Month: January 2015

Ask an Unequivocally Heavenly Script Consultant!

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The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on Hayley McKenzie, founder of Script Angel.

1. What’s the last thing you read/watched that you thought was incredibly well-written?

In film, I loved Philomena by Steve Coogan and Jeff Pope. I think it’s hard to make intimate stories in the Drama genre that feel like they deserve to be a feature film, but this one really nailed it for me. Also, Locke by Steven Knight – set entirely inside a car. I honestly didn’t think it would be possible to sustain tension with a guy talking on a phone driving a car for 90 minutes. It’s not a thriller, there is no threat to his life, no car-chase. It was a really stunning piece of writing. For TV, it was probably the second season of UK mini-series/serial drama Line of Duty by Jed Mercurio – a thriller that sustained tension and threat following one story over 6 hours of TV. One interview scene was 17 minutes long and you were holding your breath watching it – amazing writing.

2. How’d you get your start reading scripts?

After a Degree in English Literature, I started in film and TV production as a Runner, then 3rd AD. Then I discovered what Script Editors did – combining story analysis and film production – and knew I’d found my perfect role. I got a job as Development Co-Ordinator at BBC Drama where I got to read scripts for Jane Tranter (founder of Bad Wolf, Exec Producer Industry and His Dark Materials) and Pippa Harris (now Executive Producer for Call the Midwife). I was reading all the submissions to the department as well as everything in development and production. They read all my early script reports and really encouraged me to pursue it as a career.

3. Is recognizing good writing something you think can be taught or learned?

The technical analysis side of it can definitely be taught, and certainly improved through study. But I think good script readers are also very empathetic. Like the writer, they need to be able to imagine themselves inside the lives of the characters they’re reading about. Script Editors also need to be empathetic towards the writer themselves. As a Script Editor it’s not just your job to critique the script but to deliver criticism and useful solutions in a way that encourages rather than demoralizes the writer. You can’t not give the tough notes but as a Script Editor you’re working in a long-term development process with the writer so you can’t just tell them what’s crap and then walk away and wash your hands of it. What comes back in the next draft is in part your responsibility.

4. What are the components of a good script?

It’s got to make me feel something – almost anything as long as it’s not bored or confused. It almost doesn’t matter how you do it. If it’s a Drama I want it to make me cry. If it’s a Thriller it should be a tense, exhilarating read, etc. If it’s achieved that, even only in part, then I know there is something there I can work with.

5. What are some of the most common mistakes you see?

A great plot but poor characterizations; characters doing things because you need them to do it to get the plot to the next beat, not because it is what that character would do in that situation. And the reverse of that: great characters but almost nothing happens to them. Most writers have a natural flair for one or the other and the key is helping them strengthen the areas they’re weak in.

6. What story tropes are you just tired of seeing?

The hard-boiled, world-weary cop. It’s particularly a problem in television development because so many of our shows are in the Crime drama. Trying to find new angles on the ‘troubled cop’ is tough!

7. What are the 3 most important rules every writer should know?

1) Don’t be boring.

2) Don’t confuse me. Intrigue is great but utter bewilderment for huge swathes of screen-time will just make the reader ditch the script.

3) Don’t give up.

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

Papadopoulos and Sons, which was a huge UK indie hit in 2012, outselling GI Joe: Retaliation in some London cinemas! “Following his ruin in the latest banking crisis, a self-made millionaire reluctantly re-unites with his estranged freewheeling brother to re-open the abandoned fish and chip shop they shared in their youth.” I was lucky enough to be brought onboard as Script Editor – such a privilege.

9. How do you feel about screenwriting contests? Worth it or not?

Definitely. Placing in a well-respected contest can really get you noticed. But not all contests are equal. We have a curated round-up on the Script Angel Writers’ Hub of the best UK and US screenwriting contests.

10. How can people get in touch with you to find out more about the services you provide?

They can find out about our one-to-one screenwriter coaching service and we’ve got lots of free articles on developing you screenwriting craft and career on our Writers’ Hub.

11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Treacle tart – which is almost a pie! Yum!

Beginning anew

Maximum Z blog, characters, creativeness, creativity, feedback, ideas, obstacles, opportunity, originality, outlines, productivity, rewrite, screenwriting, script, sequence, story, storytelling, writing

blackboard
The next necessary step to moving forward

 

Hi there. Nice to be back. And to all you new readers out there – welcome! Feel free to take a look around.

When last we spoke, I was about to embark on a major rewrite of two outlines.

One of them is just about finished, while the other is somewhere in the early parts of Act 2.

Neither has been easy.

The toughest obstacle to overcome has been hanging on so tightly to that which has come before. Significant changes have to be made, or there’s no point to the rewrite.

This isn’t to say I’m totally disregarding what I’ve already written. For example, in a previous draft, a character is killed in a certain way. In this new one, the same method of killing is used, but for a totally different character in a different scenario, and it now holds a lot more significance in terms of the overall story.

While you can’t force yourself to come up with new ideas, you can challenge your creativeness by simply asking “What’s already here is good, but what’s another way this could happen?” There are always options and choices. Don’t limit yourself. Have fun with it.

Another benefit to these rewrites is since I have a fairly strong grasp of how the stories are supposed to play out, I can now concentrate on building up character development (something pointed out and recommended by several note-givers), which also allows for some beneficial quiet and revealing moments between rousing action sequences.

As much as I enjoyed coming up with a lot of those sequences, several have been cut in order to focus more on the characters. I’ll miss them, but they had to go (and could be possibly be resurrected for future use, as mentioned above).

Results so far have been encouraging, but I won’t really know until actual pages get written.

Corny as it may sound, letting yourself develop new ideas and approaches really is quite liberating. And the more you do it, the easier it gets.

 

Ask a Multi-Award-Winning Script Consultant!

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Erik Bork

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on Erik Bork, who also runs the website Flying Wrestler.

Erik Bork is best known for his work as a writer-producer on the HBO miniseries Band of Brothers and From the Earth to the Moon – for which he won two Emmy and two Golden Globe Awards. He’s also worked on the writing staff of two primetime dramas, sold multiple original series pitches, and written pilots and features for such companies as Universal, Sony, NBC, Fox, Imagine, Original Film and The Playtone Company. He teaches screenwriting for UCLA Extension and National University’s MFA Program, and has been called one of the Top 10 Most Influential Screenwriting Bloggers.

His book The Idea: The Seven Elements of a Viable Story for Screen, Stage or Fiction is now available.

1. What’s the last thing you read/watched that you thought was incredibly well-written?

I’m continually impressed with how DOWNTON ABBEY tells interesting, emotional, heartfelt stories that are grounded in the realities of its setting, for the various kinds of people who populate it. I’ve been re-watching the first three seasons lately – and think it’s great model for what makes characters and stories compelling, and easy to invest in.

2. How’d you get your start reading scripts?

I’d been a professional screenwriter for about a decade and was being asked to speak to writers groups, teach classes, and give feedback on scripts.

3. Is recognizing good writing something you think can be taught or learned?

Absolutely!

4. What are the components of a good script?

An intriguing and original concept about a compelling and high stakes problem for a character most people can relate to (either the character, and/or the problem) – which focuses on that character as they actively try to solve it, which is complicated and difficult for them, and entertaining for us to watch. I think working with the ten genres in the SAVE THE CAT books are a great tool for working on achieving this.

5. What are some of the most common mistakes you see?

Writers jump to script too quickly, without really developing a concept that has the ingredients necessary to have a chance at success. Stories often don’t have a main character that readers understand and have reason to care enough about, and sometimes it’s not told subjectively through that one person’s point-of-view. The main story problem is often not high stakes enough to the main character’s external life situation (as opposed to their internal life of thoughts, emotions and attitudes). It might not be an active enough challenge where they are pushing the story forward, or a problem that is big enough and hard enough, with enough twists and turns to it. Ultimately, it comes down to achieving the audience’s strong caring, and holding onto that – which is not easy to do.

6. What story tropes are you just tired of seeing?

I get tired of violent adventure stories with life-and-death stakes and a simplistic good vs. evil approach. It’s easiest to grab an audience with that, but it tends to leave me cold – especially when it’s just about visual spectacle, as opposed to realistic characters going through something relatable.

7. What are the three most important rules every writer should know?

-Basic story concept is the most important thing, and hardest to get right.

-The audience must emotionally become one with your main character, which isn’t easy to achieve.

-It’s hard and rare to write something that REALLY works, even for professionals – so stay open to feedback, lots of rewriting, and a long-term process that requires a lot of persistence and ongoing belief.

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

I don’t really provide coverage-style “recommend”/”consider”/”pass” ratings, and don’t exactly think in those terms. I’m more about helping the writer better their craft and project(s), and never look for or expect a script that comes to me to be something they could instantly do something with in the marketplace.

9. How do you feel about screenwriting contests? Worth it or not?

They’re in no way a panacea or golden ticket, and most of them probably won’t do much to advance one’s career – unless you finish really highly in one of the top contests. But it can be a good way to see how you’re doing, and get quality feedback, if you find the price reasonable.

10. How can people can get in touch with you to find out more about the services you provide?

You’ll find my script consulting page on my “Flying Wrestler” blog. You can also e-mail me directly at erik@flyingwrestler.com.

11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Cherry, hands down.

Scriptshadow Success Stories – part 2

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image courtesy of Springfield Punx
image via Springfield Punx (http://springfieldpunx.blogspot.com)
As one of the multitude of screenwriters working on establishing a career doing exactly that, I’m always exploring different potential avenues to get that first break.

In recent years, the website Scriptshadow (and its moderator Carson Reeves) has offered writers the chance to submit their script for review and feedback. While most are sent back to their keyboards with suggestions of potential fixes for the next draft, once in a while a script garners approval, hopefully leading to continuing success for the writer.

Today’s spotlight is an interview with two of four writers who fall into the latter category: Matthew Ballen, whose script placed in the site’s recent Top 10 Amateur Scripts EVER, and Louise Ransil, whose script was a semifinalist in the 2013 Tracking Board Launchpad competition and was recently profiled in the LA Times (see below).

1. What’s the title and logline of your script?

Matthew Ballen (MB): FATTIES – When a lonely masochistic chubby chaser is abducted by two fat lesbian serial killers, it’s the best thing that ever happened to him.

Louise Ransil (LR): MARLOWE – Based on a True Story:  African American P.I. Sam Marlowe shows novice writer Raymond Chandler the realities of detective work, juggling gangsters, corrupt politicians and movie star Jean Harlow to find out who’s burning farms along the Arroyo Seco Canyon.

2. What did Carson think of it?

MB: Carson said he couldn’t put FATTIES down and that it was really memorable. I made a lot of unusual choices, and I think this clicked with Carson because he sees a lot of scripts that in his opinion play it too safe.

LR: Carson’s reaction was mixed. He was completely honest, saying the noir genre wasn’t in his wheelhouse. He seemed to enjoy the dialogue and elements of style, but was put off by the dense and complicated plotting. He suggested I streamline the plot.

3. Did you find any of the reader comments useful?

MB: Carson thinks FATTIES may be one of the most polarizing projects he’s had on the site. My favorite reader was probably the guy who said “It’s stuff like this that makes me question the fate of Western Civilization.” I found that strangely flattering. Fortunately, a lot of readers liked it though.

LR: Reader reaction was fairly positive. Carson has a very knowledgeable reader base.  Some commented on how the script’s style and structure fit classic noir. There was discussion on whether the genre was relevant to current audiences. I found the comments useful, and overall reactions reflected those I’ve gotten elsewhere.

4. What’s happened with the script since it appeared on Scriptshadow?

MB: The review couldn’t have come at a better time. I was up for my first major re-writing assignment, and the producer and director who hired me each saw the SS review on their own. I should clarify that I already had a relationship with these people, but I didn’t have any produced credits and they were taking a big chance on me. My Scriptshadow attention made everything feel a little safer for them.

I’ve since done a deep polish on FATTIES, and it’s attracted some nice attention from a couple of producers, but nothing concrete yet. I’ll probably wind up directing it myself when my writing gigs slow down, but I’m still interested in finding a home for it if something cool comes up.

LR: Since my script appeared in Scriptshadow, it was featured in a Front Page L.A. Times article. This created some buzz for it, so I’m now shopping it around.

5. What’s going on with your writing career now?

MB: I’m currently writing a screenplay adaptation for veteran Academy Award-winning producer Arthur Cohn. The project’s a complex period drama, almost the polar opposite of FATTIES, though I think unexpected humor and a certain humanity to the characters might be the bridge between them.

LR: I’m working on other scripts now.

6. How can somebody get in touch with you to inquire about this or other scripts of yours?

MB: If anyone wants to reach me about my projects, rewriting, script doctoring, or watching their pets when they’re away, I can be reached at ballen.matthew@gmail.com.

LR: *editor’s note – Louise has opted to not include her contact information.

7. Is submitting a script to Scriptshadow something you would recommend?

MB: Absolutely! I think Amateur Friday is one of the best ways to get attention and feedback on an amateur script.

LR: I definitely recommend Scriptshadow. It’s good exposure and a balanced critique.

8. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

MB: Fresh strawberry pie from a farmer’s market in June. Oh, and every other kind of pie.

LR: Pecan.

Scriptshadow Success Stories – part 1

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As far as I know, Mr. Reeves does not know what evil lurks in the hearts of men. I , however, do.
As far as I know, Mr. Reeves does not know what evil lurks in the hearts of men. I, however, do.

As one of the multitude of screenwriters working on establishing a career doing exactly that, I’m always  exploring different potential avenues to get that first break.

In recent years, the website Scriptshadow (and its moderator Carson Reeves) has offered writers the chance to submit their script for review and feedback. While most are sent back to their keyboards with suggestions of potential fixes for the next draft, once in a while a script garners approval, hopefully leading to continuing success for the writer.

Today’s spotlight is an interview with two of four writers who fall into the latter category: Joe Marino and Alex Carl, whose scripts were voted 1st and 3rd, respectively, in the site’s recent Top 10 Amateur Scripts EVER.

Part 2 will post tomorrow.

1. What’s the title and logline of your script?

Joe Marino (JM): A Rose in the Darkness – A secluded boy’s way of life is threatened when he befriends Rose – the girl who his parents have imprisoned in the family attic.

Alex Carl (AC): Fascination 127 – A group of men are hired by a mysterious client to remove Jim Morrison’s casket, give it to him for 24 hours and then return the casket into the ground before it is publicly exhumed to be moved to the United States.

2. What did Carson think of it?

JM: Thankfully, Carson loved it. I got the email from him the week of 2012’s Thanksgiving (a few days before the review came out), where he told me he was ecstatic about it. I ended up getting an “Impressive” rating (a score that, at the time, was only shared with “The Disciple Program” in non-pro scripts). It was surreal, to say the least. All writers dream of the day where their work is publicly appreciated – and I never thought I’d be among the lucky ones to have it happen to me.

AC: Carson’s reaction was great. I believe he tweeted out late at night after he’d finished it, saying some very encouraging things. I wasn’t on Twitter at the time and so didn’t see anything until his posted review in the morning with a grade of [XX] Worth the Read.

3. How about the reader comments? Did you find any of them useful?

JM: The SS comment board was extremely helpful in making suggestions to better develop the draft. They’re a smart and observant crew, and it was an honor to have them focus that attention on my work. “A Rose in the Darkness” definitely came out of that experience a better script.

AC: The readers were fantastic with input and constructive critiques. I used many of the notes in the comments section during rewrites.

4. What’s happened with the script since it appeared on Scriptshadow?

JM: The script had a healthy thrum of interest. In the end, though, interested parties either went with other projects they liked more or decided to wait until further notice.

AC: Since the review, the script’s been optioned, placed in the top 25 of The Tracking Board 2013 LaunchPad contest and placed in the top 15% in the 2013 Nicholl. It got close to a sale twice when it was under option and received several reads based off SS, but ultimately I believe the story may be “a little too out there” to ever get made. It’s “too big a budget to take a chance on” is what I’ve been told repeatedly.

5. What’s going on with your writing career now?

JM: I’ve been focusing a lot on TV pilots this past year. Been trying to remain as prolific as possible.

AC: I’ve written two other specs currently under option, and am co-writing a pilot.

6. How can somebody get in touch with you to inquire about this or other scripts of yours?

JM: Manager Brooklyn Weaver brought me in as an Energy Entertainment client, which has been a huge boon in helping me find a voice and develop scripts that have the best chance of getting sold.

AC: Email me at hagpok@hotmail.com

7. Is submitting a script to Scriptshadow something you would recommend?

JM: Absolutely. I wouldn’t be in the position I’m in or have the opportunities I have without Carson. If you believe in your script with unbiased eyes, I’d highly recommend it. My biggest suggestion: don’t submit your script unless you’re 100% certain it fully conveys your vision. Don’t send if there’s even a moment in your script where you just went “it’s good enough.” Being satisfied with “good enough” will kill this wonderful opportunity for you. Reach for the stars and don’t allow yourself to be satisfied with inferiority.

AC: Most definitely. Some incredibly talented writers on there who will give insanely constructive notes, not to mention Carson’s insightful review.

8. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

JM: It’s a tie between peanut butter chocolate and strawberry rhubarb (particularly Amish-made).

AC: Oh, that’s easy. Key Lime. I lived in the FL Keys for a bit, and Key Westers are as protective of their claim to the best Key Lime Pie on the planet the same way Buffalonians will defend their crown of ‘best chicken wings’.