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Have a studio interested in my spec film script-want to make sure the bundling is proper. Is what I have correct?
Front and Back Covers: 90 lb. white paper.
Front Cover: Center of page I write my screenplay title skip two lines and "Written by" another skip two lines and place my name.
Title Page: Same as front cover but add in lower right corner my street address, beneath that, my phone number followed by email address.
On Title Page do I place (c) copyright year or my WGA Registration Number? What are guidelines regarding copyright info and WGA number being mentioned on Title Page?
I have 3 hole punched paper, fastened with Acco 1 1/4 inch brass fasteners, leaving the middle hole empty. Do I need to apply washers to the fasteners?
I've been told by the studio my script can be sent via email or through the postal system. Do you think readers prefer holding scripts in their hands (a carry over from the old days) or should I go the electronic route?
Also want to know if I need to make a last minute change regarding "beat." I've used "after a pause." Are they interchangeable? I've read Khouri's screenplay "Thelma and Louise" and she uses "after a pause," not "beat."
Thanks very much!

Answer
Hi Ken,

I see that you're dotting your "i"'s and crossing your "t"'s. A good idea.

If the studio says you can submit electronically, my opinion is to do it. There are at least three benefits:
1. E-mail is instantaneous, and you'll know for certain whether or not screenplay arrived.
2. You'll save yourself time and money.
3. You'll unburden the recipient from having to deal with a physical object--regarded my many companies as being an antiquated nuisance.

    Please see my other notes below.

Have a studio interested in my spec film script-want to make sure the bundling is proper. Is what I have correct?
    I'll answer that item by item.

Front and Back Covers: 90 lb. white paper.
    OK.

Front Cover: Center of page I write my screenplay title skip two lines and "Written by" another skip two lines and place my name.
    OK

Title Page: Same as front cover but add in lower right corner my street address, beneath that, my phone number followed by email address.
    Skip the "title page", put this information on the cover in the lower left corner. (No one wants to go digging for your information.)

On Title Page do I place (c) copyright year or my WGA Registration Number? What are guidelines regarding copyright info and WGA number being mentioned on Title Page?
    Do not, do NOT, put a copyright notice on. Amateurs do that. Recipients often take it as an insult, suggesting that you think they may steal your intellectual property. WGA number is OK.
I have 3 hole punched paper, fastened with Acco 1 1/4 inch brass fasteners, leaving the middle hole empty. Do I need to apply washers to the fasteners?
    If you ever are obliged to submit printed scripts, apply washers to the back side, not the front. The rest is OK.

I've been told by the studio my script can be sent via email or through the postal system. Do you think readers prefer holding scripts in their hands (a carry over from the old days) or should I go the electronic route?
    Most readers will likely not read your script on line, but some may want to hang out on Venice beach with their Kindle Fire and get a suntan while reading. Those who want to feel paper can print a copy at the office or a copy shop. Convenience and option are what you want to achieve when submitting.
        
Also want to know if I need to make a last minute change regarding "beat." I've used "after a pause." Are they interchangeable? I've read Khouri's screenplay "Thelma and Louise" and she uses "after a pause," not "beat."
    As good as it was, "Thelma and Louise" is ancient. Use "a beat." It's the typical script expression. Some readers may feel that the phrase "after a pause" is a little prissy.

Thanks very much!
You're welcome, and all the best of success with your screenplay. Please let me know how the studio responds.

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Barry Pearson

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I`m a credited writer on nine feature films. My latest movie, IRON ROAD, which stars Peter O'Toole and Sam Neill, opened as feature, then aired as a four-hour miniseries on network television. Sun Li, the Chinese star, won the best actress award at the Roma Fiction Fest recently. www.ironroadthemovie.com) I’ve produced more than 300 episodes of television drama, including 13 episodes of Deepwater Black, and 106 episodes of Katts & Dog (Rin-Tin-Tin, K-9 Cop in the U.S.). I've answered over 1200 All Experts questions!

Experience

I've been in the business of writing and producing feature films, television series, and MOW's for over 20 years. You can check me out at this URL http://www.createyourscreenplay.com/aboutbp.htm

Publications
You can find my books on Amazon. See DON'T LET ANYONE STEAL YOUR STORY (http://tinyurl.com/StoryStealers)which is a stripped-down readable summary of copyright, full of entertaining anecdotes and real-life examples. Read about the true horror stories that clearly show you what you need to do to avoid the misfortune of having your literary material stolen. Find out: * How to take simple inexpensive steps to protect yourself, before, during, and after you write your literary work. * How copyright law applies to writers of literary works. * How literary works enter public domain, and how you can use it to your advantage. * What aspects of literary works are protected by copyright, and what aspects are not protected. * How to create documentation that will prove your copyright entitlement in the event of an infringement on your rights. * How you can protect yourself if you are contracted to write for television. You’ll also get a FREE sample of an Option and Purchase Agreement, a contract used in the acquisition of rights in a literary property—a contract that you and your lawyer can customize for your property. Written by a writer, for writers, Don’t Let Anyone Steal Your Story will help you protect yourself against plagiarists and anyone else who might infringe your right of sole ownership. ------------- Also on Amazon, my book of four short stories, THE TWENTY-BUSHEL RACER. A man’s redemption from bitterness enables him to become a loving father. A teenager discovers the importance of his attachment to the people in his life and the place where he is growing up. A man, who has for years considered himself a coward and a betrayer of his comrades, musters the courage to stand up against a pair of would-be assassins. Two young men, who grew up in the same town, meet unexpectedly, reminisce about a girl they both loved when they were boys, and unveil a truth that changes both their lives.

Education/Credentials
Master of Arts degree (Drama)

Awards and Honors
Among my awards are Best Screenplay, Best Picture, at the International Film & Television Festival of New York for THE LIFE AND TIMES OF EDWIN ALONZO BOYD, Best Screenplay, Feature Film, at the 12th International Film Festival in Sitges, Spain for PLAGUE, and a Special Jury Award, Feature Film at the San Francisco International Film Festival for PLAGUE.

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