The B Story

Voiceovers

Thu, 17 Sep 2026 18:23:34 GMT

Voiceovers

Ask what the voice knows that the picture can't show.

Somebody told you that using a voiceover is cheating. That's wrong about half the time. Using a voiceover isn't lazy. Lazy voiceover is lazy, and the difference is easy to test.

Ask what the voice knows that the picture can't show. Goodfellas opens with Henry Hill and two friends finishing off a man in a car trunk, and over it Henry says he always wanted to be a gangster. Nicholas Pileggi and Scorsese aren't explaining the image. They're putting a value on it. The voice admires what you're recoiling from, and that gap is the whole movie. You can't shoot a gap. That's why the voice is there.

Now the version that gets cut. A woman walks into her apartment and the voice says she was exhausted. You already watched her drop her bag. The voice is describing the frame, and a director reading that line sees a writer who doesn't trust the shot. That's what the voiceover people mean when they call it cheating.

There's a third kind and it's the one that saves scripts. A voice that makes a promise. Sunset Boulevard opens with a dead man narrating his own murder, and Wilder and Charles Brackett spend the next two hours making you wait for it. That voice isn't commentary. It's a deal with the audience about where this ends.

If you can delete a line of voiceover and lose nothing, you were captioning. If deleting it changes what the scene means, keep it and stop apologizing for it.

Writing the Sex Scene

Wed, 16 Sep 2026 18:19:15 GMT

Writing the Sex Scene

Write the decision, not the choreography.

Two people jump into bed and the story stops. That's the problem, and it's almost always the same one. Nothing gets decided in the scene, so the scene is just spectacle.

The good ones are negotiations. Somebody wants something besides sex. Out of Sight is the one working writers point to. Scott Frank wrote it, Soderbergh directed, and the hotel bar between Clooney and Jennifer Lopez is cut against the room upstairs. She's a federal marshal. He's a bank robber she has to arrest. The scene isn't about whether they'll sleep together. It's about two people agreeing that for a few hours their jobs don't exist, both knowing what it will cost. Take the sex out and you still have a story beat.

Here's what you're not thinking about while you write it. Your pages go to an actor's agent, and that agent reads them for what the role asks of a client. Vague pages read as risk. A scene that says plainly what's shown and what isn't gets a yes more often than a scene that trails off and leaves it to the director. You also just added an intimacy coordinator, a closed set, and a slower day to the schedule, and your line producer noticed before your director did.

So write the decision, not the choreography. Name what the audience sees, keep it as short as the beat needs, and make sure something between those two people is different afterwards.

If the story survives cutting the scene, cut it. If it doesn't, you wrote it right.

What the Deal Memo Locks In

Tue, 15 Sep 2026 18:14:42 GMT

What the Deal Memo Locks In

Know your three before the phone rings.

The long form takes four months. The deal memo takes an afternoon. Everybody treats the memo like a placeholder, and then the memo is what the lawyers argue from for the next year.

A deal memo is two or three pages that say who's buying, what they're buying, for how much, and on what schedule. It's short because it's meant to be. Most of them bind you on the points they name, which is why the points they leave out are the expensive part.

Watch what people fight over later. Credit, because the memo said “written by” and didn't say what happens when a second writer comes on. Rewrite steps, because it said one rewrite and a polish and nobody defined polish. Bonus triggers, because it promised a production bonus and never said whether a greenlight or the first day of photography sets it off. Reversion, because it said nothing at all.

Little Miss Sunshine sold to Fox Searchlight at Sundance in 2006 for around ten and a half million. Deals that fast get agreed in a hallway and the contracts finished later. That's normal and it isn't the problem. The problem is being the one in the hallway without having decided which three points you won't move on.

Know your three before the phone rings. It's hard to think about while it's happening.

Know Who You're Pitching

Mon, 14 Sep 2026 18:09:16 GMT

Know Who You're Pitching

Half the silence writers call rejection is just the wrong door.

A name comes across your desk with money attached. Film finance. Independent film. A CEO with thirty-five years of lending behind him. You write the acceptance email that night because you're excited, and send it in the morning.

Then you look closer and the company is two months old. No website. No company page. No press. Nothing about the entity anywhere. The man is real and his track record is real, but the thing with his name on it barely exists.

That matters, and not because it's a scam. It matters because his whole career is in lending. Lenders don't buy scripts. They loan against something that's already there, a tax credit, a presale, a signed cast contract. Send him a spec with no money attached and you've handed a lender a project with nothing to lend against. He can't say yes. He isn't being difficult. You brought him the wrong ask.

Blumhouse is the version everyone knows. Jordan Peele made Get Out there for about four and a half million, and the reason it worked is the model. Small budget, final cut to the director, no expensive stars. Writers still pitch Blumhouse eighty-million-dollar spectacles. Those pitches die in the subject line, and not because the script was bad.

Fifteen minutes of reading tells you whether someone is equity or debt, whether they finance or produce, and what they've actually closed. Do it before you write the email, not after they don't answer. Half the silence writers call rejection is just the wrong door.

Catalina Film Festival

Tue, 03 Oct 2023 22:06:31 GMT

Catalina Film Festival 2024

At B Story Media, I immerse myself in the dynamic world of film by attending various festivals, but none captivates me quite like the Catalina Film Festival. As a writer, connecting with fellow creative minds, producers, and industry insiders at this event is an exhilarating experience. The vibrant atmosphere, filled with glamorous parties and the anticipation of award-winning nominees, ignites my passion for storytelling. Whether I'm crafting screenplays, novels, or collaborating with producers on compelling narratives, the inspiration I gather from the Catalina Film Festival fuels my creative drive and elevates my work to new heights. Join me on this thrilling journey through the magic of cinema.

Network Like a Star

Mon, 22 May 2023 21:56:57 GMT

Party at LA 5 Rotary Lunch

Networking can be hard for an introvert... but it's still an essential part of a writer's life. Whether you're a beginner or an experienced writer, building meaningful connections can help you advance in your career. And what better way to connect with peers and industry professionals than at writer's events? However, for many writers, the thought of walking up to strangers and striking up a conversation can be intimidating. Here' some of the ways I prepare for a networking event...

Research the event and prepare in advance
Before you attend any writing event, it's essential to do your homework. Research the speakers, attendees, and the topics that will be covered. Make a list of people you would like to meet and potential questions you could ask them. Have a brief introduction about yourself, your writing interests, and what you hope to achieve at the event. This not only makes it easier for you to strike up a conversation and leave a lasting impression. I like to keep my LinkedIn tagline in mind, because it's short and sweet and gets me out of the hot seat fast.

Attend the workshops and panel discussions
Most writing events feature workshops, panel discussions, and author talks, which are great opportunities to learn from experienced professionals and connect with fellow writers. Attend these sessions, actively engage in the discussions, and make sure to take notes. This not only help you improve your craft but also give you something interesting to talk give you material to ask questions.

Break the ice with small talk
Starting a conversation with a stranger can be challenging, but it doesn't have to be. Small talk can help break the ice and create a friendly atmosphere. Ask about the other person's writing interests, their favorite book or author, or their experience in the industry. Compliment them on their work or congratulate them on an achievement. Remember, everyone loves to feel appreciated and acknowledged.

Give and Take Business Cards & Connect on Social Media
At writing events, you'll meet several people, and it's impossible to remember everyone's name. I use an electronic card app, HI Hello. Makes it so easy to exchange business cards and connect with them on social media. This will help you keep in touch with them and follow up on potential collaboration opportunities. Make sure to give and take business cards and connect with them on social media to stay in touch. I like to be proactive and reach out too.

Follow up after the event
Following up after the event is just as important as making connections. Send a personal email or LinkedIn message to the people you met, reminding them of your conversation and the things you discussed. Thank them for their time and express your interest in keeping in touch. This will help you maintain a professional relationship and make it easier to connect with them in the future.

Happy networking!

Eliciting Desire

Wed, 26 Apr 2023 19:04:42 GMT

Eliciting Desire

A Picture is Worth a Thousand Words: The Power of Imaging Systems in Film and TV

As writers, we often focus on crafting the perfect dialogues, story arcs, and character developments for our scripts. However, one vital aspect that often gets overlooked is the imaging system. How a scene is captured, lit, and edited can profoundly impact the tone and emotions of a script. In this blog post, we will explore how imaging systems affect the mood and subtext of a scene in movies or television shows and the importance of considering it as a writer.

One of the most crucial visual elements of a scene is the lighting. Lighting sets the tone for the scene, emphasizing certain areas or characters and casting everything else in shadow. For instance, low-key lighting with harsh shadows in a horror movie can make the scene more unsettling and eerie. In contrast, soft lighting can create a warm and inviting atmosphere in a romantic comedy. As a writer, it is essential to consider the scene's tone and work with the cinematographer to bring it to life.

The framing and perspective of the camera also contribute significantly to the scene's mood. The distance and angle of a shot can implicitly communicate characters' relationships, power hierarchies, and emotional states. For instance, a close-up shot can convey intimacy and emotional intensity, whereas a wide shot can highlight the characters' surroundings and circumstances. As a writer, understanding the visual language of shots can help you better convey your messages to the audience.

The editing process is where the imaging system comes together, setting the film's or TV show's rhythm and pace. The way that shots are arranged, the speed at which they are cut, and the use of transitions can evoke a wide range of emotions or subtle subtext. For instance, a rapid back-and-forth shot can create tension and urgency, while dissolves can indicate a change in time or location. As a writer, working closely with the editor can help you ensure that the intended mood of your scene is conveyed to the audience.

Color grading is another essential part of the imaging system, affecting the scene's color scheme, contrast, and saturation. Color grading can imbue a scene with various emotions or connotations, creating a particular atmosphere or subtext. For instance, a cool blue color palette can convey a somber or melancholic mood, while a warm orange tone can create a sense of excitement or optimism. As a writer, collaborating with the colorist can help you achieve the desired tone and subtext of the scene.

As writers, it is essential to understand an imaging system's impact on a scene's tone and emotions. Collaborating with the cinematographer, editor, and colorist can help you bring your story's visuals to life and convey the intended mood and subtext to the audience. By considering the lighting, framing, editing, and color grading, writers can elevate their scripts from good to great, using the power of a picture to tell a thousand words.

Here are some videos with more great advice on the subject:

Robert McKee: https://www.youtube.com/watch?v=2CNj2Rt92Cs

Studio Binder: https://www.youtube.com/watch?v=eE4QalFJkpY

Best Writer Award Austin Film Fest

Tue, 28 Dec 2021 23:04:18 GMT

Best Writer Award Austin Film Fest

Winning the Best Writer Award at the Austin Film Festival Under The Stars was a wonderful surprise. My husband, Mike and I were happy to represent Bash Productions and the beautiful actress, Marietta Melrose at this event in their place as they travel the world. This Festival took place at the Lone Star in The Domain at Austin Texas right along with the big one, The Austin Film Festival.

This was the third film festival #whatnext was accepted into and I think you can tell by the look on my face that I was taken by surprise. I'm not used to staying up so late, but this was the last award of the night. The short also won the People's award at this event and we could not be prouder to receive this award on behalf of Bash Productions. Now I have an idea of what the Emmy's and the Oscars might feel like. The motivation is out of this world.

#WHATNEXT at Austin

barbross@yahoo.com (Barbara Ross) — Thu, 07 Oct 2021 01:05:42 GMT

#WHATNEXT at Austin

So happy for our star, Marietta Melrose screening at the Austin Film Festival ...Under the Stars.

#WHATNEXT at La Femme

barbross@yahoo.com (Barbara Ross) — Thu, 07 Oct 2021 00:44:42 GMT

#WHATNEXT at La Femme

So happy for rising star, Marietta Melrose screening at LA FEMME...All films will be screened at Regal Cinemas at the Staples Center : 1000 W Olympic Blvd. Los Angeles, 90015... Get tickets Hope to meet up at the parties! Connect here for virtual screenings Oct. 14-17th. Rewrite by Barbara Ross.

The B Story

Voiceovers

Voiceovers

Ask what the voice knows that the picture can't show.

Writing the Sex Scene

Writing the Sex Scene

Write the decision, not the choreography.

What the Deal Memo Locks In

What the Deal Memo Locks In

Know your three before the phone rings.

Know Who You're Pitching

Know Who You're Pitching ﻿

Half the silence writers call rejection is just the wrong door.

Catalina Film Festival

Catalina Film Festival 2024

Network Like a Star

Party at LA 5 Rotary Lunch

Eliciting Desire

Eliciting Desire

Best Writer Award Austin Film Fest

Best Writer Award Austin Film Fest

#WHATNEXT at Austin

#WHATNEXT at Austin

#WHATNEXT at La Femme

#WHATNEXT at La Femme

Know Who You're Pitching