Okay so, I like to use cheeseburgers as metaphors a lot so stick with me on this and try not to get peckish. I want to talk about an area of spec script writing that often gets completely ignored while aspiring screenwriters obsess over formatting and typos as those are a real deal-breaker. It's time to have a serious conversation about wether or not we're trying to sell something that's fundamentally viable at a business level - CJ

The day I found the inspiration to go ahead and create a free script hosting website was July 4th 2016, US Independence Day. I originally conceptualised the term “revolution” as a reference to how the site would allow screenwriters to promote their material in a way never seen before. Who would have known, nearly five years later, I’d be sitting on a huge underground uprising that many who have influence seemingly don’t want people to know about ?— CJ

If you know Shane Stanley, you'll know it's hard not to think about his name without picturing him performing one of his classic drum solos as the man is true rock and roll right to his core. With a remarkable background in the heavy metal/glam metal world spanning many years, Shane cut his teeth directing some classic music videos for legendary performers that went on to get major screen time. In this blog, he reflects on that genre of filmmaking and his recent actives within it - CJ

I’m, as of time of writing, 41 years old with an emphasis on the old. When I was a kid, I was exposed to the American New Wave films of the 70’s via rented video tape and, as I moved into my teens, the Independent Cinema Movement of the 90’s via late night TV and DVD. Lucky me. Generation-X got a damn good deal. I miss these eras dearly but it’s time to move on and get real -  CJ

If you’ve added a script listing to Script Revolution in the past few months, you’ll have likely noticed that you have the option to add a link to what’s called a ScriptHop Packet and you may have noticed my listing for Blueberry Special includes one. So what’s the deal? Why have I been so quick to implement this relatively unknown platform and promote what many would see as a direct competitor?— CJ 

Around this time last year, I published the blog “A Plan to Succeed in Screenwriting in 2020”. I wanted to revisit this with all I have learned in the previous twelve months. Therefore, this is the same document redrafted with some new reflections. 2020 has been a strange year to say the least and its impact on the film industry so significant it will most likely be changed forever as a result. Let’s dive in — CJ

Last month, Kelly Hughes, host of the fantastic 2-Bit Horror Podcast, blessed us with a brilliant guide detailing 10 Ways to be a Perfect & Productive Podcast Guest and now he's back to talk about the art of capturing the best possible table read as this becomes an increasingly popular method for screenwriters to both develop and market their scripts. This is a great guide broken down into seven sections which is a must read for writers, producers, and actors - CJ

So, I’m in a weird but exciting place right now. A feature film I’ve written is set for release in North American very shortly. It’s going to be stocked in Walmart, Best Buy, and Amazon to buy on DVD and available on multiple streaming platforms. It’s been an exhilarating couple of years from unknown amateur to working screenwriter so here’s the most important lessons I’ve learned along the way — CJ

I recently had the pleasure of being interviewed by Kelly Hughes for his podcast "2-bit Horror" and I can safely say he's one of the most professional hosts I've spoken with. In fact, Kelly and I go back a long way in my screenwriting life as he has also been a Stage 32 regular and blogger. In this article, he pretty much hands the powerful marcomms channel that is podcasting to you on a plate. No more excuses. It's time to take to the airwaves - CJ

If you've played with the image filters on social media platforms, you'll know how much difference colouring can make to the feel of a photograph. As someone who's watched a project go through shooting and post-production, where I got to see raw footage go through grading, I was amazed at how much difference it made to the impact of the film and I can certainly see why people get paid a lot of money to do it well. The question is; how does an indie filmmaker on a budget achieve similar results? Well, as ever, Shane Stanley is here to give some pointers based on his own experience - CJ

Rockstar member Bill Albert joined Script Revolution only recently but has already recieved the kind of call we've all been waiting for. While his feature script "Welcome to Nowhere" is prepared to be presented to studios by an eager producer, Bill has taken the time to write about his experience dealing with notes and making changes to seal the deal and aim to break in as an unknown writer - CJ

If you know me, you know I rarely have a good word to say about screenwriting gurus. In fact, in the eight years I’ve been screenwriting, I’ve made many an enemy of these self proclaimed experts. I don’t actually hate them. I know some very respected consultants working for the big studios and my fellow producers and I use them to reassure investors our script is ready for market. I just hate people who rip off naive amateurs trying to go pro. So, here’s five ways you can spot a grifter before it’s too late - CJ

Jeremy Storey recently wowed us all with the production of his short film "An Angel Whispers". He's a great Script Revolution success story and has really nailed his craft over the years he's been breaking in. If Jeremy wants to talk about his writing process, I'm listing. That's really easy to do now since he's taken the time to kindly record a video talking about how he approaches writing and gets the most from his stories. Check it out. It might just be the best thirty minutes you invest into your development - CJ

As someone who’s becoming somewhat seen as an opinion leader within the break-in screenwriting world, I get approached by people all the time asking me to judge competition entries, read books, and try out thir software. I almost always say no because their business operation is often predatory and against the interests of my peers. I’m a working writer-producer so I know what actually makes a difference and perhaps that’s why Prewrite caused me to stop in my tracks and give it a second glance - CJ

Rockstar member John Ellis, an all round great guy and long-time member of Script Revolution, has been attending our Shootin' The Sh*t with Shane meetings on Zoom during lockdown. As a result of talking in depth with a long-time established producer, John has had a revelation of sorts which has caused him to re-evaluate his core goals behind screenwriting and break out of momentum paralysis by making an essential pivot and finding a new route to his destination - CJ

Yes, we all know the rehearsed phrase by now, “Final Draft is the industry standard!”, an axiom it seems many screenwriters feel obliged to screech at anyone who dares ask what the best piece of software is to turn our day-dreaming into a full fleshed out, Hollywood ready, screenplay. However, as artists always looking to improve our craft, we owe it to ourselves to explore the other options out there - CJ

For anyone shooting on film, it would be considered crazy not to take the selection, transport, and storage of film stock incredibly seriously. Those reels are the life blood of the production and, if ever damaged or, even worse lost, it would be like hitting the undo button on hours or even days of production. However, it's not unusual to see those who shoot digitally treating their data like it's indestructible. The same attitude has to be applied to the ones and zeros as the celluloid and that means hard drives, lots of hard drives. Here's Shane Stanley's take. - CJ

Something I see every day that really pains me are screenwriters walking into the equivalent of career quicksand. I see this happening on various stages of writer’s journeys and sometimes they aren’t so much aimlessly wandering into trouble as gleefully diving right in to thunderous applause. Sometimes they are pushed. Here’s what I think screenwriters looking to build careers need to look out for while treading very carefully - CJ

They say us filmmakers really make three movies; the one we write, the one we shoot, and the one we edit. The editor's job isn't so much just slicing camera angles together as reestablishing a narrative with what's been made available. In this blog, Shane Stanley a writer-director-producer with as many credits as he has years on the planet and a long history fixing people's dreams in the editing bay, talks about his relationship with the most important piece of software in the post-production process - CJ 

While every filmmaker dreams of using the best of the best when it comes to equipment, there will always be a trade-off between aspirations and budget, more so for those with low budgets than anyone else. Given the need to get as much money on the screen as possible, camera choice is one of the most critical decisions to make and it's easier than ever to suffer from choice paralysis. In this blog, Emmy Award winning producer-director Shane Stanley talks about his decision making process when he came to shoot Paloma's Flight - CJ 

It’s time for a bit of fun. Look, take this satirical blog post how you want. It’s not directed at anybody in particular but it does pull from various individuals I’ve watched trying to break in over the past eight years and points out a very real problem I seem to see every day within various online communities - there’s too many entitled screenwriters out there complaining about a lack of success while putting in the least amount of effort - CJ

We're all familiar with the saying "When One Door Closes, Another Door Opens" but does that apply now while millions of us around the globe close our doors and self isolate? Kevin Christoffersen of Film Education & Development, a producer with over twenty years experience to his name, puts forward a case to suggest opportunity is opening up all around us and makes the wise call for more screenwriters to stop waiting for Hollywood to come knocking and to strongly consider seizing this moment to produce their own projects - CJ

I'm super excited to announce we have industry stalwart Shane Stanley blogging on Script Revolution. Shane has done it all in Hollywood from winning Emmys in his teens, running production companies barely out of school, and having a #1 blockbuster (Gridiron Gang) to his name. Working with Shane on Break Even was a genuine pleasure and barely a day's gone by since without us speaking. He's now here with a series of blogs every aspiring filmmaker needs to follow, kicking off first with the importance of passion and leadership when directing - CJ

Script Revolution is now a little over three and a half years old and holds a database of nearly 7,000 scripts by over 6,000 writers. Month on month, thousands of scripts are downloaded. We are seeing success stories too as screenwriters option and sell scripts of all types from shorts to features. What started as a small community is growing into a significant industry movement as more and more people jump at the opportunity to host their scripts for free and make the most of being able to search through material without having to be part of an exclusive clique - CJ 

So, around six months ago, following the production of Break Even, a feature film I wrote on assignment staring Tasya Teles, James Callis, and Steve Guttenberg, I moved onto attaching myself to my second feature film project. As the lead producer negotiated signing on, they laid out their baggage which, to my surprise, included me, the screenwriter, becoming a co-producer. In this blog, I’m going to talk about what I’m learning from being on the other side, how I feel that impacts writing, and I how I believe screenwriters can get ahead - CJ