Former screenplay reader and optioned screenwriter, Michael Rogan, shares some insights on how to find the ultimate screenplay idea, and jump-start your screenwriting career.

San Diego, CA -- (SBWIRE) -- 09/02/2015 -- As anyone who has dabbled in the field of screenwriting knows, finding a compelling, marketable and emotionally satisfying screenplay idea can be one of the most difficult things a writer can hope to do. (And oftentimes more difficult than the actual writing of the screenplay itself.)

And according to Michael Rogan, author of "Screenwriting Made Stupidly Easy" and the founder of ScriptBully magazine, this is due to the fact that most of the screenwriting how-to information out there deals with mechanical processes, like formatting a screenplay.

And not with the most important process of all: finding a great idea for your story.

"There's a ton of stuff out there about how to format your screenplay scene, or the best way to organize your Act II," said Rogan. "But this is kinda like a mechanic spending all their time learning how to paint your car."

"It can make your car look nice, but without an engine you won't get far."

It was this dearth of screenplay brainstorming information that inspired Rogan to package his years of experience, as a screenplay reader and optioned screenwriter, into his new Udemy course - Movie Idea Creator | Your 7-Day Guide to a Killer Screenplay Idea.

In it he covers topics such as "What Every Story is Really, Really, Really About," "How to Find a Non-Sucky Hero," and "Story Structure in 7 Simple Steps."

But perhaps the biggest teaching point Rogan tries to emphasize - beyond the fact that most "good" movie ideas start out as "bad" movie ideas - is that trying to "game the system" by finding a movie idea guaranteed to sell just doesn't work.

"Churning out a boring, safe, paint-by-numbers story may have worked 10 years ago," said Rogan. ""But the film business needs to be bold and shocking to get people's attention."

And, according to Rogan, there's no better way to "catch" the attention of producers and agents then tell an original and unexpected story. And that all starts with an origional and unexpected movie idea.

"Newbie screenwriters don't realize the advantage being out of the business," said Rogan. "All they gotta do is take some creative risks and tell the story they were meant to tell."

"And let the film business stuff take care of itself."

For those interested in possibly finding that perfect idea to jump-start their screenwriting career, they can check out the Udemy course: "Movie Idea Creator | Your 7-Day Guide to a Screenplay Idea."

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In a new video, Michael Rogan of ScriptBully magazine shares his best strategies for learning how to write scripts that have an almost addictive page one.

San Diego, CA -- (SBWIRE) -- 07/20/2015 -- Learning how to write scripts for film production isn't just about plotting, dialogue and characterization. At its most basic, it's about grabbing a reader from the first page...and never letting go.

Which is why, Michael Rogan of ScriptBully magazine, has released a new video, "How to Write Scripts With a Kick-Ass Page One," to help the would-be screenwriter capture the interest of a screenplay reader - and eventual movie viewer - from the very beginning of the story.

"When I was a script reader, I was shocked at how many screenplays had kind of 'blah' first pages," said Rogan. "That's the #1 job you have as a screenwriter. Grab 'em right away - and take them on the ride of their lives."

In the video, Rogan offers strategies BOTH unorthodox - "Don't start off with your best dialogue" - and immminently practical - "Think like a camera, start with a long shot and move in."

And his goal is to give screenwriters some instantly useable techniques they can use to improve their screenplay instantly. (And that includes from the very first page.)

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to Writing a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Michael Rogan of ScriptBully magazine shares some strategies screenwriters can use for writing a script in a visually-engaging - and emotionally satisfying - location.

San Diego, CA -- (SBWIRE) -- 07/20/2015 -- Writing a script isn't simply about what the characters say. (That's what "plays" are.) It's about telling a story visually, and transporting the reader (and viewer) with fascinating and creative story worlds.

Unfortunately, according to Michael Rogan of ScriptBully magazine, many screenwriters miss this vital element of screenwriting. "If I see another screenplay scene set in a coffee shop, I"m gonna scream," said Rogan.

So, Rogan wrote a new column "Writing a Script With Kick-Ass Locations" to help screenwriters bring visually-engaging and emotionally powerful locations to your stories.

"Screenplay locations ain't just about choosing a zip code for your story," said Rogan. "It's about finding the ultimate story location that provides the most conflict for your main character...and pushes that character to their absolute limits."

The first thing, Rogan recommends, to writing a script with compelling and interesting locations is to start collecting visual research. "Become an absolute internet junkie on the location."

And then from there it's a matter of finding the most embarrassing, foreboding and (downright) scary locations to put your main character in.

"If you can keep asking:'How do I make my characters uncomfortable?'" said Rogan. "Then you'll be far better off than 97% of the screenwriters out there."

And this hard work on writing a script with locations will pay off immensely. "Story locations do so much of the heavy lifting for you, such as theme and mood."

"They make your story memorable. And being memorable is the first step to being great."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to Writing a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In his new column, Michael Rogan of ScriptBully magazine shares strategies for writing scripts with heroes (and heroines) that captivate readers...and help get your screenplay sold.

San Diego, CA -- (SBWIRE) -- 07/20/2015 -- Writing scripts is about more than just crafting clever dialogue and making sure the margins are correct. Many times it's about finding a compelling, unique - and sometimes flawed - main character who the reader (and audience) can connect with.

In his new column, "Writing Scripts With Heroes (and Heroines) That Don't Suck)," Michael Rogan of ScriptBully magazine shares some strategies screenwriters can use to ensure their screenplays have a protagonist that's interesting enough for strangers to care about for two hours.

"When I was a script reader, I would read tons of screenplays that had every element nailed except for one...a great hero," said Rogan. "I wrote the column to help screenwriters avoid penning passive, uninteresting, and unmotivated characters."

Rogan learned first-hand the importance of writing scripts with engaging heroes. ("I was told more than once, in the scripts I wrote, my main characters oryally sucked.")

That was until he figured out a story isn't just "things that happen." They are a "reflection" of the inner turmoil the main character is going through.

"Every ounce of conflict, effort and energy in a story should be focused around the main character," said Rogan. "Once you find a main character worthy of your story, then you create a fabulous journey around them."

And then, according to Rogan, you don't write the story - the story writes you.

"It's hard work at first," said Rogan. "But once you nail down the character the story starts to write itself...and that's the best feeling of all."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to Writing a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In his new slideshare presentation, Michael Rogan of ScriptBully magazine illustrates 7 script ideas of blockbuster movies that underwent radical transformations on the way to the silver screen.

San Diego, CA -- (SBWIRE) -- 07/20/2015 -- Finding quality script ideas, that eventually become quality screenplays, is one of the most important tasks the would-be screenwriter faces. But what most screenwriters don't know is that many script ideas - even those of blockbuster (generation-altering) movies - can drastically all the way through production and on their way to the big screen.

In his new slideshare presentation, "7 Script Ideas That Changed (Dramatically) on the Way to the Screen," Michael Rogan of ScriptBully magazine goes inside the production of 7 famous films and shows how they illustrate the colloborative - and often changing - process of screenwriting.

"A ton of screenwriters I work with spend so much time stressing about making sure their script ideas are air-tight before writing their script," said Rogan. "But when you consider some of the biggest films ever, such as "Back to the Future" and "Ghostbusters" underwent huge changes in tone and subject then it gives you a bit of confidence moving forward."

To illustrate his point, Rogan shows how initial concepts for the above films were much darker and edgier than their final products. "Doc Brown and Marty didn't initially travel back in time in a mall parking lot - they used a nuclear test site!"

Even family-friendly fare, such as "Toy Story," had its roots in a much darker story. "Woody initially was willing to do anything to stay by Andy's side - including murdering Buzz."

For the most part, Rogan tries to show that simplifying a story usually leads to a better story. "When filmmakers try to do too much - straddle too many genres and please too many different audiences - they usually end up with a muddled story."

"The secret, as with most things, is that less - including with script ideas - is definitely more."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to Writing a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In a newly published video, Michael Rogan of ScriptBully magazine, shares the strategies for how to write a screenplay flashback that doesn't suck.

San Diego, CA -- (SBWIRE) -- 07/20/2015 -- The screenplay flashback: that most controversial and oft-debated aspect of screenwriting. Though often derided as amateurish and cliche, screenplay flashbacks can an important tool for moving a story forward. (And expressing the vision of the screenwriter.)

But the big question is: what's the best way to execute a screenplay flashback? How do you know if a scene warrants writing a screenplay flashback?

In his new video, "How to Write a Screenplay Flashback," Michael Rogan of ScriptBully magazine shares some tips and tricks for screenwriting hoping to master the screenplay flashback.

"Most screenplay flashbacks royally suck," said Rogan. "There's just something inherently undramatic about them."

"I see them as sort of like fire extinguishers - only use in emergencies."

That being said, Rogan wrote his column because of the many screenplay flashback questions he had gotten over the years. "Try to take a movie flashback from a writer, and they'll fight you tooth and nail."

In the column, Rogan offers tips for "diguising" screenplay flashbacks. "You don't have to employ a screenplay flashback with those cheesy 'Scooby Doo' effects," said Rogan. "Instead, just try to use time in a fluid way, like 'Inception,' and you'll get more story bang for your buck."

But not matter how a screenwriter intends to use flashbacks, Rogan recommends screenwriters tread very carefully.

"Film industry folks laugh about the use of flashbacks in newbie's scripts," said Rogan. "Ya don't want to be water-cooler fodder."

"Unless of course that water-cooler talk leads to a sold screenplay."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to Writing a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In his recent column, Michael Rogan of ScriptBully magazine, lays out strategies screenwriters can use to come up with a screenplay title that's engaging, original and boosts the marketability of your script.

San Diego, CA -- (SBWIRE) -- 07/17/2015 -- As any hard-working screenwriter will attest, one of the most difficult parts of making sure a script is marketable is to come up with a compelling screenplay title.

In his new column, "How to Create a Screenplay Title That Doesn't Suck," Michael Rogan of ScriptBully magazine shares some dos - and a couple dont's - when it comes to screenplay titles.

"Many writers see their screenplay title as an afterthought, but this is a huge mistake," said Rogan. "The right screenplay title is like a big billboard for your screenplay right there on Hollywood Blvd. (And one you don't have to pay for."

Rogan believes good screenplay titles evoke a unique story world. ("But not so unique that's unrecognizable.) And they should be origional. ("But not too original. There's a fine line between quirky and outright crazy.")

But perhaps the most important tip Rogan provides is not to stress the creation of a screenplay title.

"Some of the best movies ever made had utterly crap screenplay titles," said Rogan. "So come up with the best screenplay title you can, and then send that puppy out."

"Somebody will probaby change it before it gets released anyway."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to Writing a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In his new column, Michael Rogan, of ScriptBully magazine, tackles that most debated film industry topic: screenwriting agents.

San Diego, CA -- (SBWIRE) -- 07/17/2015 -- Screenwriting agents are like the "Bigfoot" of screenwriting. (Hard to find, and everybody is looking for one.) But in his new column, "The Truth Behind Screenwriting Agents," Michael Rogan of ScriptBully shares the inside scoop on agents for screenwriters.

"Most screenwriters I work with obsess about getting an agent," said Rogan. "But the truth is that screenwriting agents are some of the worst people in the film business for screenwriters to approach."

That's because, according to Rogan, a screenwriting agent is most likely spending most of their free time on their existing clients. ("Newbie writers are more of a nuisance to these guys.")

But that doesn't mean every type of agent should be off-limits to screenwriters. "Agents of actors and directors are a great way to break into this business...as long as you can make their client look good."

So, does this mean screenwriters don't need agents? "Absolutely not! It's just that screenplay agents are like a zen koan - you won't see 'em till you don't need 'em."

"And then they come out from the Hollywood woodwork. And you'll be a nuisance no longer!"

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to Writing a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In his new column on ScriptBully Magazine, former screenplay reader Michael Rogan shares tips on the best screenwriting competitions for screenwriters hoping to break into the business.

San Diego, CA -- (SBWIRE) -- 07/17/2015 -- Screenwriting competitions can be a fantastic way for would-be professional screenwriters to assess their skill level and possibly get their screenplay noticed by a film business insider. Unfortunately script competitions can also be a wonderful way for screenwriters to waste their money on a contest which may, or may not, even get read.

In his new column, "7 Screenwriting Competitions That Don't Suck," Michael Rogan, editor of ScriptBully Magazine shares his recommendations for script contests that are actually worth the price of entry.

"There are some great screenwriting competitions out there. There are also some great wastes of time," said Rogan. "I wrote the column to help point newbie screenwriters in the right direction - and away from the wrong direction."

Though Rogan doesn't content his column is the end-all, be-all on screenplay competitions - "I'm sure there are tons of screenplay contests out there I've never heard of that are fantastic" - but he does hope it can give screenwriters a list of highly-reputable contests they should definitely put on their to-do list.

"Whether it's the Nicholl Fellowship - and its lucrative year-long prize - or the Slamdance Screenplay Contest and its counter-culture attitude - there is a screenwriting competition out there for everybody," said Rogan.

The one thing Rogan does stand firm on is the fact that screenwriters should spend their last dime on a screenwriting competition.

"Prize money ain't the reason to enter a script competition," said Rogan. "It's the chance of exposure and the feeling of geting that much close to the film business."

"It's like Las Vegas, only bet if you can afford to lose."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In his new column, former screenplay reader Michael Rogan, shares strategies for finding screenplays online (without paying a single penny).

San Diego, CA -- (SBWIRE) -- 07/15/2015 -- There may be no better (and cheaper) way for screenwriters to improve their craft than to find screenplays online - and pore over them, word by word. But one big question newbie screenwriters have is: where do they find scripts online? (And how do they find them without breaking the bank.)

In his new column, Top 5 (Totally-Free) Places to Find Screenplays Online, Michael Rogan of ScriptBully magazine shares his top sources for quality screenplays - and not a single one of them will cost a penny.

"There's never been a better time to find reams of screenplays, totally free, that a screenwriter can use to learn their craft," said Rogan. "I only wish they were around when I was starting out."

"Would have saved me hundreds of dollars!"

Rogan was inspired to write the column after receiving countless queries about the best places to find screenplays online.

"Many screenwriters, just starting out, want to see what an actually professional screenplay looks like," said Rogan. "But they're not sure where to find 'em."

"These five sources are my go-to locations for reading screenplays."

Just like anything on the Internet, Rogan can't guarantee these sites will be around forever. "I've seen a lot of these sites come and go."

But Rogan encourages screenwriters to head to these sites, download a bunch of scripts - "Don't forget to click on the ads; these folks need to make money somehow" - and add them to their screenwriting vault.

"Forget film school," said Rogan. "If you wanna learn screenwriting, just print out 100 scripts and read 'em over. You'll get to be a pro before you know it."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former screenplay reader, and optioned screenwriter, Michael Rogan lays out a quick introduction to the movie making process in his new column.

San Diego, CA -- (SBWIRE) -- 07/14/2015 -- Movie making can be quite mysterious to the filmmaking beginner. Whether you're a would-be professional screenwriter or hopeful film director, getting a grasp of the movie making process can be a great boost to one's confidence. (And help film industry newbies plot a course for their future career.)

In his new column, "Movie Making Crash Course for Filmmaking Newbies," Michael Rogan, former screenplay reader and optioned screenwriters, shares insights into the movie making process - and how words on a page turn into moving images.

"When I was first starting out, I had no idea how movies got made," said Rogan. "I thought people turned in scripts, and then somebody grabbed a camera and some actors...and then a film was made."

"It wasn't until I learned the step-by-step process of how a movie gets made that I began to sound like a professional - and write with an eye toward production."

That "production" consists of distinct phases of movie making, including development, pre-production, production and post-production. And each phase has its own set of foot soldiers who all execute specialized, but highly important, jobs that bring a film to life.

"Even if you're never gonna hold a camera in your life, I think it's really important, if you wanna work in the film biz, to learn what a "line producer" does. How a cinematographer differs from a 1st A.D." said Rogan.

"There's a whole filmmaking language and the quicker that a would-be screenwriter, director, producer - or even actor - can learn it, the quicker they'll become part of the filmmaking community."

And after looking for a simple, no-nonsense guide to how movie making worked - and unable to find one - Rogan decided to write one. "It's not brain science, but it is a bit complicated at first."

But, Rogan believes, the effort is worth it. "Not many would-be film pros do the work to learn every aspect of production. (Especially screenwriters.)," said Rogan. "Which is a shame, because respecting other people's contributions to a movie, is one of the best way to respect your own."

"And doing that, can lead to a full-time career before you know it."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former screenplay reader Michael Rogan gives an insider look at the process of script coverage, and how it can improve the young screenwriter's abilities.

San Diego, CA -- (SBWIRE) -- 07/14/2015 -- Script coverage might be one of the most confusing aspects of the film business. (That and the films of David Lynch.) And as any would-be professional screenwriter knows, screenplay coverage is a vital next step to getting your screenplay noticed and eventually purchased for production.

But what exactly is script coverage? And how can it help a screenwriter in their quest for a full-time writing career. Michael Rogan, former screenplay reader and publisher of ScriptBully magazine, shares the ins and outs of screenplay coverage in his new column, "Script Coverage FAQ."

"Script coverage confuses writers because it means two distinct things," said Rogan. "Coverage refers to both the professional evaluation that agencies, production companies and studios do on a screenplay. But it can also be a professional service that screenwriters use to improve their craft."

The latter has become a bit of a cottage industry, with many screenwriting gurus charging up to five-thousand dollars for screenplay coverage.

"I think five-thousand dollars is what I paid for my first car," said Rogan. "I'd think long and hard before spending that much on script coverage."

Still, Rogan believes that fairly-priced coverage can be useful to the beginning screenwriter. "Sometimes the most helpful part of coverage is the synopsis. To find out what somebody else thought your story was about, versus what you thought it was about."

And when screenwriters are finally ready to throw their screenplay hat in the ring, what can they do to improve their chances at getting positive coverage of their story.

"Don't be boring. Write a script that's fun to read," said Rogan. "All the usual stuff applies. Don't write what you've already seen on late-night TV. Write something fresh and well-told."

"And, trust me, getting good coverage will be no problem at all."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

In his new column, former screenplay reader, Michael Rogan, shares strategies for writing a movie that not only entertains - but also keeps readers guessing every step of the way.

San Diego, CA -- (SBWIRE) -- 07/10/2015 -- Writing a movie is a monumental task. (And any screenwriter who is able to push all the way from "Fade In" to "Fade Out" should be commended.)

But according to Michael Rogan, former screenplay reader and founder of ScriptBully magazine, finishing a movie script is just the first step to screenwriting success. Writing a movie with characters actually "do something but sit there" is probably the biggest key to a successful screenplay.

"There are a ton of newbie screenwriters out there who churn out awesome dialogue and interesting turning points," says Rogan. "But one thing their stories lack is a sense of urgency. Of character not just sitting and having a cup of tea."

That's why Rogan wrote a column, "Writing a Movie With Characters That MOVE!" to help would-be film scribes put some pro-level screenwriting craft into their stories.

"One of the quickest giveaways that a screenplay is written by an amateur is to have characters just sit there, chewing up scenary," says Rogan. "Which is said, because the fix is pretty darn easy."

The "fix" Rogan refers to is changing the perspective of the story from wide to close up, and to map out scenes with action figures. "I know it sounds nuts, but it totally works."

And it's Rogan's hope that with a little forethought - and perhaps an action figure session or two - that screenwriters are able to bring some much-needed tension and energy to their script. (That can then translate into a possible sale.)

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former screenplay reader and founder of ScriptBully magazine offers strategies screenwriters can use to learn how to sell a screenplay - even if they're 3000 miles away from Hollywood.

San Diego, CA -- (SBWIRE) -- 07/10/2015 -- One of the biggest questions new screenwriters have - beyond how the heck did they make three Transformers movies - is how to sell a screenplay. (And even if it's possible to sell a screenplay if they don't call Los Angeles home.)

But according to Michael Rogan, former screenplay reader and founder of ScriptBully magazine, living in Hollywood is not the important requirement to selling a screenplay.

Instead, it's presenting your screenplay is a professional, and not sucky way.

"Living in Los Angeles helps get you a couple of meetings and meet some folks at industry events," says Rogan. "But really development folks are just looking for talent. And if you've got the goods, then you could live in an igloo in Nova Scotia for all they care."

This doesn't mean would-be professional screenwriters should spend all their time isolated in their hometown. ("Ya gotta come out to Los Angeles at some point, if only to have something to gripe about.") But with a couple of industry hacks - online screenwriting courses and film festival panels - the out-of-town screenwriter can learn the rules of the game.

All while utilizing their biggest screenwriting asset.

Many of the scripts written by L.A. screenwriters follow a pretty standard formula," says Rogan. "Many industry folks are looking for something fresh and innovative."

"And it's hard to be fresh and innovative when you spend all your time trying to get a table at Wolfgang Puck's."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former Hollywood screenplay reader answers the 10 most confusing aspects of screenwriting format.

San Diego, CA -- (SBWIRE) -- 05/08/2015 -- Spend any time working on a screenplay and you'll quickly realize there is a strange and foreign language you must learn: that of screenplay format.

And while many script format issues are self-explanatory - an INT. is where the camera is placed indoors - many, such as how to format a phone call or deal with a flashback, require more specialized, and arcane, knowledge.

That's why Michael Rogan, editor of ScriptBully magazine, recently published his Screenwriting Format FAQ - The 10 Most Common Screenwriting Format Questions Answered. Because according to Rogan, many would-be screenwriters let the mechanics of the writing style stop them from finishing their story.

"Script format is just plain weird, and strange if you've never worked with it before," said Rogan. "Things like DISSOLVES and FLASHBACKS and MONTAGES don't work like any other style of writing."

"They are designed for heavy cameras. And it's not a skill set that most newbie screenwriters know much about."

And the stakes are high, as Rogan points out, because screenwriting format is one of the quickest ways for film business professionals to disregard novice screenwriters. "It's so easy for producers and agents to filter out scripts based on their poor execution of screenwriting format."

But Rogan is eager to make clear that script format is not difficult, or impossible to master. "If the guys who wrote the Transformers movies can master this, so can you. It just requires some patience and a bit of a learning curve."

"But once you got it the world, and the film business, is your oyster."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Sceenwriting pitchfests are the latest way for newbie film scribes to ply their wares to the film industry. But are they worth the expense? Former screenplay reader, Michael Rogan, offers tips every screenwriter should know about pitchfests.

San Diego, CA -- (SBWIRE) -- 03/02/2015 -- Screenwriting pitchfests, in which screenwriters literally "pitch" their story to story development executives, have become a mainstay in many screenplay contests and screenwriter conferences.

But with a hefty price tag of $75 (and up) many screenwriters are left wondering is all the time and expense worth the price of admission. According to Michael Rogan, former screenplay reader, and author of "How to Write a Screenplay That Doesn't Suck" it depends on a screenwriter's ability - and expectations.

"The chances are pretty remote that a screenwriter will be able to sell a screenplay, on the spot, to somebody during a pitchfest," said Rogan. "Especially if that story pitch is average or mediocre."

And that, according to Rogan, is the major problem. Most story pitches simply aren't interesting or dynamic enough for producers, agents and executives to be interested in.

That being said, Rogan does feel there are many benefits of a screenwriting pitchfest that don't directly relate to a screenplay sale.

"Being forced to condense your story in its most basic, yet vital, elements is a great exercise. As is pitching your story in front of total strangers," said Rogan. "If a screenwriter goes in with the right attitude, and super low expectations, then pitchfests can not only be fun, but they can also be a stepping stone to a professional screenwriting career."

"And that's well worth a hundred bucks."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

New "Screenwriting Hacks" resources provides a go-to stop for screenwriters looking for a fresh look at screenwriting.

San Diego, CA -- (SBWIRE) -- 02/04/2015 -- Screenwriting has been around since turn-of-the-century filmmakers decided to flout Thomas Edison's motion picture patent - and make "bootleg" films in the undeveloped hills of Los Angeles.

And though the technology of filmmaking has changed, what has been slower to evolve is the way screenwriting is taught. (For many young screenwriters, the traditional 3-act structure is still the norm taught in most screenwriting classes and books.)

But Michael Rogan, publisher of ScriptBully magazine, hopes to change that by offering a new voice to the screenwriter wars with the launch of his "Screenwriting Hacks" resource.

"I wanted to provide screenwriters a down-and-dirty guide to screenwriting that didn't involve three acts and beat sheets," said Rogan. "I wanted to give screenwriters modern tricks that they could use for a modern audience."

Rogan believes that "modern" audiences are too saturated in content to be surprised and entertained by the usual, run-of-the-mill screenwriting tricks. "Forget grabbing the reader on the first page...you've got to grab them in the first paragraph."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

And as a former screenplay reader, and optioned screenwriter, Rogan has seen firsthand power that unorthodox and creative story structure can do to a screenplay. "All the development people want to find exciting, new talent."

"And it's hard to be exciting and new when you play by the old rules."

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New video reveals straight scoop on whether screenwriters need to live in Los Angeles in order to make it in the ultra-competitive screenwriting field.

San Diego, CA -- (SBWIRE) -- 01/30/2015 -- Most writers pursuing a career in screenwriting will inevitably face that most vexing of questions: do you have to move to Los Angeles in order to make it as a professional screenwriter.

And conventional wisdom, along with most screenwriting how-to books, illustrate the importance of would-be screenwriters living in Southern California.

But according to Michael Rogan, author of the paperback book "Screenwriting Made Stupidly Easy," screenwriters can break into the film business whether living in Hollywood or Hanoi.

"Unless a screenwriter wants to be a staff television writer or wants to get into producing or directing, they don't have to move to Los Angeles," says Rogan. "But they do have to be able to do a few basic things."

Those "basic" things include making occasional trips to southern California, and "being able to converse on the phone with human beings." The latter being something that many screenwriters are terrified to do.

"You don't have to live in the 310 area code to break into the film business," says Rogan. "But you do need to be able to check in with managers and producers to see if they're open to receiving your material."

Perhaps the most important asset screenwriters based out of Los Angeles need to acquire is experience on a film set.

"They don't have to work on the next 'Avengers' movie. But they do need to work with actors saying words they wrote," says Rogan. "This is worth four years of film school right there."

"And anything that helps screenwriters skip film school is all the better."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former screenplay reader, Michael Rogan, shares the secrets to successful and marketable screenwriting in his new how-to guide.

San Diego, CA -- (SBWIRE) -- 12/22/2014 -- According to Michael Rogan, author of the new paperback book "Screenwriting Made Stupidly Easy," everybody dreams of being a world-famous, and well-paid, screenwriter.

"Most everybody has watched some crappy movie in the theatre and thought 'I can write better than this schlock,'" says Rogan.

And then the doubt creeps in: "I never went to film school. I don't know anybody in the film business. Hell, I don't even know what a screenplay is supposed to look like."

But Rogan, a former screenwriter and Hollywood reader, believes right now is the best time ever for writers to break into the film business.

"The whole film and TV development world is crazy. Like some weird zombie apocalypse where producers wander the countryside looking for stories...and/or brains."

And it's this belief that writers have an actual puncher's chance at seeing their words up on the screen that inspired him publish the ScriptBully collection: "Screenwriting Made Stupidly Easy."

Rogan hopes it provides a no-nonsense, practical guide to aspiring writers to master the craft of screenwriting - and even possibly get their screenplay sold.

"I went to film school, so I know it can be a fun, fantastic way to blow through fifty-thousand dollars," says Rogan. "But for those who don't have the time (or money) to spend four years on learning screenwriting, I tried to give them a Reader's Digest version."

The book gathers the entire ScriptBully collection into one paperback volume. "Mostly so my wife could see what the hell I've been doing the last two years."

But ultimately, Rogan hopes that it helps would-be screenwriters inch ever closer to a full-time screenwriting career.

"If I can help reduce the amount of action-figure movies and board-game franchises out there, then I will have considerd a good day at the office."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former Hollywood script reader breaks down the ins and out of screenplay format and shows screenwriters what they should - and should not - do when it comes to script format.

San Diego, CA -- (SBWIRE) -- 11/10/2014 -- Screenplay format may derail more promising screenwriting careers than tendonitis and a lack of good screenwriting software combined. That's the contention of Michael Rogan, author of the new book "Screenplay Format Made Stupidly Easy."

In the book, Rogan tries to dispel many common script format myths. Namely, that it's exceedingly difficult, or that screenwriters need to constantly fret about camera angles to make their script look "professional."

"Forget all that camera junk," says Rogan. "Just go from a wide shot to a close up. That will give the reader all the 'visual cues' they need."

Rogan also lays out a few screenplay format obstacles screenwriters would do well to avoid. "Flashbacks and montages are not your friend," says Rogan. "No matter what you think, there is always a better way to tell the story than have that weird 'Scoooby Doo' stuff in your script."

All in all, though, Rogan simply tries to distill the essence of screenplay format in a short, amusing way. "Most script formats put people to sleep. I didn't want to do that."

"I wanted something that was fun and informative. (Unlike a flashback.)"

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

San Diego, CA -- (SBWIRE) -- 11/10/2014 -- One of the biggest challenges screenwriters have when learning how to write a script for the first time is dealing with the matter of dialogue. No screenwriting topic illicits quite as much dread -- and frustration -- as figuring out what characters should say, and how to say.

In his new book, "How to Write a Script With Dialogue That Doesn't Suck," former Hollywood script reader, Michael Rogan, attempts to dispel many mistaken notions screenwriters have about dialogue.

"Most screenwriters 'think' they suck at dialogue because they're trying to 'write' it. Instead, they need to learn how to 'talk' their dialogue on paper," says Rogan. "Once they can tap into their own rhythm of speech, they usually find it much easier to get into the rhythm of how other characters talk."

Rogan provides a myriad of different strategies screenwriters can use to capture more realistic speech. Such as writing with a partner, using voice-recognition software, recording popular movies and listening to them over and over. ("What else are you gonna do, listen to sports talk radio again?")

But Rogan thinks the most important strategy of all is to just start eavesdropping on every conversation you can. "People have a ton of different rhythms and ways they communicate," says Rogan. "Try to find the disconnect between what they're saying, and how they're trying to get what they want."

"And if you keep listening to others, you'll find not only does your dialogue improve...but your stories become more amazing than you could ever dream of."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former Hollywood screenplay reader, Michael Rogan, in his new book lays out the screenwriting strategies the film business doesn't want you to know about.

San Diego, CA -- (SBWIRE) -- 11/10/2014 -- According to former Hollywood script reader, Michael Rogan, learning how to write a screenplay that's engaging, marketable and capable of transforming a screenwriter's life is a bit like peeking behind the curtain of the "Wizard of Oz."

"The deeper a screenwriter gets into the film business the more they realize there are very few rules or formulas when it comes to writing a screenplay," says Rogan. "What I've tried to do is share the few rules screenwriters should follow - and let them forget the rest."

That includes such classic story paradigms as 3-act structure. "Audiences don't watch movies with a stopwatch and a notepad in their hands," says Rogan. "They watch a movie like they're on a roller coaster. They just want a ride with lots of ups and downs."

How does a screenwriter write a screenplay with lots of ups and downs? "Have something happen every 10 pages." How does a film scribe create interesting bad guys? "Make sure they're more charming and resourceful than your hero."

Rogan doesn't claim to be the last word on screenwriting. "I'm sure there'll be 10,000 more screenwriting books written this year." But he does try to offer a simple, but powerful, message for those just getting started with screenwriting.

"Don't get bogged down in the physical construction of your movie," says Rogan. "Go for strong emotion every single moment."

"The rest, including your career, will take care of itself."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former Hollywood script reader Michael Rogan reveals insider strategies screenwriters can use to get their screenplay noticed in his latest column.

San Diego, CA -- (SBWIRE) -- 11/07/2014 -- There are nearly 23,000 books on "screenwriting" in the Amazon book store. But, according to former script reader, Michael Rogan, the key to learning how to write a movie that people will actually see -- and that will lead to a lucrative screenplay sale doesn't have anything to do with a creative muse or an inspiring brainstorm.

It all comes down to approaching your script like a business venture.

"I know most screenwriters don't want to hear it, but before you toil for hours over your screenplay you have to make sure there is actually an audience for that script," says Rogan. "You wouldn't start a business without knowing there are customers for your product. The same works for your screenplay."

Many of Rogan's screenwriting students balk at such a narrow, left-brained approach to screenwriting. But he claims the more specific you can be about your target audience, the better your chances to sell your screenplay are.

"It's ironic, but the more you decide who your screenplay is NOT for the more people will relate to," said Rogan. "Bridesmaids,' 'Swingers,' 'The Hangover,' these are not movies made for mass appeal. But that's what helps them capture the public's interest."

And a producer or agent's interest as well. "If film-industry veterans smell money, and a promotion, they will be buy your script faster than a Lindsay Lohan parole violation."

To find out more tips on how to boost your screenwriting, head over to How to Write a Movie People Actually Want to See.

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former Hollywood screenplay reader offers buying tips when looking for story screenwriting software to help you with your movie.

San Diego, CA -- (SBWIRE) -- 11/07/2014 -- Screenwriting software isn't just limited to programs designed to keep your margins intact - and your script from looking like some cheap, Microsoft Word template that's been around since 1997. Today there are countless versions of story software that promise to help you find, structure and eventually finish that movie idea floating around your brain.

But how do you know which story software model to put your screenwriting faith in? Michael Rogan, editor of ScriptBully magazine and a former Hollywood script reader, shares in his recent column that he believes the key is to have clear goals about what you hope to get from story software - and what area of story development you feel you need the most help with.

"Many writers will turn to story software programs just hoping that the software will unlock the secret key to a magical movie idea," said Rogan. "But really, good screenwriting software that focuses more on developing your story, than controlling your line breaks, is basically a modern version of Dumbo's feather."

"Whatever helps you stay in the air is a good thing."

There are many story software options that cater particularily to screenwriters, said Rogan. "And are great for those writers needing genuine help structuring their story in a filmic form."

But if tapping into your creativity is your challenge, than Rogan suggests looking outside the "screenwriting" box for a story software solution. "Screenwriters aren't the only ones who know how to tell stories," said Rogan.

Either way, Rogan believes that screenwriters should feel free to take what they like from a story software program, and disregard the rest. "If all those story software makers had the secret...they'd be spending all their time selling scripts, not software."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenpla y" head over to ScriptBully and grab your FREE copy today!

For more information on this press release visit: http://www.releasewire.com/press-releases/release-3.htm

Former Hollywood script reader shows writers screenplay format best practices when it comes to introducing your characters.

San Diego, CA -- (SBWIRE) -- 10/21/2014 -- Screenplay format "sounds" about as creative as a tax seminar. But according to Michael Rogan, editor of ScriptBully magazine and former Hollywood script reader, screenplay format is one the quickest ways managers and agents can determine whether a screenwriter is a rank amateur...or a professional worth considering.

And nowhere is a mastery of script format more important than introducing characters. Unfortunately it's an area that many writers fail to deliver on.

"People spend months working on the motivations of their characters. But then they spend just a few seconds on "introducing" their characters," said Rogan. "It's a HUGE mistake, and one that can derail a screenplay's chances of getting moved up the Hollywood food chain."

This isn't to say Rogan believes good character introductions can "save" an otherwise poorly-executed story "No amount of clever description can rescue a story that royally sucks," said Rogan.

But good screenwriting is about an economy of words. An ability to say less, and express more. And nowhere is that more evident than in introducing the characters that populate a screenplay.

"When you introduce your characters you are telegraphing your ability to paint pictures and draw character sketches," said Rogan. "And most of all...you're showing your ability to work within the confines of the form."

And in the case of character description: the confines include a) writing the character's name in ALL CAPS the first time we see them and b) including the age of the character.

But Rogan believes it's really about who NOT to describe. "One big mistake newbie screenwriters make is to over-describe minor characters who take up very little screen time. Ya gotta know where your screenplay's bread is buttered..."

"And then keep on buttering it."

About ScriptBully Magazine
ScriptBully magazine is an inbox magazine devoted to helping screenwriters write well and get paid. For your FREE copy of the new eBook "7 Secrets to a Kick-Ass and Marketable Screenplay" head over to ScriptBully and grab your FREE copy today!

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