[Stephanie O'Leary]

(THE PRE-CLASS ASSIGNMENT that was posted in error above has now been moved – my apologies!)

SUBJECT: MANDY – Action/Horror – Horror Conventions

WHAT I LEARNED: Simple plots can be surprisingly powerful. A man loses the woman he loves to violent psychopaths and sets out to kill those who destroyed his world. The pain is both emotional and physical. Similar to the original MAD MAX.

ISOLATION: Red Miller, a logger and recovering alcoholic, lives in a house in the woods with his artist girlfriend, Mandy. Both are reclusive and damaged but have created a loving home together, far from neighbors and the outside world.

TERRORIZE THE CHARACTERS/MONSTER/VILLAIN/DEATH: Mandy works part-time as a gas station cashier and is targeted for abduction as she walks to work by the demented leader of a van-traveling religious cult. Red and Mandy’s peaceful life is shattered when they are brutally attacked in their home by the sect’s sadistic motorcycle members strung out on drugs. Red, stabbed and gagged with barbed wire, helplessly watches as Mandy is burned alive when she rejects the cult leaders’ advances.

HIGH TENSION/DEPARTURE FROM REALITY: Red emotionally and psychologically breaks when he finally manages to free himself, mourning the woman he loved and the life he’s lost. After an alcohol-enraged night and a visit to a friend who gives him a crossbow and background on the biker gang, he sets off on a mission of bloody revenge. Throughout, Mandy’s otherworldly fantasy art chronicles Red’s odyssey as he dispatches bikers, encounters The Chemist, a drug manufacturer who helps him locate the religious cult, and the final killings and beheadings.

The Sad Denouement: Red has avenged Mandy’s death but now faces a world without her and the rebirth of his addictions.

MORAL STATEMENT: Love can heal broken people but the tether that keeps them functioning is often tenuous. And Evil is insidious and will find innocents to feed on in the most remote of places.

• This reply was modified 1 year, 8 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 8 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

.

• This reply was modified 1 year, 8 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 8 months ago by  Stephanie O'Leary. Reason: FULLY DELETED - This Was My Pre-Class Assignment That Should Have Been Posted on the Introduce Yourself Page - Sorry!

[Stephanie O'Leary]

Hello, everyone! My name is Stephanie O’Leary and I live in a small rural community in Southern Massachusetts.

I’m currently working on a rewrite of my first script, TUSK with a film producer. It’s based on a short horror story I had published many years ago, and frankly, I never dreamed I’d be asked to turn it into a feature-length script. The possibility of a sequel appears at the end, hence I’m hoping to get a jump on organizing my ideas, should that opportunity ever come to pass.

I’ve written in other genres (local arts reporting, music reviews, op-eds, advertising copy, picture books, poetry, and even the occasional obituary) but this is my first decent script. (An earlier attempt when I hadn’t truly committed to the work years ago resulted in a flawed but fun effort that will never see the light of day xD.)

As far as “unique” goes, I designed the house my husband and I live in (BIG architectural salvage fan) and am owned by a handsome orange tabby named Leonidas = ^;^=

PRE-CLASS ASSIGNMENT

Since a prior script has already introduced my main character I’ve provided more than just the skeletal outline this assignment requested – I hope that’s okay. I did listen to Hal’s audio and understand that as the lessons to come present different ideas and options, I may change things – works for me!

Monster: Chogan, a haunted and conflicted Fallen Angel. He was once a Warrior of Light who succumbed to jealousy and temptation for promised Status and Power. He appears as a young man but is spiritually ancient, and retains physical scars and memories of not only his earthly sins but the divine inheritance he threw away. Trapped in a new role as Death Bringer, he now walks between two worlds, an outcast to both Heaven and Hell.

Terror: Repeated reincarnations as a half angel/half human where he’s forced to face the sins of his past, events that add to his Karmic debt, and trying to make amends for those offenses before being claimed by The Eternal Abyss. Also, periodic “exorcisms” between incarnations at The Way Station.

Environments: Earthly, alien, and supernatural. Chogan prefers isolation; the further he is from triggering interaction, the better. The Powers That Be, however, have other plans for him (and that will begin on Page 1.)

Victims: Myriad, but chief among them are a wife he betrayed, a child he abandoned, and every other being he ravaged as a demon in his days of bloodlust and rage.

Primal Fears: Exposure and judgment. The dark rage within that still periodically surfaces and destroys. Facing the spiritual Brother and Father be betrayed. The never-ending traps of The Dark One who seethes at his escape and defection. A “ticking clock” element also keeps Chogan on a knife edge: when will The Creator “call Time” on his “purgatory experiment” and finally cast him out to be torn apart by the monster he once served?

• This reply was modified 1 year, 8 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 8 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

Stephanie O’Leary

“I, Stephanie O’Leary, agree to the terms of this release form.”

GROUP RELEASE FORM

As a member of this group, I agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.

I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

This completes the Group Release Form for the class.

[Stephanie O'Leary]

Stephanie O’Leary’s Target Market for TUSK

WHAT I LEARNED from this lesson: You increase your chances of getting viable producers to discover and request your script by researching on IMDB.com. Assemble a list of films that are similar to your own and look up the details on who made them. All listed producers are potential buyers so make a list of them along with their contact info. Also, begin making a list of actors/actresses in those films: they might fit roles in yours or suggest actors who could fill them.

Title: TUSK

Logline: TUSK is about a woman who cannot die, having been forever transformed by a fateful encounter with alien hospitality.

Genre: Cosmic Horror

Comp Films: Drag Me to Hell, Hereditary, Midsommar, The Witch, The Wicker Man (original), The Fly

Proposed Actors: Elle Fanning (Brie), Alexander Ludwig or Joe Alwyn (Chogan), Tilda Swinton (the Keeper/Vet), Ben Barnes or a young Robert Patrick (of TERMINATOR fame) for the role of Ty

POTENTIAL PRODUCER LIST: (Drag Me to Hell) Grant Curtis, Joshua Donen, Joseph Drake, Nathan Kahane, Ivan Raimi, Sam Raimi, Cristen Carr Strubbe, Rob Tapert, (Hereditary) Gabriel Byrne, Tyler Campellone, Scott E. Chester, Toni Collette, Beau Ferris, Kevin Scott Frakes, Jonathan Gardner, William Kay, Lars Knudsen, Ryan, Kreston, Buddy Patrick, Jeffrey Penman, Brandon Tamburri, (Midsommar) Patrick Andersson, Thomas Benski, Tyler Campellone, Scott E. Chester, Beau Ferris, Fredrik Heinig, Lars Knudsen, Pelle Nilsson, Jeffrey Penman, Viktoria Petranyi, Szandra Barbara Pozsar, Ben Rimmer, Tintin, Scheyniusm Judit Sos, Philip Westgren, (The Witch) Daniel Bekerman, Thomas Benski, Jonathan Bronfman, Joel Burch, Crian Campbell, Rosalia Chilelli, Chris Columbus, Eleanor Columbus, Mark Gringas, Julia Godzinskaya, Lauren Haber, Alexandra Johnes, Lars Knudsen, Ethan Lazar, Sophie Mas, Lon Molnar, Lucas Ochoa, Jodi Redmond, Michael Sackler, Alex Sagalchik, Lourenco Sant’Anna, Rodrigo Teixeira, Jay Van Hoy. NOTE: The two oldest listed comps (The Fly and The Wicker Man) are included for story comparisons only: all producers for both films are either retired or deceased. Total of viable Producers to pitch to: 55(!)

• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

Stephanie O’Leary’s Phone Pitch for TUSK

WHAT I LEARNED from this lesson: Research producers before calling on IMDBPro.com. Don’t waste their time and yours by pitching to someone who doesn’t make the kind of film you’re pitching. As with Lesson 8, craft a short, concise pitch and lead with your strongest script asset (Credibility, Hook, Title or High Concept.)

REQUEST TO PITCH:

“Hi, my name is Stephanie O’Leary. I was wondering if I could run a quick pitch by you?”

“It’s a cosmic horror script called TUSK. It’s about a female astronaut who cannot die, having been cultivated and transformed into a commercial crop after being abducted by aliens for intergalactic commerce.”

(I stop and wait to see if there’s interest. If so, the following questions could be asked:)

__________________________________________________________________________________________________________________

– “The budget range could run mid to high, depending on the actors, special effects, and miniature costs.”

– “I see an Elle Fanning type for my protagonist, a young Mads Mikkelson (possibly Joe Alwyn) as a male lead, and Tilda Swinton as the creature that tends to Brie (the protagonist) after her abduction.”

“The script comes in at 124 pages. At this time, only in-house staff at Voyage Media and the producer I’ve been working with have seen the material.”

“A24’s films tend to explore the darkness within ourselves, resulting in a Day of Reckoning with those demons that plague our lives. TUSK also asks profound questions: Are we protected by Faith or is our Fate predetermined? Is there a price for exercising our Free Will? Psychological horror is A24’s forte, and TUSK mines similar dark territory.

The Movie ends with three big reveals:

– Our heroine is transformed, trapped, and doomed to live on, despite wanting to die.

– The reveal of Space Commerce and an entirely unknown part of space run by pampered alien elites, and

– the young man’s true identity opens the door for a sequel.

• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

NOTE: I’m aware my Act breakdowns are too long but am submitting them “as is” as I presently don’t know how to fix them!

__________________________________________________________________________

Stephanie O’Leary’s Pitch Fest Pitch for TUSK

WHAT I LEARNED: Make it short and concise. Intro, genre, name of movie, major hook, then wait for questions. Avoid giving too many details – it can cause confusion and dampen enthusiasm.

PITCH:

“Hi, I’m Stephanie O’Leary. I’m currently developing the following project with a producer:

It’s a cosmic horror film called TUSK. Brie Foley is a woman who cannot die, having been “cultivated” and transformed into a commercial crop after being abducted by aliens for intergalactic commerce.”

BUDGET RANGE:

High (miniatures and special effects will raise the costs)

PROPOSED ACTORS:

Elle Fanning, Joe Alwyn, Tilda Swinton

THE ACTS:

Act 1: We meet Brie as a toddler being raised by her pious grandparents on a farm in rural Maine. She’s precocious, exhibiting not only a natural talent for farming but a fascination with the night sky. She gets in trouble often, struggling to cope with the expectations of aging caregivers and limited opportunities to develop her passions.

ACT 2: A fateful encounter with a mysterious young man at Survival Camp challenges her aspirations and awakens her sexually. She returns home more determined than ever to escape her dead-end life. That door unexpectedly opens when a horrible accident kills her grandfather, and her deaf grandmother – spiraling from the loss of everything she held dear – blames Brie for his death.

ACT 3: Brie’s dream of becoming an astronaut comes true but she is discovered and targeted for capture during a routine satellite check by an alien “scout.” Sucked through a cosmic vortex down to a world with more strange and sinister beings, she is tended to by a mutant with a tragic past while she heals. Little does she know that organic alchemy and a ticking clock have been activated: Brie herself will soon be planted as a rare perennial in alien soil and produce a regenerating harvest in high demand by an even higher order of alien elites.

HOW DOES IT END UP:

– Brie is doomed and considered lost by Earth authorities.

– The young man learns of her fate and feels not only guilt for failing to deter her path but pain as his cosmic burden has just increased (opening for a sequel.)

– The creature who tended Brie’s wounds now has hope that she may finally be able to end her own suffering.

– And Nana bitterly destroys the government letter and flag she is sent in sympathy for Brie’s loss (but keeps the compensatory check.)

CREDIBILITY:

My professional work has included features, reviews, op-eds, poetry, short stories, and the occasional obituary. TUSK was first published as a short horror story and is my first feature script.

• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

Stephanie O’Leary’s QUERY LETTER for TUSK

WHAT I LEARNED from this Assignment:

An intriguing Query Letter is short and concise. Open with a powerful Hook, have your second paragraph define the fundamental problem/challenge of your story (Act 1), then drop the Inciting Incident that cranks up the action and defines the stakes for the protagonist(s.)

Refer to your Hooks or Most Interesting Things for additional conflicts from Acts 2 and/or 3 that can only be answered by requesting the script to read. Finish with a final “cliffhanger” Hook and request permission to submit. A brief Bio listing pertinent accomplishments, especially any special skills or experience that applies to the script adds credibility.

OPENING HOOK:

All God’s creatures have their place,

on the Earth, perhaps in space.

If their hungers match our own,

might they seek OUR flesh and bone?

SYNOPSIS:

TUSK is about a woman who cannot die, having been forever transformed by a fateful encounter with alien hospitality.

Bright and restless as a child, Brie Foley exhibits an early fascination with the night sky and space exploration. A farm kid living an isolated life with her pious grandparents, she struggles to cope with the limitations of small-town life. In her teens, a terrible accident and an encounter with a troubled young man set her on the road to an ominous destiny.

The young man Brie meets in Survival Camp has cosmic knowledge and carries secrets. When he tries to dissuade her from her path, it is to spare her life and perhaps redeem his own.

There are no elephants in space. TUSK means something else in this part of the cosmos – something rare and expensive for those who want it, and something terrifying to those employed in its manufacture.

REQUEST:

I hope TUSK is of interest. If so, I’d be happy to forward a copy of the script to you.

Sincerely,

Stephanie O’Leary

BIO:

Stephanie’s work has included features, reviews, op-eds, poetry, short stories, and the occasional obituary. TUSK was first published as a short horror story and is her first feature script.

• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

Stephanie O’Leary’s High Concept/Elevator Pitch for TUSK

WHAT I LEARNED FROM THIS ASSIGNMENT:

Loglines reveal the key elements of a movie and tell it in overview/story form. An Elevator Pitch reveals the core issue (main Hook) explored in the movie.

MOST UNIQUE About the Lead Character from a Big Picture Perspective:

Brie Foley is blunt and brash but brilliant, and exploring space is the siren song that has called her on the road to adventure since childhood. Practical, literal, and impatient, she seems incorrigible but is more of a cuckoo that was put in the wrong nest.

HOW TO TELL THIS in the Most Interesting Way Possible:

DILEMMA – A restless spirit, small-town limitations, elderly caregivers/grandparents.

MAIN CONFLICT – Lack of opportunities to nurture her interests and strict religious teachings try Brie’s adventurous spirit. She acts out in ways that get her arrested and endanger her grandparent’s standing and business in the community.

WHAT’S AT STAKE: Brie’s future.

GOAL/UNIQUE OPPOSITION: To escape her dead-end life and use her unique skill set to make her mark in space.

ELEVATOR PITCH: “I’m finishing a feature script called TUSK. It’s about a woman who cannot die, having been forever transformed by a fateful encounter with alien hospitality.”

• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

Stephanie O’Leary’s Synopsis Hooks – TUSK

WHAT I LEARNED: Extracting and organizing your best COM’s and MIT’s can create the framework for a “highlight reel” synopsis.

TUSK is about a woman who cannot die, having been forever transformed by a fateful encounter with alien hospitality.

Bright and restless as a child, Brie Foley exhibits an early fascination with the night sky and space exploration. A farm kid living an isolated life with her pious grandparents, she struggles to cope with the limitations of small-town life. In her teens, an encounter with a troubled young man and a terrible accident set her on the road to an ominous destiny.

Alien “harvesters” abduct Brie and transform her, forcing her to examine the mysteries of faith, the price of willfulness, and the cosmic cost of cravings and appetites.

The young man Brie meets in Survival Camp has cosmic knowledge and carries secrets. When he tries to dissuade her from her path, it is to spare her life and perhaps redeem his own.

There are no elephants in space. TUSK means something else in this part of the cosmos – something rare and expensive for those who want it, and something terrifying to those employed in its manufacture.

The gift of Free Will does not mean we will escape its consequences. Where we fall on the food chain determines who is predator and who is prey. TUSK is a reminder that sometimes boundaries are meant to protect us, and the unknown is better left undisturbed.

• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

Stephanie O’Leary’s 10 Most Interesting Things

What I Learned Doing This Assignment:

Confession: This assignment kind of broke my brain! It’s an entirely different way of assessing key elements, events, and unique character traits that can be used to interest producers and promote your story. Not even sure I did this right, but here goes …

Most Unique Feature of My Heroine:

We meet our protagonist as a toddler. She’s lively and animated, and although she loves the farm, gardening, and her Grandpa, she’s also in love with the stars. She becomes a brilliant but headstrong teen who struggles with having older caregivers (grandparents.) They can’t keep up with her energy or give her the opportunities she needs to blossom. Practical, literal, and impatient, she seems incorrigible but is more of a cuckoo that was put in the wrong nest. A small hometown can’t contain her and even all of Planet Earth ain’t gonna cut it: this girl badly wants to make history by terrafarming space.

Major Hook:

Farm life is cyclical; so are our lives. The seasons change: crops are planted, grown, and harvested, animals are born, raised, and killed. Raw materials are ALWAYS in demand. Where we fall on the food chain determines who is predator and who is prey. Brie ignores the religious tenets she was raised with as well as informed advice, barrels into uncharted territory, and pays a horrific price for it.

The Twist:

Boundaries are non-issues to this girl who dreams big. She aspires to use her gardening talents off planet.

Turning Points:

– Brie is repeatedly arrested for petty crimes and punished for acting out at school.

– Her exhausted grandparents arrange for her to attend a summer Survival Camp where strange and ominous events occur. She’s intrigued by the younger of the two men overseeing the group (or he appears to be a man) and ends up spending much of her time trying to figure him out. Quiet but with a troubled history of his own, he challenges her ideas and changes her emotionally and physically.

Character Betrayals:

The young man awakens Brie sexually, but not by choice. She’s confused, hurt, and torn by his distance the day after.

Emotional Turning Points:

• The death of Grandpa. This seismic shift destroys whatever love remained between Brie and her grandmother.

• The abduction. This was NOT part of the plan.

• A creature that tends to Brie after her abduction is mute, like her grandmother. As she’s her only hope for information and a chance to escape, Brie can’t tell if she can trust her or not.

• Brie’s body begins to change and despite the sympathetic care of the creature, she seems unable to heal her. Brie strikes out against her only ally, believing she is working in alliance with the brutish “caretakers” who oversee and work various plots around the planet.

• Brie comes to realize the creature is also a victim.

• Brie finds evidence that she is not the first astronaut to be abducted. While frightening, the artifacts provide a sliver of hope that she might find allies and still be rescued.

• Brie’s hopes are shattered when her co-pilot is casually killed before her eyes.

Major Twists:

A fatal farm accident indirectly caused by Brie destroys her grandparents and their livelihood but results in a chance for her to embark on the future she always dreamed of.

Reversals:

Brie’s dream comes true – she becomes an astronaut. But the warnings of the young man from Survival Camp turn out to be prophetic: she’s abducted and transformed on a cruel alien world that produces a rare and costly product greatly desired by a higher rank of alien beings.

Big Surprises:

The horrific death of Grandpa

• The abduction in space during a routine satellite check,

• The creature that “scouts” her location during a regular sweep for “materials” looks much like a biblical creature from the Book of Ezekial

• The planet Brie’s brought to intentionally mimics Earth and the environment she grew up in

• The shocking aftermath reveal after Brie’s “harvesting”

• The reveal of Spiritual and Alien beings existing much as we do throughout the cosmos

• The reveal of Space Commerce – what they want and how they source materials

– The young man’s reaction when he learns of Brie’s abduction

– The caretaking creature’s continuing pain may eventually end, thanks to an idea/gift from Brie

– Brie’s grandmother’s reaction when learning of her loss in space

• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

Stephanie O’Leary LESSON 3 Producer/Manager

WHAT I LEARNED TODAY is …

A Producer needs a Writer for Source Material but begins an entirely new journey thereafter, finding and assembling the myriad components and people that eventually get a film made. A Writer can be an invaluable ally to a Producer by sharing their vision of the material, being flexible about script changes, and creating targeted pitches to help them shop your script to actors and business entities alike. Do whatever it takes to get your film made.

A Manager acts as a long-term mentor and creates a plan to shape your abilities as a Screenwriter. A Manager knows how the movie business works and can advise you on everything from pitches to presentation. Being focused, doing the work, and following their directives can lead to a mutually beneficial and successful career.

HOW I WOULD PRESENT TO A PRODUCER:

TUSK is about a woman’s fateful encounter with alien hospitality,

…  whose role in the universe is redefined without her consent,

…  a woman who cannot die

…  and whose loss of control leads to a tragic transformation through the will of others.

Alternative High Concept Pitch:

What exists beyond the stars? If it lives, is it friend or foe? And if we dare to breech that divide, are we willing to pay the price of our curiosity?

There are two strong roles that should attract name actors. One of the final scenes also suggests the possibility of a sequel.

HOW I WOULD PRESENT TO A MANAGER:

I have a cosmic horror script called TUSK that I hope will be of interest.

LOGLINE: Space “harvesters” abduct and transform astronaut Brie Foley, forcing her to examine the mysteries of faith, the price of willfulness, and the cosmic cost of cravings and appetites.

There are two strong roles that should attract name actors. One of the final scenes also suggests the possibility of a sequel.

I have a varied background as a writer and TUSK, my first script, is based on one of my published short stories. I hope it will be the first film in a franchise.

• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 10 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

Stephanie O’Leary’s Marketable Components

WHAT I LEARNED Doing This Assignment: Breaking down marketable aspects is critical to selling your story. A lot of money is on the line; help Producers see the possibility of multiple elements that would appeal to a diverse, paying audience.

LOGLINE: Space harvesters abduct and transform astronaut Brie Foley, forcing her to examine the mysteries of faith, the price of willfulness, and the cosmic cost of cravings and appetites.

The 3 Best Marketability Components Title, Unique, and A Great Role for a Bankable Actor

How I could emphasize the Title – There are no elephants, narwhals, walruses, or warthogs in space. TUSK means something else in this part of the cosmos – something rare and expensive for those who want it, and something terrifying to those employed in its manufacture.

How I could emphasize the Unique Aspect – The portrayal of Intergalactic Trade and how the entities fulfill their demand for raw materials is shown in an utterly new way.

How I could emphasize the Bankable Actor Aspect – The main character is a strong role for a young female (significant events happen in her mid-teens and mid-twenties). There’s also a secondary character that’s revealed to be more than what he seems (mid-twenties to early thirties). His last scene also reveals the potential for a sequel.

• This reply was modified 1 year, 11 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 11 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 11 months ago by  Stephanie O'Leary.

[Stephanie O'Leary]

ASSIGNMENT ONE Stephanie O’Leary TUSK Cosmic Horror

Title of Script: TUSK

Genre: Cosmic Horror

Concept: All God’s creatures have their place / On the Earth, perhaps in space

If their hungers match our own / Might they seek our flesh and bone?

MOST ATTRACTIVE ABOUT THE STORY: While a Cautionary Tale, the story is also an exploration of Identity, Sentience, Boundaries, and Spiritual Beliefs.

WHO I’LL TARGET FIRST & WHY: I’m incredibly lucky to already be working with a Producer. I happened upon a free talk he gave on-line on why Horror has become such a popular genre and what he was looking for through a development company in L.A. I felt my short story was a good match so I decided to pitch it, hoping he might be interested in it as a short film. I was STUNNED when he asked if I’d considered expanding the material into a feature (the original is told in 3^rd person, my protagonist didn’t even have a name, and there was no real backstory leading up to “the inciting incident.”) The past 2 years have been a crash course of re-reading Script Writing books, watching YouTube tutorials, analyzing TONS of movies, converting the existing story into script format, and creating an entire First Act world for this sobering tale to be firmly anchored in (yes, Joshua has the patience of Job!) I’m close to completing the script and hope to get better at crafting pitches; while I have occasional moments of clarity, distilling a two-hour film down to its most provocative essence isn’t my strong suit.

WHAT I LEARNED TODAY IS …

Concepts are key to creating intrigue and suggesting atmosphere.

I need to get better at distinguishing the differences between pitches, hooks, tag lines, and “trailer moments.”

[Stephanie O'Leary]

.

• This reply was modified 1 year, 11 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 11 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 11 months ago by  Stephanie O'Leary.
• This reply was modified 1 year, 11 months ago by  Stephanie O'Leary. Reason: I posted my Lesson One Assignment here instead of on the correct forum. It's now been posted on the correct thread - sorry for the screw up!

[Stephanie O'Leary]

Hello, everyone! My name is Stephanie O’Leary and I’m currently working with a film producer, fleshing out a short horror story I had published into a feature-length script. I’ve written in other genres (local arts reporting, music reviews, op-eds, advertising copy, picture books, poetry, and even the occasional obituary) but this is my first decent script. (An earlier attempt when I hadn’t truly committed to the work years ago resulted in a flawed but fun effort that will never see the light of day 🙂 I hope to gain a better understanding of the business concerns of the movie biz, improve my pitches, and quell my nervousness about pitching face-to-face. As far as “unique” goes, I designed the house my husband and I live in (BIG architectural salvage fan) and am owned by a handsome orange tabby named Leonidas = ^;^=

[Stephanie O'Leary]

I agree to the terms of this release form.

GROUP RELEASE FORM

As a member of this group, I agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.

I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

This completes the Group Release Form for the class.