The storm that the Writers Guild of America strike could have been has mercifully passed by - at least for now. Although there had been rumors of scripts being rushed into production before the presumed strike, one wonders whether these films will be any worse than what we are already seeing - witness THE MUMMY RETURNS and PEARL HARBOR.

Also gone, for now, are the hopes of non-WGA members that somehow, their scripts would get read by producers hungry for film projects.

I read a lot of these. (Masochism seems to come with the turf for anyone interested in independent film production.)

But now that there is a return to the normal process of screenwriting and there is the anticipated start of another Nantucket Film Festival - the one that is dedicated to the art of screenwriting, I thought I would share some random thoughts about the screenwriting process.

There are several things one ought to keep in mind when considering writing a screenplay.

l. Attend screenwriting groups. Film is a collaborative medium, and screenwriting requires the ability to collaborate, compromise and communicate. One way for the communication process to start is to sign up for one of the many programs that not only teach the art of the screenplay but also gives one experience in the development process. Groups like the Grub Street Writers and the Harvard Square Scriptwriters emphasize the latter while adult education programs, like those as BF/VF and Boston Adult Ed emphasize the former. Any program can expose you to enough for you to decide whether you want to pursue this mad endeavor in the first place.

2. Define your audience. Actually there are two audiences: those that would spend their money and time to see the story you would have put on the screen, and those who would read your script in the process of helping your story reach that audience. Both are important. To reach the latter audience, you need to have a clear understanding of the former. Remember, writing a script is, as much about understanding the kinds of story people want to see as it is about the story you want to tell. So, be clear in understanding and communicating what kind of film this would be-big budget or small budget? what type or genre? for theatrical, festival or video? etc. And, because one is supposed to write about what one knows, many of the scripts have highly autobiographical elements. Face it, it is possible that no one wants to spend two hours in the dark with you.

3. Use approved format. There are computer software programs and books for this, and certainly format would be covered by one of the groups or courses. This is important. It is often true that a script that is a good read is not necessarily a good screenplay. If you want your script to be taken seriously, you have to be careful in the way you present it, including not just narrative descriptions and the introduction of characters but in terms of pagination and binding. Foremost, camera directions should be left out. Remember, it is up to the director, with his cinematographer, to decide how your story is to be filmed. Occasionally, I read a script filled with camera directions and interpretive narration. One such script was Brad Anderson's SESSION 9. It was almost poetic. But he knew which cinematographer he would work with and that he would direct and edit it. He also had a track record and could approach sources of financing. But going that route with your script sends a signal to any reader that you plan to be closely involved in the development of the film, and that message has long reaching implications. Finally, make sure to use spell and grammar checks (I should follow some of my own advice). Too often I feel like I'm reading a submission for Freshman Comp than reading a serious script. Spelling and grammar mistakes only serve to distract from the real work of a reader, which is to get at the story and structure of your script.

"Actually there are two audiences: those that would spend their money and time to see the story you would have put on the screen, and those who would read your script in the process of helping your story reach that audience. Both are important."

4. Be prepared to listen and rewrite. This has two parts: selection and evaluation. In selecting people to read, make sure these are people you trust to give you honest feedback. Friends and family, attuned to your anxieties, tend to be overly supportive. Besides they may not be experienced in reading screenplays. As I said earlier, a good read is not necessarily a good screenplay. Give it to people who are experienced in reading scripts. At this stage, don't give it to too many industry people. First, it is probably premature. You don't want your script to have the perception that it's been around for awhile. Second, some of them might have the impression that you might even have access to the means to get the film produced and give you favorable feedback in the hopes of getting a job in the production

Once you've selected people to read, listen and take notes before you comment. When someone I may not know well sends me a script, I always try to test his or her willingness to rewrite. If the writer is too defensive, it is a sign that this is a potential client with whom it would be difficult to work. That same person should be one of those reading the revised draft, and perhaps be retained to help you develop a strategy for getting the script realized. Sometimes a script will have gone through several drafts before it reaches me for comment, and it is usually several drafts away from being shopped around. Remember, what is called a "First Draft" is rarely so.

5. Attend screenwriters' forum. The Nantucket Film Festival is a good example, but most valuable if you've gone through the above process. In this most compact and picturesque of settings, there is a large collection of people who have faced the same problems you will have. There are speaking forums, panel discussions, presentations, and of course, numerous occasions to swap war stories. Because of its small scale, it is possible not only to have conversations with those in your league, but also those whose relative success you would like to emulate. You may not get your script sold or find your own producer, but you will come away with a wealth of valuable information, and have a good time in the process.

If you follow the above general guidelines, you will understand why screenwriting requires communication. Once the script is at the point where it can be shopped around, you will understand collaboration and compromise. This experience will have prepared you for it. Happy writing. It doesn't have to be lonely.

SOME THOUGHTS ON FILM FEST NEW HAVEN

That the Connecticut filmmaking scene is alive and well was certainly in evidence at the 6th Annual Film Fest New Haven where a strong collection of films produced in the state mixed with quality films both nationally and internationally. "Growth" was the operative word according to the Artistic Director, the ever-energetic and shrewd programmer Nina Adams, who still manages to put together the best assortment of short films of any festival (and that includes Sundance) in which l am not directly involved. (I steal a lot of her ideas). This year's Festival added a venue, and its parties were more frequent and in better surroundings. Nina's gargantuan responsibilities were shared by the addition of two senior staff members. The opening night party at Yale instead of the lobby of the York Square Cinema is a case in point not only for the respect and support the Festival has earned, but also for its growth.

It was certainly the most festive of the New Haven festivals I've attended, and I genuinely liked the mix of films. But with growth comes the need for support. To hold its own amidst the proliferation of regional film festivals, New Haven's has no choice but to grow. That it is a quality event that is filmmaker friendly, it cannot remain static. The all-volunteer staff needs further corporate support if it is to continue to provide this impressive cultural event and motivate those who make it the success it has become. There is no choice for Film Fest New Haven but to grow.

R.I.P. GREG NARKUNAS

One of the great support people during the past decade's growth in the region's film and video production was Greg Narkunas, who died in April. In fact, he was an important factor in contributing to that growth working with Boston Camera Rental Company since 1997 as their Vice President, Technical, and before that, as rental manager of the Camera Department at Boston Film Factory. His knowledge of cameras and equipment and endless enthusiasm assisted legions of industry professionals as well as emerging independent filmmakers and students. He was a member of the International Camera Guild I.A.T.S.E. Local 600 and a member of The Society of Motion Picture and Television Engineers (SMPTE). Greg also contributed to Imagine News Magazine. Warm and generous-spirited, he will be greatly missed.