crafted.

  5. The article is very informative and straight to the point. Whatever I write about my unforgettable character, I will remember my own life, including my childhood, because I want to make the audience understand and empathize.

    • Be careful about using your own experience to craft characters. Everybody has a built-in blindspot that allows them to miss how the world sees them and overemphasize how they see the world. The result often is the motivations and “truths” of subordinate characters can feel wooden and the lead character can become a tad cliched. 60 Minutes did a great piece this past week on recently exonerated people and victims of rape and other violent crimes whose testimony sent the wrong person to jail which exposed how society completely misses what really happens to both parties after DNA proves the wrong person was sent to prison. Most writers would completely miss what goes on in the mind of the rape victim once. the innocent man is freed. My point is you can’t see your blindspot so try to get outside of yourself by creating characters rather than being the character. You can still use your experience, but you’ll likely have a more compelling script if you can see yourself through other’s eyes.

  6. This article was very informative. Character profiles are my strong suit, primarily since all my stories are rooted in real-life experiences; however, the piece took me to ideas and resources I had yet to consider, especially when exploring supporting characters. I especially like the age breakdown based on the characters’ stressors. The article also caused me to stop in the middle and research “code-switching.” I’m working on wordsmithing the dialogue in my current script, and “code-switching” is a crucial point in developing my supporting character. Thank you for all of this; it is beneficial and something I will refer to regularly.

  7. Wow, David, this is great. We can’t always just write what we know. The expert interview questions are an especially useful tool. I can’t imagine not getting at least one story idea from having a one-on-one with an expert.
    Lack of authenticity can take you right out of the story. A few years ago I was watching a rerun of Will and Grace and the punchline was, “it’s not Chelsea, it’s Chelsea adjacent.” Neighborhood adjacent is NOT a NYC term and it took me out of the moment.
    Thanks again for this resource.

  8. David, that was a masterful analysis of the problems black creatives face in this industry. I’ve been listening to Roland for long while now, and he discussed Taraj’s comments about pay equity and how black creatives can leverage their power. I’ve been listening to Kountry Wayne’s interview on Club Shay Shay, and he talks about the same issues. I think everyone should watch Kountry Wanye’s interview because he definitely has leveraged his power as a creative and controls his content.

  9. This is so vital!!! Thanks for this post! I think about how valuable it was to have a network like UPN especially when I was a kid. It was refreshing to see different dynamics of black families tackling important issues that are often ignored.

    I had a conversation with the Director of Queens (Nat Geo) and the premise of our talk was discussing how black people are not telling our stories like for example when you see docuseries about animals and their habitats in Africa, before there wasn’t a single Black or African person within the production crew. How can you tell a genuine story about Africa if you are white? It doesn’t add up.
    But with this new age of DIY media platforms, more of us have access to tell our stories.

    Thanks so much again!

  10. Three words: Proof of Concept. Creating a proof of concept for our stories is not just about showcasing our talent; it’s about amplifying DIFFERENT diverse voices and narratives that have historically been underrepresented in mainstream media.

    Proof of concept serves as a powerful tool for us to demonstrate the viability and marketability of our stories. In an industry where traditional gatekeepers may overlook or undervalue DIFFERENT diverse storytelling, having a tangible representation of our vision can be a game-changer. It allows us to take control of our narratives, ensuring that our stories are told authentically and with integrity.

    Moreover, a proof of concept catalyzes change within the industry. By showcasing compelling stories that resonate with audiences from all walks of life, we challenge outdated stereotypes and misconceptions, paving the way for more inclusive and representative storytelling.

    Ultimately, creating a proof of concept is about empowerment. It’s about giving ourselves the platform and visibility we deserve to share our unique stories with the world. In doing so, we not only inspire future generations of storytellers but also contribute to a more equitable and diverse entertainment landscape for all.

    • Excellent observation. Proof of concept led to Insecure, Dear White People, the reboot of The Fresh Prince, and Tyler Perry’s entire career, to name a few. In addition to all the points you raised, there’s the reality of additional leverage when negotiating distribution or production agreements especially when you can walk in the door with an audience and full pockets. It’s also nice to start your career off with several checks because you’re getting paid for writing, marketing, casting, and producing. You will also be in a greater position to keep licensing and other rights. However, the challenging part, as mentioned in the article, is that getting a successful proof of concept requires mastering several skill sets beyond just writing. Yet, it can and should be done. For those hearty enough to forge their script idea into a masterful novel, web series, play, podcast, or blog that reaches a reliable audience of a few hundred thousand while also putting $$$ in your pocket the skills you develop climbing that mountain will assure your flag will stay planted there for the long while.

  11. Just watched Roland talking about Killer Mike getting arrested at the Grammys and making him do a perp walk, in cuffs, through the crowd of his peers over a misdemeanor offense – that was probably justified. Caste system is in full effect. They may want more Amos and Andy, but new Killmongers (Black Panther) are getting born every day.

  12. For those outside of LA, could this tactic be used in emails and social media? It seems a great bit of this information can be incorporated into a transmission that will cause them to reconsider hitting the delete button.