I’m looking forward to your participation! (If not live, then at least in the comments!)

At this point, my plan is to leave each week’s session online in full until the start of the next week’s session. Editing it down makes the assumption that the polished points or key ideas which remain in the edited video are the only important parts. Often, however, it’s seeing a point made within the larger context of the whole discussion or a series of consecutive questions, etc, that holds the nuances that convey the message or idea. (This principle is true in screenwriting and storytelling as well, so it because another way to show by example.) Once I can build a team, we’ll be pulling clips and creating additional video content that distills and crystallizes the ideas, though, too. There are some key announcements I am making in the video I’m still working on that explain how this show (and the workshop) are pieces in a much bigger strategic puzzle. :) Lots more practical and helpful content is on its way!

Excellent idea, and one I’ll definitely cover. We have a whole step (detailed article and exercise on not only the one sheet, but on how to incorporate it into your marketing strategy and process) in FAST Screenplay, so it’s a topic I’m pretty passionate about. Ironically, it probably would’ve taken me many months to think to focus specifically on it, without your suggestion. But opening my eyes to it, I realize it should be a key early episode. Thanks for the comment! (and for the kind words!)

@@fastscreenplay I tend to forget that you probably cover everything within the FAST system. Outside in the cold, we are kept warm by the hum of your 100 free videos streaming away. Has a Producer ever made himself as accessible as you have? Most of us never have met and likely never will meet a Producer. So it's insane how reachable you are. By the way I now understand how you and others in the biz can say, you only need the first half of the first page to know if a screenplay is worthy of the trash but all of those non-pro's who love movies and have ideas and take a stab at writing, etc are so FAR removed from the time weathered pro who has already learned about economy, active verbage, making locale a character, show us something NEW, b stories that intertwine with A, subtext, character arcs, payoffs, movie dialogue vs life dialogue, inciting incident, flexibility to age, hair eye color changes to match talent, etc etc. No new screenwriter knows all of the thousand tips (hence why your system exists) but what I wanted to convey is this: Go easy on the part where insiders know a whole script is trash by the first page. I understand that to be true but it sounds a bit harsh to the newbie. Mildred sits there and thinks she has the great movie idea, she gets a book on screenwriting and is on day one of the journey to thinking she can write a movie. It will take her 9000 more days to get to the point where she understands that any Producer can spot a shitty script in the first 25 words. How to get her from day one thinking her tired overused idea is awesome to the point where she can spot a bad script in one page. That takes years and a few finished scripts. So when that fresh faced screenwriter hears the truth that a bad script can be spotted in 2 sentences of page 1, maybe even less if the fade in isn't handled right or the first scene heading is handled wrong, etc. Try to go easy. That newbie doesn't know how easy it is to spot the bad. If they did, they wouldn't even keep going. I think there has to be a better way to encourage the novice to begin that 5 year journey. There is no way they can understand it. They still think having an idea has value. They don't know the blood and sweat it takes to finish even one screenplay. Somehow, they need to be given a free pass to have a first crappy screenplay and know it's okay. I don't think a newbie sensitivity can handle hearing a Reader can spot crap in first 5 words and toss the script in the trash. It might be true, but man, that sounds harsh to that green writer. Something has got to keep them going. (not directed at you, I'm speaking generically to all Producers and Readers).

@@dangoudreau7366 Quick answer is No, no producer has made themselves this accessible - because they can’t. The only way I’ve been able to is by putting my own producing career on hold to solve the development problem. And that’s one of the reasons I’m launching the livestream, actually: If I can get into a rhythm with it, we’ll be able to build the third thing (the one “announcement” I didn’t include in this video, to save it for the “real” announcement video)... then I’ll be able to have a team running the before and after, and then be able to devote just one day a week to this (rather than all 7, as I do now (even with no new videos in months!)). That will enable me to get back to producing full time, although then the “tiny little window” will close again for new writers. But that’s another issue... haha As to your other point, I take it on board. I think the frustration is the all-or-nothing instant-gratification mindset of new writers. I can’t tell you how many writers start off PROFOUNDLY strong, and then because results aren’t immediate, they just quit. I mean writers who I would have given a 100% chance of success - who just gave up because the challenge was too great and they had no patience. I would estimate about 70-80% of the writers I’ve met through the years fit that description. It’s maddening to the point of hair loss. I like to imagine that I straddle the line better than most - being unconditionally encouraging to new writers (because you really can’t pick who “the one” is going to be) while letting them know there’s an arduous journey ahead. But I appreciate the reminder because I may not be as skilled at that balancing act as I imagine. I err on the side of “toughlove” because it’s what I respond best to myself, but coaxing people into the years-long journey is a good way to think of it. In my experience this brings out the cynics who then claim that I’m just trying to capitalize on people’s “naive” dreams, but that’s my cross to bear for choosing to go down this road. Being supportive and nurturing while keeping the cynics at bay is my most challenging task. Out of curiosity (and I’m not trying to pitch you; I’m just curious, to get my head around it), and I apologize if you’ve told me previously in a comment, but is there a reason you never joined FAST? You do seem to have a good sense of what it’s likely to include (and surely you know that I all but guarantee results - the only reason I don’t is that I legally can’t). I’d love to understand, as I think getting my head around that piece of the puzzle could help me solve the rest of it. (To jump out in front of it, my guess is either that it’s a cost thing or a perception that it’s too basic or that you already know it. Am I close?) Honestly, I’m okay either way with you joining or not; I’m just always puzzled when the people I built it for don’t do it, and I’m pretty sure it’s a failure of mine that I can’t quite pinpoint. You don’t have to say if it’s awkward. Just curious. Regardless, I appreciate your comment contributions, and will definitely be incorporating your suggestions so far. Feel free to keep em coming. :) Have you had anything produced yet? If not, let’s get you across that line.

@@dangoudreau7366 I completely agree! Your comment is golden!

I agree, Jeff's da bomb at perseverance! 😄 And as a newbie who joined FAST screenplay, but has been inactive for quite some time now I'd like to say that I think he strikes just the right cord between encouraging and instilling realism. However, as we've also seen through his video's: sometimes life get's in the way, sometimes things don't go as planned, but it's also never too late to try again. And nothing ever got done without trying. Pauses don't have to mean you've given up. Sometimes it's just not the right season. But spring will always return full of proliferation. Seeing how relentless Jeff is, encourages me to say: I have not given up, I'm making the most of each season while looking forward to see the season change.

Does Bill grab a BARBIE doll, a "Barbie" doll, an (underscored) Barbie doll, or just a Barbie doll.? not sure what to do with those trademarked items. What if it's a brand like Winston Cigarettes. "Winston" or just Winston like any other capitalized proper name?

@@dangoudreau7366 This is another solid suggestion, and one we’ll dig into early on in the series. The short answer is that there are no hard and fast rules. Think of it more in terms of “conventions”, and different people and groups use slightly different conventions. I work internationally, so my advice is based on the most widely acceptable conventions - what is least likely to interrupt the reader experience in the widest array of places. And the key principle to always keep in mind is that you don’t want the reader focused on which conventions you’re using; you want them immersed in your story. So, in my opinion (and what I teach), we want the least obtrusive formatting conventions possible. And that coincides most directly with “old school” formatting. Imagine if you only had an old clackety clack typewriter. There’s no bold. There’s no italic. Underlining it cumbersome to do. So, generally speaking, you would avoid those things. But the REAL reason for keeping it that simple is that it strips away ALL visual interruptions. All you’re left with are your words. If you can transport a reader with just your words, you are showcasing your skills far more effectively than if you need to use gimmicks or text formatting to say things (such as emphasis, for example) that you as a writer simply don’t have the vocabulary or skill to achieve with your words. Make sense? The reader might not consciously identify it, but they will feel it, and it will have a subtle psychological effect on their experience of your story. I’ll go into more detail when we cover it in the show. Hopefully this helps in the meantime.

@@dangoudreau7366 Regarding Barbie and Winston, there’s no need to complicate it with caps or quotes. The simplest option is always best, unless you’re making a specific point or doing it for a specific purpose.

@@fastscreenplay This is very freeing to hear! I thank you, Good Sir.

These are all fair concerns. I’ve made about a hundred hours of free content on this channel explaining literally every single point you’ve asked about, but I get that it’s a lot to sift through. So the show will be the proof you’re looking for. Or else I’ll be revealed as the charlatan my haters imagine me to be, and my goals and plans will all fall apart. So I guess we’ll see one way or the other. But let me address the concerns in your comment directly: 1) I haven’t sold a script but I’ve optioned two of them, and I’ve been hired (five figures each time) to rewrite two projects. I’ve also been hired as a script editor, and have also been writing for over 37 years and teaching for 22 years. Your premise belies a very common (and huge) misconception that harms writers more than they know - this notion that “those who can’t do, teach.” Teaching is a skill, and just because someone can do a thing (sell a script, for example) doesn’t mean they can teach another person how to do it. I taught acting for years before I started teaching writing, so I had a natural aptitude for it when I began. But I started teaching merely as a way to help writers develop their ideas into material I could use as a producer. And when they still couldn’t do it to the level I needed, I went further and further down the rabbit hole, which made me a better and better teacher. To be clear, it’s not that I “can’t do, so I teach”. It’s that my passion is directing and producing, and my goal is to make many films per year. If I were to write them all myself, it would take too long and I could never build what I am trying to build. (Though in retrospect it might have been the faster road.) It’s a different skill set, and while I’m good at writing, it’s not my passion. But as the person looking to produce the films (and who has read thousands of screenplays), I can most certainly see (and help you see) what’s missing from your work. These are all the things I believe qualify me to teach. Those who don’t think that’s sufficient need not pay me any attention. I’m cool with that too (and I get it). 2) I don’t sell courses online. I created a professional screenplay development system (FAST Screenplay) that guides writers step by step through the entire process. It’s not a course. It’s a system (it’s not academic, it’s output-oriented), and it’s how we will build the content we’ll produce. I am also updating a workshop I ran 20 years ago to put all the essentials writers simply do not understand (still!) into a condensed weekend to speed up the process of getting writers to grasp what producers need (something I am eminently qualified to talk about), and will be also building a resource library that helps writers on their own path. You (and a lot of writers) might be suspicious of people who would do such a thing, but as I have been unable to find writers who have mastered this stuff, this is the solution I chose to build, so I’ll just have to focus my attention on those who want and appreciate it. It’s all good. But for whatever it’s worth, I also only charge what it costs me to build, maintain, and grow those resources. I do not take a profit, and I never have (which is actually bad, because it has kept me from promoting it sufficiently, which is the real reason we haven’t had the success stories you seek - to date, 98% of writers who have completed my system as instructed have achieved professional results; we just don’t have big numbers of them because we haven’t yet had large numbers of people actually join us in the system, which leaves an even smaller number who have completed it... a marketing problem rather than a problem with the content). 3) No, the community has not exactly been “thriving” to date. But if you look at what I’ve done over the years, it’s not for lack of trying. Writers quit. Writers start with big dreams, learn of the realities involved, and then move on to something they believe is more “attainable”. And “intermediate” writers often resist anything that looks like it’s too full of “newbies”. Everyone’s so cautious of looking bad (or like they’re not part of the in-crowd), they don’t do what’s necessary to build and maintain a community. It’s a problem. But frankly, it’s not a problem I’m overly focused on (I want to develop writers and projects rather than a hangout space). So... do not join anything I have built because you’re looking for a thriving community. Participate here on KZfaq if that’s what you’re after. I reply to every comment (though that’s like to stop if the community grows, ironically). Community won’t do the work of writing, though. If anything, it will take time away from your writing. But of course I would love to see this community grow (it’s one of the reasons I’m introducing the show). Unfortunately, I’m just one guy, trying to build a massively ambitious thing. The community only grows when people like you participate. 4) What past work would you like to know about? There’s a video I made last year that tells you my story (there’s a link to it at the end of this video). As for my past work, what would you like to know? My early career (or at least the bits of it they include) is on IMDb. But in 1999, I had this vision to build a film studio and made the (probably stupid) decision to put my “career” on hold to build all this. I will admit it’s been vastly harder than I ever imagined (and if I’d known then it would be this hard, I would not have gone down this road), but I remain 100% certain of its viability and inevitability. And I am committed to seeing it through. So there’s not a whole lot of recent “career” to speak of - I’ve been busy building resources for writers and getting extremely good at teaching this stuff. That doesn’t exactly do much for the resume (and IMDb doesn’t tell you that stuff), so folks like you remain suspicious (which delays the success of all this, in a never-ending negative feedback loop). Other than that, since I started teaching screenwriting, I also ran a film festival for five years, produced and directed an award-winning educational resource, directed television in New Zealand, a play in Sydney, wrote a book of my own and another for Apple, and have consulted on lots of stuff, among a ton of similar stuff. It’s not the kind of work they write articles about or that people who want to learn screenwriting care about, so it probably won’t be searchable online. Reviewing 30,000 submissions and reading 7,000 screenplays also takes a lot of time, so I’m with you on the lament that I don’t have more showy stuff to dazzle people with. It is what it is. Here’s what I’d suggest: Look around this channel and find a show called “The Feedback Loop”. There are 12 episodes. I review writers’ first three pages. Deep dive. One hour per writer. If you don’t think I know my stuff, or if you’re not sure if I can help writers, that will either confirm your suspicions or help you see the bigger picture. Other than that, check out the show once it kicks off, or wait a few weeks until I get into the groove and then check out the show. I’m just trying to figure out the best path forward. And I’ve made a commitment to myself: If we don’t get any traction with writers by the end of this year - if I’m unable to make significant headway toward my indie film studio goal - then I’ll hang up the towel and get back to what I started in the mid-90s... making my own films. Then I’ll be “doing it”, as you say (I won’t have time anymore to help others do it, but I guess y’all will have had your chance). I just know the secret to success is persistence and perseverance, and I’m not one to give up. I have to go as far as possible down this path before I walk away from the writers who so desperately need it. Hope this helps. Always open to follow up questions, if you have any.

One other quick clarification: I HAVE found great writers AND marketable scripts. A couple dozen, in fact. They were just already optioned elsewhere by the time I found them. So please make no mistake, I know exactly what they look like. They’re just extremely rare and exceedingly difficult to find, and my goal is to change that.

Hi there. I subscribed to Jeff's FAST Screenplay system almost two years back. I didn't quit, I went through the whole thing meticulously and have to say it helped my screenwriting knowledge and skills enormously. Some of my work is now in planning to be filmed - one with experienced actors. I initially 'circled' round Jeff's materials for quite a while (having similar concerns as you) before committing. Bottom line is I have no regrets.

@@writeandmake6628 I very much appreciate everyone who comments in support of me, but the reality is that people will always be suspicious or cautious. In my experience, it’s a way to excuse inaction. (Not saying that’s true of the original commenter, but it’s been largely true in general.) I mean, really, what’s the downside of listening to someone’s ideas? You might not get the best advice? Or worse, you might go in the wrong direction? Okay, so then you learned what doesn’t work, which also makes you stronger. Help and support, of the kind I provide, is self-evident. It either helps you or it doesn’t. And I’ve put so much content out there for free which is both demonstrably true and demonstrably original, that if someone won’t listen to it because of an ignorance of how the industry works, then it really just means we’re not aligned yet. It’s not a problem (at least not for me). My work proves itself (and will only prove itself more and more as we build), so I’m okay with people taking their time to appreciate it. :)

I can totally understand your point of view but almost as soon as you embark on the FAST process you begin to realise that Jeff is a combination of massive brain and huge heart. What he appears to lack is an equivalently sized ego, which might explain some of the limitations of his reach. He's just getting on and doing extraordinary good and extraordinarily generous work. It's just that people like him are quite rare.