Off The Record 2 – Open For Submissions

Contact: Luca Veste

Theme: Off The Record is themed anthology that follows a certain criteria. The first one was music. Writers used titles of songs to make stories. Now it’s movies. These are the three you can choose from:

Memento
Ghost
American Beauty

Word Count: 750 – 2500

Payment: All proceeds go to Charity.

Deadline: 1st September 2012

No Reprints.

Notes: It’s a great chance to write along side some of indie’s best. I have something I want to toss Luca’s way not sure if it fits. I do think the theme is a bit hard, but think of it as the title not the world. So technically anything with a ghost could be titled “Ghost”. I do feel like there should be some kind of inspiration from that world.

-L. Vera

Submissions: Deathscribe 2012

The deadline is close but:

DEADLINE: August 15th, 2012

SUBMISSION GUIDELINES
FOR DEATHSCRIBE 2012

We are looking for 10-minute radio scripts that are genuinely scary, imaginative, chilling, intelligent, suspenseful, horrific or downright grotesque. We put no restrictions on contestants as to content or tone, but keep in mind that we are a Horror Theatre. We take our horror seriously, and so should you.

Submission rules:

Scripts must be ready to produce – all sound and music cues included. Details on format can be found below. Please be aware that these scripts, if chosen, will be performed by no more than 6 actors, therefore if you have more characters it will require double casting by the director of the piece.

5 scripts will be selected from all submissions. After being selected, there will be an opportunity for the authors to refine, revise, and tighten these scripts (if deemed necessary) in collaboration with WildClaw Theatre Company.

These scripts will be rehearsed and presented as an evening of Live Radio Drama with foley sound at the Mayne Stage in Chicago’s Rogers Park and recorded for a future WildClaw Blood Radio Podcast.

Deadline for submissions is midnight, August 15, 2012.
Deathscribe selections will be “blind.” The title page should include the title of the script, names of all authors, and the address, phone/fax and email address of the author(s). The subsequent pages must include only the manuscript title and page number and NO identifying personal information (name, address, email, etc.) or it will be disqualified.

There will be a “Best of the Fest” award, with the winner chosen by a celebrity panel of judges on the night of performance.

By submitting to WildClaw’s Deathscribe Radio Horror Festival, you are stating that the script is your own work and has not been produced or commissioned for pay by other theatre groups. Plays which have been produced professionally are not eligible. Audio plays that have received college/university productions only will be accepted.

By submitting your play and upon acceptance to WildClaw’s Deathscribe Radio Horror Festival, you are granting WildClaw the exclusive, non-binding rights to make copies of your work in all media – including print, digital, film, video, audio, or other Internet formats – used to promote the Festival. WildClaw Theatre will have the right to produce the selected scripts for the WildClaw Theatre Deathscribe Horror Radio Festival, including broadcast and/or webcast of the festival; however, WildClaw Theatre makes no commitment to produce any script. The author retains all other rights to his or her work.

For Guidelines and Submission info see here.

H/t David Schmidt, author of award winning radio play The Change in Bucket County and Sword & Cloak filmmaker

Dead Men Don’t Wear Plaid

by K. A. Laity

Long before the atrocity machine that is Forrest Gump [shudder] and a year before Woody Allen’s ‘ground-breaking’ Zelig, Steve Martin, Carl Reiner and George Gipe delivered Dead Men Don’t Wear Plaid, a comic collage of noir classics cut into Martin’s cut up shenanigans. Dead clever and deadpan, it wasn’t the madcap lowbrow of The Jerk nor quite the ambitious remake of Dennis Potter’s insanely prescient Pennies from Heaven. Some critics passed it off as a “one joke” idea, others saw evidence. Audiences were often nonplussed by the strange blend of comedy and crime where modern actors interacted with their past masters.

I loved it.

You always get a special thrill when you find one of your tribes. When I first saw it back in the day I had seen some of the films referenced in the movie, but not nearly enough of them, but who could not be immediately arrested by Eva Gardner, Cary Grant, Veronica Lake, Burt Lancaster, Ingrid Bergman, James Cagney, Lana Turner, and of course Humphrey Bogart?

Now that I’m more familiar with the genre I have an even greater appreciation for the film and fondness, too. Though many of my favourite things are part of the creation: I can’t count how many times I’ve used the shorthand of “F.o.C.” or muttered to bemused on-lookers, “Cleaning woman?!”

The film works because there’s such attention to the details. It was the last project for legendary costume designer Edith Head, and the dizzying variety of authentic production designs were the work of veteran John De Cuir. Composer Miklós Rózsa (like Head, this was his last film) provided an seemingly classic soundtrack that perfectly captured the genre.

The real gem was Rachel Ward; given Martin’s propensity for exaggeratedly childish humour (is there any film he’s in that doesn’t have at least one dog poo joke?), she did most of the work of keeping the film on track and remaining seductively sexy as Martin man-handled her. Ward fit the 40s style outfits as if she were born to them. She never breaks character and really sells the romance between Rigby and Juliet, and gives the film an emotional centre that Martin didn’t yet have the subtlety to maintain (he got there in Roxanne).

If you haven’t seen it, you’re in for a treat. If you have, it’s probably time to watch it again.

Get Your Story Made Into A Film: BDHR Looking For Submissions

Publisher: BDHR Entertainment

Theme: Horror

Pay:

  • You will get an on screen “story” credit, as well as a credit on IMDB
  • $100

 

Notes: I already turned in something, a little Idea I had written down quickly the other day. Make sure you read the post throughly and I wish you luck.

-L. Vera

Review: Pulp Ink

 

Blurb: PULP INK is the bizarre, chaotic side of crime fiction. From an ass-kicking surfer on acid to an idiot savant hitboy, these tales are dark, funny, action-packed and told with all the gleeful insanity of a Tarantino flick.  You’ll laugh, you’ll cry, you’ll roll into the fetal position and beg for mercy. So sit back. Pour yourself a cup of joe, crack a beer, tie off – whatever you need to get comfortable – and get ready for a dose after dose of pulp action.

With stories by:
Allan Guthrie
Reed Farrel Coleman
Gary Phillips
Hilary Davidson
Matthew C. Funk
Paul D. Brazill
AJ Hayes
Michael J. Solender
Richard Godwin
Naomi Johnson
Jimmy Callaway
Sandra Seamans
Patti Abbott
Jodi MacArthur
David Cranmer
Chris F. Holm
Jason Duke
Eric Beetner
Ian Ayris
Kate Horsley
Matt Lavin
Jim Harrington
Nigel Bird
Chris Rhatigan

Review: A fun conceit — filling in all the background noise of what’s happening between the lines of the PULP FICTION soundtrack. Terrific efforts all around, some of surprising gruesomeness and hilarity, too. Too many good stories to choose just one, but among my faves the ones by MacArthur, Beetner, Brazill, Ayris, Rhatigan and Horsley. But no clunkers — for a slightly gimmicky conceit to kick things off, the writers have picked up the threads and run far. A fine collection at a bargain price.