Tuesday, December 29, 2009

Lupus Moon Update #5

As I mentioned in my last post, I'm working a new writing schedule and it's really paying off. I've knocked down 8 1/2 pages on Lupus Moon in the last two days which, if you've been following, represent something of an offensive explosion. Even though I've been writing for almost 10 years now, one of the biggest problems I have has been in the area of discipline. Hopefully I'm on my way to eradicating that (let this be a lesson to new screenwriters - no matter how good you think you are, there's always something you can improve on).

I started Monday on page 18 and I'm currently on page 26. By my schedule, I'm done for the day, but I'm going to try and see if I can sneak another page or two in before bed. I've finally finished the first act and I must say I'm feeling great about where the story is. I rearranged a few scenes covering the end of Act I and the beginning of Act II and it's really made the pacing better. The last major character is about to be introduced, the primary conflict has been established, and the B and C stories are about to be set into motion - everything is where it should be (screenwriting gurus may argue that my villain should have been introduced by now, but we've seen the villain's surrogates, and they've more than caused a little trouble. We'll meet the Big Bad on page 26).

Something else I'm enjoying in the fluidity I'm allowing myself with the story. The script is plotted out and I have a soft outline of most of the scenes, but as I go, I might see something that works better in another area or feel lines might better go to a different character. In one instance, the perfect ending to a scene presented itself even though in my notes there was more dialogue to be had. That dialogue's being moved to a later scene where I think it'll have greater impact. Also, a bit about a character's infidelities, once belonging to another character and taken out, has found a new home. I'm finding great relief in that I'm not needing everything I put in during pre-writing at the time I originally put it in - that things can be moved, tabled or deleted altogether and that the script is becoming tighter because of it. I've also found a few places to inject a bit of humor, something sorely lacking in my outline.

It's looking really good. I can't wait until I have something to show to get feedback.

STAY TUNED...

A Change in Schedule

I started a new schedule this week to make my days more efficient, and it's already paying off...

I've read articles from time to time about the habits of professional screenwriters and noticed that many of them get up early and write. On top of that, to my surprise, they only write 4-5 hours a day. Me, being the anti-morning person that I am, flinched at the idea, but after some frustration over my output (or lack, thereof) I decided to give it a shot. In the past, when I was up early and happened to write, I enjoyed it a lot, but making it a regular thing was a whole different matter. When I finish a treatment, I always note the time and date it was completed, and looking over my body of work, it was obvious that like the Batman, I liked working at night.

I'm not so sure anymore.

In the past two days of getting up at 7:00 AM and on the computer by 8:00 (okay, Monday it was 9:00; I started out behind the eight ball), and working four hours, I've not only gotten 8 1/2 pages done, but I've been able to do it with clarity I haven't enjoyed in a long time. There's a lot to be said for starting off with a fresh brain and relaxed mind (and a nice cup of coffee). In fact, when it came time for me to stop today, I didn't want to. I was on a roll, and it's been a long time since I had that feeling. I just wanted to keep cranking the pages out.

So from now on, I'm a morning writer, and if I get to pick up some more pages in the evening before I go to bed or on a Friday or Saturday night when I'll allow myself to stay up late (though I might change that as well - weekends are technically "free time," but they've yielded some of my best writing in the past and I'd like to get back to that), the more the merrier. Though it's 7 in the evening at the time of this writing, I had such a good day earlier (and just had a great nap) that I'm chomping at the bit to get back to work. I haven't had this feeling in a long time, and it's great to have it back.

Now all I need is a good coffee maker...

Sunday, December 27, 2009

Project Update - 12/27/09

It's been a long time since the last update, but here's where things stand...

Jillted's been put on the back burner, only because I can only work on so many projects at a time. I was gonna try and do the whole juggling projects thing, but I think the most efficient way to get things accomplished, at least at this time, is for me to settle down and focus in on one project. I still have a lot of love for the project, and it's one I can't wait to get back to work on. Which means...

Lupus Moon is the featured script. I spent some time this past weekend reflecting/brainstorming on Alexandria's back story and the world in which she inhabits and, after a bit of inspiration from the BBC's Being Human, I've made some changes to Alex's world and back story that not only work better and remove clutter, but adds more flesh to the bones of the mythology. It's reinvigorated me, and I can't wait to lean in on the script.

But that's for the "write-to-sell" projects. On the independent side, I've settled on a new project for my directorial debut, as well as the first feature to roll out under Cougar's Marque Entertainment, my production company. After a ton of debate, and in weirdly ironic "cycle back to where it all began" fashion, I decided to lead out with Sistas Ain't Havin' It!, a comedy that originated as a stage play in 1993 (because I didn't know how to write a screenplay then), rewritten and self-produced in 1997, outlined as a screenplay in 1998, adapted as a screenplay in 2000, sent to DreamWorks (yes, that DreamWorks) in 2000 where it was passed on, and sat filed away ever since. Now I'm picking it back up again with eyes on reworking it (yet again) and producing it independently. I'm very excited about the new ideas I have, but I'll have to wait until I'm finished with Lupus Moon to really get into it.

But right now I have my heading - and that's all that really matters.

Saturday, November 7, 2009

Jillted Update #1

After finishing up the skeleton for Lupus Moon, I figured that would be the script I focused on, since I'm wanting to get it out to capitalize on what I think will be a boom in werewolf movies. But a funny thing happened before I could start - Jillted kept speaking to me. The biggest problem I'd had with the script was figuring out exactly what story I wanted to tell. Was it going to be about a nerdy girl pushed too far until she starts fighting back with murderous results? Or was it going to be a teenage version of Fatal Attraction?

In Valentine's Day, the original script that Jillted is based on, a nerdy boy named Dexter who continually strikes out with the ladies and is the target of a few male bullies finally snaps and targets his tormentors for revenge, killing them off one by one (a serial killer named Dexter? And get this, the script was written WELL before Showtime's hit show, of which I'm a major fan). The idea was close to my heart; Dexter was basically me, and although I didn't really have male bullies bothering me, I was (and guess, still am) a nerd, and wasn't popular with the girls in my class, a few of whom were less than civil when they found out I had a crush on them. So Valentine's Day was my catharsis, even mixing up the real-life names of girls who'd dissed me to come up with the victims. But when Warner Brothers released Valentine with David Boreanaz, which had essentially - no, make that exactly - the same premise, I was forced to re-think things.

So Valentine's Day became Jillted, and Dexter Lewis became Jillian Krazinski (get it - Krazinski... crazy... I know, I know). I figured the change in sex alone would make the movie stand out, so I was off to the races. But in the course of putting together the story, I ran into one blockage after another, one new idea after the next and little by little, the story continued to change until I had gotten so far away from what the script was supposed to be that it no longer felt like Jillted. It was... something else. I eventually cobbled together a skeleton for the script that I convinced myself I was happy with, but after taking some time away and thinking about it, the story wasn't quite where it should've been.

So after some major brainstorming and good old-fashioned decision-making, I determined what the narrative core of the story was and built out from that. Funny thing is, the final result is much closer to the original outline I laid out, but with the best from other versions. I'm very happy with it and it just feels right. I was able to reconfigure and infuse this outline with my new ideas (and re-ordered kill list) in just a couple of days which, to me, is a very welcome change from the nagging, dragging attempts of days past. I'm really looking forward to the scripting stage. Hopefully it'll show in the quality of writing.

STAY TUNED...

Lupus Moon Update #4

I haven't touched the script in several days. Sometimes I get a bit complacent after a major victory (in this case, plotting the skeleton of the story) and instead of taking a day off like I say I will, it winds up being a week or more. But it doesn't help that I've been feeling like tinkering with Jillted.

But tonight I opened the script and looked over what I had and I'm happy to say that it still held up. No "what in the hell was I thinking?" moments. As for when I'll get back to work on the script - I'm not sure. I'm just going where the creative winds take me right now. But with both Lupus Moon and Jillted plotted and ready for scripting, I'm hoping to turn out some major product soon.

STAY TUNED...

Saturday, October 31, 2009

Rants and Musings - 10/31/09

Another week gone by. A week in which I didn't write a thing.

Don't get me wrong; it's not that I haven't been working. Mentally, I had a great week: came up with some great ideas for Jillted, Hardwired and a few other scripts (including a re-imagining of an old stage play idea that, as of now, looks to be my eventual feature directing debut), drew closer to deciding just who I want to be as a filmmaker, and reaffirmed the responsibilities I feel to my people as such. It's just that when it comes down to actually putting words on the page it didn't happen. This week my financial situation took center stage, and I spent the entirety of it working on a plan to make things better.

That said, I've also had a problem with focusing. I just have a ton of ideas, thoughts, desires and concerns running around in my head...

Will Lupus Moon sell?
Should I continue to write it?
Is it any good?
Will it ever be?
Can any of my "can sell" scripts be?
Maybe I should work on scripts I want to direct.
Where would I get the money to make it?
What about those web show ideas?
I really want to work on those. That would be fun.
But wait, I'd need locations...
Know what, forget that. You need to finish Lupus Moon. You started it, now finish it.
But I really want to shoot something...

It's really been a mess in there, and I'm leaving a bunch of stuff out.

I'm thinking (hoping is more like it) that once my financial situation's stabilized, the stress from that will be relieved and I'll be able to focus more on my creative pursuits, and figure out just what direction I want to move in. The plan was always to sell a script or two, or three, then use the leverage to work my way into the director's chair. If that didn't work, I'd have the money to make my own movie. But it's years later now, and I'm thinking the only way for this to happen is to go it independent out the gate. The problem, of course, is money. I don't have a rich uncle or friends with money, nor do I know someone who happens to know someone with the capital, like many of my white counterparts seem to. Lucky bastards.

But first I need a script I can do at my level. Which means I need to write it. Which means I need to start brainstorming it. Which means I need to make a decision on what to do with the three scripts that are laid out in the Batcave in various states of rewrite. Which may mean picking them up and putting them away for a second, third, or forth time - still unfinished (and I really don't want to do that)...

Fuck.

Wednesday, October 21, 2009

Lupus Moon Update #3

FINALLY! THE STORY IS PLOTTED OUT!

I was starting to think I'd never see this day. Funny thing is, little over 24 hours ago I was still lost as to what was going to happen in Act II. I've gone though a ton of frustration with this script, and I was really thinking that I'd have to scrap it totally. I mean, why was this project so much harder than the others? Was I losing my mojo? Do I really suck as a writer and I'm just now finding out? Have I wasted the last 9+ years of my life?

Turns out the answer is, "No." I had simply run smack dab into the glaring fact that I didn't have a story - at least not enough story. My original (handwritten) draft, written at the end of 2003, clocked in at 91 pages (front and back on college-ruled paper). When I recently re-read the script I realized there just wasn't a lot to it. Characters were weak, one-dimensional and underdeveloped, dialogue was "soap opera horrible," and the plot - not much at all. As it stands now, the plot still isn't going to be intricate (it's a basic premise - see werewolves, kill them), but there's going to be more going on and chances to go deeper with character. I think when it's said and done, this script will be a nice setup to what I believe could be a viable franchise (I've already got ideas for four sequels; I think Lupus Moon would work great as a comic book as well), and if there's one thing we know, Hollywood loves a good franchise.

But for now, I'm just happy that I've got a road map to the finish line. I'm sure there will be changes from this point, but if all else fails, it's comforting to know I have a framework to fall back on. I'm really excited about this script again, and damn if it doesn't feel great to say that!

STAY TUNED...

Thursday, October 1, 2009

Lupus Moon Update #2

I'm glad I'm persistent. That, or crazy.

For what seems the 1,428,016th time, I've decided to do a ground-up rewrite of the script. However, seeing as how there's only 16 pages of script actually written, this rewrite consists primarily of moving scenes around. I was working on one in particular that was giving me trouble while in the back of my mind worrying that it was going to be too long when it hit me - the thought that it might work better as the opening scene.

It takes place at a high school party: we meet a couple minor characters, kids dance and hang out, boys gawk at an attractive teacher - the usual. Things are going well until the whole thing turns to shit as the party is crashed by a gang of attacking werewolves. People run, scream - total pandemonium. In the midst of the frenzy, one of the escaping kids runs into a strangely-dressed woman - Alexandria Craine - our protagonist. She steps into the middle of the fray and begins to do what she's done for the last ten years...

BAM! Intros, inciting incident, emergence of the threat, introduction of the heroine - all in one sequence. I don't know why I didn't think of this sooner; there's been at least three other openings in previous versions of this story. But this new one just feels right, so it's what I'm going with for now. I won't know until I get more into it, but I'm thinking I can rearrange what I have so far without having to throw much out, which is good, 'cause I like a lot of what I had to this point.

Time, of course, will tell.

STAY TUNED...

Monday, September 28, 2009

Lupus Moon Update #1

Now that I'm back down to working on my stuff exclusively (see my last blog if you don't know what I'm talking about), I've decided to get back to work on Lupus Moon, my werewolf/horror/action script. As it stands, I'm in the middle of Act I - page 16 to be exact. This script has gone through so many changes in story that I'm in a limbo of sorts when it comes to constructing the story.

Even though I've been writing screenplays for 9 3/4 years now, sadly enough, I'm still struggling with finding my style and process. Of the 14 or 15 features I've written, I've used several different methods for putting them together. I've written from just an outline, written from a treatment, composed the screenplay longhand and typed it wholesale into my software, set up my scenes with index cards, worked with beat sheets - on and on. My biggest problem is instead of just doing what comes naturally, I find myself trying to do things the "right way" - i.e., what some produced screenwriter or scripting guru suggests. Many of these methods are helpful, but when I use one and I get stuck and another technique comes along that sounds good, I tend to jump ship to the new technique, and often that requires retreading the same plot points as I build the existing story on the framework of a new system.

My current method consists of plotting out the story on index cards, then taking it to the software to write the script. I do a little more than outline the script with the cards, though. They tend to be pretty detailed; dialogue, descriptions - whatever comes to mind. I always envied the writers who just sit at their keyboard and work out the script on the computer. I HATE staring at that screen without knowing exactly what comes next. It's just excruciating. I've considered using the index card function on my software (still pushing Movie Magic Screenwriter 2000), but I prefer being able to see my entire story laid out - not just what the computer screen shows me. But with Lupus Moon, I'm going to try something different.

Due to the fact that I've rewritten the story so many times, my index cards - and all their scratch-outs, tiny wording crammed into margins and notes going up the sides - have become barely legible, confusing even to me. I'm too lazy to just write new cards with the same information, so now I'm wanting to just get to the computer and sort out the mess there. But the story isn't complete. What am I going to do at the keyboard?

Simple. I'm going to use the index card function on my software. Yeah, I know I said I didn't like it, but check it: I can plot the rest of my story while simultaneously cleaning up the mess on my index cards (rewriting on the keyboard is quicker and less hand-intensive than going freehand), and I can satisfy that hunger to get to the computer and make progress on the script itself. Call it a mental trick or whatever, but there's something fulfilling about churning out actual pages that makes me feel like I'm really getting something done. You can tell folks all you want that you're writing a script; until you can put pages in their face, they pretty much think you're bullshitting (maybe that's just my paranoia speaking).

So that's where I am in the script. The heroine, Alexandria, has been introduced, we've gotten a taste of her surroundings, and now I'm introducing the minor characters and setting up the first act climax. The first four pages were really good; the rest so-so. But I'm not deterred. That's where rewriting will come in.

And there will be rewriting.

STAY TUNED...

And Then There Were Three...

I've decided to drop the Outline project.

After reading the... well... I'm not really sure what it was... I was given that was used to make the trailer for the film, I decided I didn't want to work on the project. I just didn't think the idea, in addition to what the producer/director wanted to add, would work as a feature. It would need major structural changes (in my opinion) and in the end, it was going to be a much longer process than I anticipated and not worth the amount I was to be paid. So I respectfully declined... by email.

Sure, it was a bit of a punk move, but hey, it was easier than calling the producer up and having to explain why I was stepping off and having to potentially deal with him trying to convince me otherwise. So now I'm back to just Lupus Moon, Hardwired and Jillted, and to be honest, I'm happy about that. They aren't paid projects (at least yet, hopefully), but I can also change whatever I want and not have to worry about pissing someone off.

So I guess this means I can't use the "professional screenwriter" tag just yet. Oh well, my time will come. I believe that. I HAVE to. In the meantime, let this be a lesson to any aspiring screenwriter - if you're hired on to turn existing material into a screenplay, make sure you read said material first before indicating your interest. It could save you some time and even embarrassment.

At least I got a free lunch out of it.

Saturday, September 26, 2009

Juggling Projects

I've got 4 scripts in the works right now.

Traditionally, I'm very linear - only working on one script at a time. But sometimes I get stuck on a script while creatively, I want to keep working. I never thought I'd be one of those writers I read about who had several different scripts in development, but I finally got it through my concrete-thick skull that if I wanted to keep the juices flowing, even through a block, that there was nothing wrong in pulling out another idea and doing some work on it. It didn't mean that I'd given up and surrendered to the evil writer's block monster - it just meant I was giving my brain some time to relax and find a workaround - which normally happens when I take some time away. Which also explains my current situation.

I won't go into a ton of detail on each script (I'll cover each in detail in their own series of update blogs), but here's the lineup that's spread out on index cards in my office now:

Jillted is a slasher script about a nerdy girl who snaps after finally being pushed too far. Everyone in her life treats her like shit - the kids at school, her stepfather - even one of her teachers does her wrong. One night, after being gang-raped by a group of boys, one of whom she is attracted to, the lead, JILLIAN, decides she's had enough and it's time for payback against everyone who torments her. It's a scenario we've seen before, but I'm hoping to add enough freshness to it to make it somewhat new again (I mean, what in horror hasn't been done already).

Hardwired is a action piece I built out of a concept given me by an actor friend. He basically said, "I have an idea for a movie about a guy who's a family man by day and a hitman by night," and then turned me loose to create the rest. I finished a draft a few years ago and it came out pretty good, but it had some real weaknesses that needed to be addressed. This script was initially designed to be shot independently on a low budget (with my actor friend starring), but I decided to rewrite it without budget constraints and shop it around Hollywood when I'm done. My friend gave his blessing to the idea and I told him we'd split the money 50/50 if I could sell it. My friend tried to act like I'd done all the work, but c'mon - it was his idea that got me going in the first place. he should get at least half.

With the remake of The Wolf Man coming soon, I thought the time was right for me to dust off Lupus Moon, a werewolf action concept I came up with in '99. It takes place in a small Colorado town and features a female werewolf hunter who shows up after hearing stories of strange attacks happening. I thought I had Acts I and III down and only needed to flesh out the second act, but this thing has gone through so many changes in villains, plots, relationships, and even the heroine's back story that I'm finding myself starting over for the 1,235,846th time. I was using the technique of laying the story out on index cards, but after so many scratch-outs due to all the changes in story I decided to say, "fuck it" and just start on the actual script. I'm just hoping the final product comes out good.

I just got hired to write the fourth script this past week. That's right - hired. It's the first time I'm going to get paid for my writing (barring two negative experiences with options I will not go into), which finally allows me to call myself "professional." It's not much money, but it's for an independent producer here in Houston who has a track record of getting things done which means that not only can I proclaim my "pro card," but I'm very likely to also become a produced writer, something I can use to market myself for other paid gigs. The project is called Outline, and it's already been made as a trailer from a 29-page script. My job is to turn it into a feature. I've had the script for a couple days now and have yet to read it (partially because I was getting this blog launched), but I plan to get to work on it tonight or tomorrow.

So there you have it. 3 scripts in various stages of writing/rewriting and one brand new project. But since that new project is the one that's actually paying, guess which one is going to be my main focus for the foreseeable future?

Stay tuned for updates on all my projects...

"I've Written a Screenplay. Now What?"

"I've written my first screenplay and I want to sell it. How do I do it?"

A fellow Writer recently asked me this and it is indeed the proverbial million-dollar question. To wit, my advice...

The first thing is to get your script covered. It does cost money, but having someone professional read over your work and give you tips and ideas can help you see things you might have missed, even if you think the script is airtight. It just helps because we as writers are often too close to the work to be objective. There are cheaper services out there (one company, called Screenplay Readers, will give you coverage for $59), but I'd also advise you to take a look at some of the larger companies like Script PIMPor Script Shark. They're a lot more expensive (up to $250 per script), but if your script scores a "Consider" or "Recommend," they'll help you market your script to their connections. And they have some really nice big-name contacts.

After getting your script covered and making sure it's the best it can be, the next thing I suggest is registering your script with the Writers Guild of America. You can do it online for $20 and immediately get your registration number (your actual certificate will show up in about a week). Some companies might require that your script be copyrighted or WGA-registered before they look at it. But even if they don't, this registration protects your work from possible theft (if you need to take someone to court, the registration proves the idea was registered by you on a certain date).

The next step is to try and get an agent, someone who can get your script into major studios that you won't have access to. First, go to the WGA site and print out a copy of their agency list. This list is made up of agencies who've agreed to abide by the WGA's minimum payment guidelines - in other words, they're regulated and much less likely to screw or bullshit you. When you have the list (it's free), call each agency and ask them what their submission policy for literary work is. The VAST majority of them will say that either they "don't take unsolicited material" or they "only go by referral," meaning someone they know recommends the script to them. However, there are several who will tell you to either write and send a query letter or to go to their website and submit a logline and synopsis for your script, and if they are interested, they'll ask for your script.

Really, the best way to sale a script is to land an agent. It's also the hardest thing to do, 'cause agents tend to want to only deal with people who've sold a script. See the catch-22? The trick is to find an agent who's actually willing to look at new material from a new writer. When you get that chance, you want to make sure you've put the best possible foot forward (which is why I suggest coverage). If you're lucky and talented enough to sign with an agent, things get a helluva lot easier, since it's their job to sell the script (which, if you didn't know, is how they get paid - 10%, usually). Your job then is to get to work on your next script. One last tip: when you've made contact with an agent willing to read you, it's best to at least have a couple of other script ideas in mind. That way, when they inevitably ask you "What else do you have?" you can say, "Well, there's this horror idea I'm kicking around..."

Another helpful tactic is putting your script on a listing service. There's several out there, but I like InkTip and So You Wanna Sell A Script. They have services where you can include your logline and synopsis in their monthly newsletters that goes out to their agency and production contacts, as well as services that allow you to list the same information on their website, where producers come and see what interests them. As for InkTip (I'd try them first), they've had many scripts optioned from their site, and several produced into movies. But to be honest, most of the companies that check out the site are not major prodcos, so I wouldn't expect the big-money paydays if they optioned or purchased your script. HOWEVER, it is a sale/option that you can use when pitching yourself to agents. Like I said before, agents are much more receptive when you can say you've optioned or sold something. To them, that means you're money - for them.

Another option (though not one I like) is entering your script into a screenplay contest. Many offer the winners exposure to, or meetings with, big-name agencies or production companies with the chance to promote your script. The problem (or my problem, anyway) is that these contests are highly subjective. You might have a great script, but if the judges aren't feeling your story or don't think it's commercial enough, you don't have a fair chance of winning. Another knock on contests is that everyone and their mother's sister's cat's best friend enters them, which creates huge competition. So you're spending anywhere from $35-$65 per contest, where the odds of winning are steep at best. With this option, know going in that you could very well wind up spending a lot of money and come out with absolutely nothing.

So, to break it down:

1. Get your finished script covered (not necessary, but really helpful in perfecting your draft)

2. Register with the WGA (you can copyright it through the Library of Congress as well - www.copyright.gov - but it's not necessary and costs more - $35 currently)

3. Print out WGA agency list and call each one for their submission policies. Send queries/loglines/synopses to those who allow them

4. Consider listing your script information on a marketing site, i.e.: inktip.com or sellascript.com (costs money)

5. Enter screenplay contests if you choose.

With all that said, it's still not easy to get your work out there. But with talent, luck, persistence and a great idea, you can do it.

Good luck!

Complete List of Written Works

Screenplays - Features
Sistas Ain't Havin' It! (2000)
Sistas Still Ain't Havin' It! (2000)
Deuce (2000)
Brother's Keeper (2000)
Thief of Hearts (2001) Heart of Film Screenplay Competition Second Rounder; Scriptapalooza Screenwriting Competition Quarterfinalist
Valentine's Day (2001)
You Want Butter With That? (2001)
Straight Ballin' (2001) WriteSafe.com Quarterly Screenplay Contest Finalist
Repo's Proxy (2002) Heart of Film Screenplay Competition Second Rounder
Charity (2002) Film Expo Texas Screenplay Contest Finalist
The Nubian Queen (2002)
Rampart (2003) (script doctor)
The Hill (2005)
A Mile In My Shoes (2006)
Hardwired (2007)
The Old Ladies Club (2008) (script doctor)
Citizen Zane (2008) (based on existing material)

Screenplays - Shorts
Randi's Birthday (2000) (produced in 2005)
The Party (2000) (produced in 2005)
Blood Moon (2001)
Texas Backwater (2001)
The Attucks Three: Leaders of the New School (2001)
Nigger! (2003)
Ice Cream Man (2003)
The Company Man (2003)
The Return of The Company Man (2003)
The Company Man's Christmas Party (2003)
Rail Riders (2003)
Nisa's Solo (2003)
Revelation (2004) (original draft)
The Late Shift (2004)
Killing Me Softly (2006) (script doctor) (produced in 2006)

Stageplays
Sistas Ain't Havin' It! (1993) (produced in 1998)
The Barber Shop (1993) (re-named "Leonard's Place circa 1998)
Old Jones (1993)
I Am A Good Man (1997) (produced in 1999)
Hip Hop 101 (1998) (produced in 1998)
The Gary Stringer Show - Episode 305 (1999)
The Producer's Scout (1999)
The Fashion Freak (1999)
Where Do We Go From Here? (2000)
I Am The Black Man! (2000)