One of these tiny little questions that nag at me is if one can register a script with the WGA from outside the US (i.e. Europe). And is it even worth a try to send a query out to agents etc. or does it end up in the circular file immediately when they see a foreign address on the envelope.

If so, is there a trick to "fake" a US address, like using a P.O. box or the likes.

Thanks for offering a new round of reader questions. It is always valuable information.

Hi Scott-

I remember you mentioning that you've worked with writing partners as well as on your own.

My questions is, say you've written with a partner for several years, developing a few projects, but have since decided to break out on your own, what becomes of those writing partners projects?

Do you continue to rewrite and develop them with an understanding there will be no future collaborations? Abandon them? Just not sure how the post break up part works, especially if you still really like the projects you worked on.

Thanks in advance!

Something I never got around to asking, and it hasn't got much to do with screenwriting, but more about the business of hollywood.

What is Hollywood's view on movie critics? If you start out as a critic, and post some bad reviews of movies, does that hurt your chances of working in Hollywood on movies?

Quick question-

Do you have to have an agent/manager to try and get an Open Writing Assignment, and what do you think is the best way to do so?

I’m a starving artist/writer. I’ve had steady work for about a year now but the pay isn’t exactly of the rock star caliber. I think I’ve built a decent resume and I’m wrapping up the first draft of my first screenplay. I’ve already paid my dues in writing comics, so I think I got most of my shitty novice stuff out of the ol’ system. The screenplay is a story I really believe in.

So the question is: How do I get my script out into the world without spending money I don’t have on say, the Sundance Director’s Workshop or a screenwriter pro class; like Lew Hunter’s or your course Scott? Don’t get me wrong, I’d love to take one of those classes—I have so much yet to learn but damn, I’m still a blue-collar guy.

And a second part to this question: How do I promote my script without being a) seen as an amateur to be ignored, and b) seen as that annoying asshole with a script?

Thanks,
-Nick-

p.s.I also like AlexRinggaard's question. I'm intersted in that answer as well.

In your five archetypes that populate almost every movie, does the Mentor always have to be right? If the issue at hand came down to heart versus head and the protagonist should be using their heart more, could being under the influence of a mentor, who approaches things from a head-centered space, actually be working against them? So, basically, can the Mentor and Attractor work against each other?

Hey Scott, loved your posts about the Social Network.

I have a question about scene openings.

When you start a new scene, is it necessary to say what the characters were doing or can you jump right into the dialogue?

Example:

INT. OFFICE - DAY

Jeff and Meg are talking.

JEFF: Blah blah.

MEG: Blah?

--------------------------

Would it be needed in that instance? Thanks Scott, keep up the good work.

Could you delve into what exactly a polish is for a script? What is looked at, rewritten, added, deleted, etc.

I've always heard the term, but no one I've asked before seems to know the answer other than, "That's the last thing you do to a script." Okay -- so what is it?