Why I Read Screenwriting Magazines

I just got the July/August issue of Creative Screenwriting magazine. Yes, I know it's September already, but I live in Europe and snail mail is slow.

Boy, am I glad I got it when I did.

There I am, reading along happily, when I come across a title of a recently-sold spec script, Sydney White and the Seven Dorks. My heart sank. I've been outlining a new script called Snow White and the Seven Geeks. "That's OK," I thought to myself. "I can change the title."

But I was worried. Very worried. Try as I might to tell myself that the stories could be night-and-day different, I just knew the gig was up.

So I rushed home and looked Sydney White up on IMDb. (The film is completed and is due to be released this month.) My story is set in high school, Sydney White is set in college, but otherwise, the storylines are very similiar.

Sigh.

Since I like to look on the bright side, here's what I'm walking away with:

1. I had a good and obviously timely idea. I'm in the ballpark of what the market is looking for. This is exceedingly good news and I do take heart.

2. At least I found out somebody beat me to a good idea before I put in several months of hard work writing the script. (Thank you, Creative Screenwriting!)

3. I'm looking forward to seeing Sydney White and discovering how the husband-and-wife screenwriting team (Chad Gomez Creasy and Dara Resnik Creasy) treated the subject. It will be a fascinating learning experience.

4. Cinderella here I come!

Comments

[T]

Did you catch the review of Sydney White that was online on the Ebert and Ropert site? Has there been other press about the film? I was wondering how this affects your feelings/perception of the work you have in progress?

http://bventertainment.go.com/tv/buenavista/ebertandroeper/index.html

[Alexis Niki]

Yes, I have seen some of the reviews. The general consensus seems to be that Sydney White is formulaic and flat. Unfortunately, I haven't seen the movie (it hasn't opened in France yet), so I can't offer my own opinion.

I still think the concept is strong--if handled with the right mix of fidelity to and liberties taken with the original story, and a lot of humor.

I'm no longer working on the script, by the way. I put it aside as soon as I learned about Sydney White. Better to direct my energies elsewhere, methinks.

Alexis