Ashley Scott Meyers is a screenwriter and blogger/podcaster at SellingYourScreenplay.com. He has optioned and sold dozens of spec feature film screenplays, with many making it into production. All of Meyers’ screenwriting success has come through his own marketing efforts which he teaches on his blog and podcast.
What’s the last thing you read/watched that you thought was incredibly well-written?
The screenplay for SOURCE CODE is excellent; one of the best scripts I’ve ever read. I highly recommend it to anyone who is a screenwriter.
I have two young daughters, ages six and three, so I’m watching a lot of children’s movies these days. I just watched THE IRON GIANT for the first time, and thought it was very well-written.
In fact, I’d call MEGAMIND one of my favorite films. In terms of screenwriting, it’s excellent. There are very few films I watch that I think are perfect, but as a screenwriter, I’d consider it one of the few that could be called practically flawless.
My daughters and I recently watched the 80’s classic CLOAK & DAGGER, another very well-written movie. It keeps the action going and all comes together at the end. A very smart script. I saw it when I was a kid and didn’t think much of it at the time, but seeing it again, it’s a pretty solid piece of writing.
Tell us about your writing background, including your “big break”.
I’m not sure I’ve really had a “big break.” Every script I sell or option feels like a monumental effort and it hasn’t gotten any easier. In fact, I’d say it’s gotten harder as the DVD market has shrunk over the last decade or so.
But to answer your question… I really never had a background in writing. I just liked movies, and for some reason writing scripts appealed to me. So I decide to pursue screenwriting. I was a terrible student when it came to English, writing, spelling, and grammar. Pretty much every skill you need to be a writer, except one (maybe two)… persistence and determination. So I’ve just plugged away and sold a few scripts.
How did the Selling Your Screenplay blog and podcast come to be?
Believe it or not, I once saw Gary Vaynerchuck speak at a conference where he was talking about not putting your personality into your brands. At the time, I was running a whole bunch of websites, but nothing around screenwriting. So I decided then and there that I needed to do something that combined two of my skills and interests: screenwriting and web development. So I did.
As far as the podcast goes, I just started to listening to podcasts and I thought they were really powerful. So I launched my own.
You’ve had experience with short films. What do you consider the benefits of working on a short, both as a writer and filmmaker?
The biggest thing is that you get to see your work get completed, which is rare as a screenwriter. But if you write a halfway-decent short, it’s fairly easy (nothing is every easy in this business, but it is possible) to find someone who wants to shoot it. You also might get an IMDb credit, win an award at a film festival, and meet other filmmakers. Shorts are a great way to hone your craft. You’re not going to make any money doing them, but they can be a great learning experience.
Is recognizing good writing something you think can be taught or learned?
Yes. The more screenplays you read, and the more you write, the more you’ll be able to recognize good writing.
One of the things that makes movies so vibrant is the fact that you can watch a movie or read a script and notice different things every time, depending on where you are in your own life and skill level.
But yes, everyone can get better at writing and recognizing good writing.
What are the components of a good script?
That’s a pretty broad question. If I had to boil it down, I’d say good writing evokes genuine emotion in the reader or watcher. If someone reads your screenplay, and it evokes emotion in them, you’re on the right track. Everything else, like structure, characterization, dialogue, the hook, theme, etc., is really secondary to being able to evoke emotions in people with your words.
What are some of the most common mistakes you see?
The biggest mistake is underestimating the amount of work it takes to be a professional writer. I hear from so many people who’ve written one script, entered it into a handful of contests, and then wonder why they haven’t made it as a professional writer. Nobody gets to pitch for the Yankees after spending one summer practicing. Being a professional screenwriter is probably as hard as, or at least harder than, being a professional athlete. It takes an enormous amount of luck, talent, and lots and lots and lots of hard work.
What story tropes are you just tired of seeing?
It’s often inevitable that you’ll write scenes that feel familiar. I often find myself doing it, so I step back and just mix things up a bit. Try anything that’ll give the tired tropes a new interesting spin, which often boils down to adding a quirky or interesting character to the scene who can mix things up.
I recently watched a short film where a little girl dropped an ice cream cone that fell to the ground in slow motion. It was so clichéd that I really wondered why the filmmaker didn’t try to do something more original.
What are the 3 most important rules every writer should know?
There are really only two mandatory things to do to be a successful screenwriter: write a lot, and read a lot of screenplays. That’s it.
If you do those two things and really spend time analyzing your writing and the writing of others, you’ll get better and maximize whatever talent you have.
How do you feel about screenwriting contests? Worth it or not?
Contests are great. Screenwriters should be doing everything within their power to get their work out into the world, and contests can be a part of that plan. But understand that even winning the best contest still means you’re quite a ways away from being a professional screenwriter. And I certainly wouldn’t use contests as my only way to market my material.
How can people find out more about you and Selling Your Screenplay?
I blog and podcast over at SellingYourScreenplay.com. I release a new screenwriting podcast episode every week. In nearly every episode, I interview an experienced screenwriter. I also run a script consulting service.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
Apple. Not very original, I know. But every once in a while someone will bring an apple pie to Thanksgiving dinner, and as I eat it I think, “Damn, that’s good pie.”
I’m a big believer in promoting the projects of my fellow creative types, and like to spread the word when I can. Today is no exception, with all of the listings being well worth your time and attention.
-Author/screenwriter Brian Fitzpatrick wants everybody to know about his new science fiction novel MECHCRAFT, which he describes as “THE MATRIX meets HARRY POTTER”. It’s currently available as an e-book, but if the number of preorders hits the next target level, it’ll be published as a hard copy, complete with Brian’s autograph (and who doesn’t love owning a book signed by the author?). An excellent addition to any reading list.
-Writer/blogger Henry Sheppard recently had to take a break from writing due to undergoing treatment for his continuing battle with leukemia. This required more than a few visits to the hospital, the events of which inspired Henry to chronicle the comedic aspects of his experiences into book form. The result – his new book Haematemesis: How One Man Overcame a Fear of Things Medic, now available on Amazon. Henry also wants everybody to know his leukemia is currently in remission.
-Filmmaker/animator Scott Storm has a crowdfunding campaign underway for his animated short CUSTODIAN. This is the second campaign for this project after some unexpected problems involving a sizable contribution earlier this year. But Scott remains undeterred and has redoubled his efforts to get this short made! Based on the brief clips Scott has made available, it looks great. Donate if you can! Especially if you’re a fan of animation.
-Between now and July 1st, for every order of his NOTES service that script consultant/blog interviewee Danny Manus receives, he’ll donate $25 to a special crowdfunding project that’s been set up to help the Orlando shooting victims and their families. Get your script in shape and help out a worthy cause, all at no extra cost!
Got a project of your own you’d like to have listed on a future bulletin board post? Drop me a line
Rick Ramage is a writer, director and producer with numerous credits on major motion pictures and television shows. During his 25-year career as a screenwriter, he has set up or sold over 40 scripts in Hollywood.
Rick’s latest project is The Screenplay Show, a new 10-part online series to educate about the art, craft and business of screenwriting and storytelling.
What is The Screenplay Show, and what inspired you to do it?
The Screenplay Show is an actual show about writing, presented in a fun, narrative style. It’s a ten-part webseries that will focus on the trade secrets I’ve developed (and learned) from Hollywood’s most talented writers, directors and producers during my 25-year career.
As to what inspired it, a few years ago, a buddy of mine started a writer/actor group called, “Write to Act” and he asked me to put on a seminar for his people in Denver. I was reluctant to say the least. For the last 25 years, my only job has been writing and producing film and television. Speaking in public? Not so much. He kept twisting my arm and after about a year of hounding me, I finally gave in and promised him I would do a one-day seminar. Then reality hit me: What could I possibly say for six hours that would interest other writers and actors? In an effort to alleviate the poor souls who would be stuck looking at my ugly mug all day, I pulled in my editor and we put together a long list of writing samples and clips covering every element of screenwriting so they could actually SEE what I was talking about – instead of listening to me pontificate as I clumsily tried to explain it.
For instance, using stills from The Shining, I put every moment of Jack’s character arc into a still photo sequence. You can actually visually track his descent into madness. I then put the page number from the script beside each expression. The audience literally gasped, because it was the first time they had actually seen a character arc moment by moment. I did the same thing for all the other elements of storytelling. As screenwriters, we have to write visually – so I figured it would work for seminars, too. But one thing really surprised me: the audience had as many questions about the writing experience as they did about the nuts and bolts. Personally, I’ve always been fascinated by the methods of actors, athletes, and other writers, so I guess it’s fair that they wanted to know about my method – and how a life and career in the film business actually works.
What sets The Screenplay Show apart from other online seminars?
One look at the teasers we’re putting out there will let people know this isn’t your father’s seminar. I can’t honestly say I had an epiphany and The Screenplay Show was suddenly born. But doing the seminars over the next year or two, it definitely evolved into a rolling narrative; my personal Hollywood experience merged into describing actual methods that have worked for me and many of my colleagues. So far, I’ve set up or sold over 40 scripts. But I have to give credit where credit is due: I didn’t learn how to survive the biz, or sell scripts from books. I learned from working closely with tremendously gracious agents, managers, producers, directors, executives and actors who were generous enough to share their knowledge with me for one purpose – to get the story right.
My goal with The Screenplay Show is to share what they’ve taught me with other writers and storytellers. And when I say storytellers, I mean anybody involved in the film and television business. Directors, actors, producers, cinematographers, and even executives. They are storytellers because they impact the script and help bring it to life.
Tell us a little about your writing background. How did you get started?
I didn’t finish my degree. Instead I went into business with my dad, selling tractors. But I wanted to be well-read and well-spoken, so I sat down with 100 of the great novels and voraciously read them back-to-back. In the process, I began to see how the authors worked the elements. The storytelling process fascinated me. So when I was out covering my sales territory, I began to daydream about becoming a writer. Eventually, I tried to write a novel. Long story short – it sucked. But the person who told me it wasn’t very good also told me I was a good writer. That seemed like a contradiction, but it wasn’t. He told me I had a very visual style, and suggested I write a screenplay. So I turned my bad novel into a bad screenplay! (But that process lit a fuse in me, and I’ve never looked back.)
What have you recently read or watched that you thought was incredibly well-written?
When I’m deep into writing one of my own scripts, I don’t usually watch or read much. By the end of the day, more words and plot lines are the last thing I need to relax. But two shows I try not to miss are Game of Thrones and House of Cards. From their production values, to the great characters, to the tight, well structured scripts, I admire them both a great deal. In fact that’s how I can tell when I’m in the hands of great storytellers – they make me forget I’m a writer. I become a fan.
Is recognizing good writing something you think can be taught or learned?
Definitely. Recognizing good writing can and certainly should be taught and learned. I’ve known some executives who were by no means writers, yet they learned to identify good writing and write smart notes. Their jobs depend on it. I’ve learned to recognize good writing by the way it makes me disappear into it.
What do you consider the components of a good script?
For me, the single most important component of a good script is simply this: It must have soul. I need to feel what the writer is trying to say through his or her characters. If that happens, I know the other elements are working.
What are the three most important rules a writer should know?
-Dialogue: When to shut up and let the subtext play.
-Action: When not to overwrite. (more often than not, you’ll lose your reader.)
-Characters: We write in search of ourselves. (makes them real.)
How can people find out more about The Screenplay Show?
We’re really encouraging people to go to their most comfortable social media site and follow us. Also, we’re really hoping they go to www.thescreenplayshow.com and sign our landing page. We won’t bombard you with trivial junk, but we do want to build a steady audience so we can let people know about events and new material.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
My grandmother made the best pie I’ve ever had. Golden, flaky crust made from scratch, crisp green apples sliced thin, and lots of cinnamon! I do miss that woman.
I’m a big believer in tying story elements together whenever possible. While this should already apply to key details within the story, sometimes it’s simply a matter of a setup and payoff, even if it seems like a throwaway item. Bonus points if it ties in to your primary storyline. Which it should.
Case in point: in the opening scene of CHINATOWN, Gittes is showing his client photos of the man’s wife’s infidelity. The man, heartbroken, tells Gittes “if there’s anything you ever need, let me know.” The scene ends, and we figure that’s that. This is what kind of guy Gittes is and what he does, and then we transition into the main storyline. Events play out, and Gittes finds himself cornered in a tough spot.
So how does he get out of it? He leads his pursuers to a house he claims has the answers. But when he knocks on the front door, who answers it? The guy from the opening scene. We’d totally forgotten about him, but it’s a perfect choice. It ties things together, works within the context of the story, and anybody else would have not worked.
Everything in your story should serve a function in helping move the story forward, no matter how small or insignificant it might seem.
Do you have characters or events in your script that are strictly one-time-only? What purpose do they serve? If you took them out, would it make a difference?
And if you do keep them, is there any way to change them around so that you have a solid setup and payoff that tie into the overall story? It might not be as tough as you think.
In the outline of my current project, I had some smaller scenes in the first act that were totally unconnected. Going through it a second time, I’ve been finding ways to connect them. Sometimes it’s about using a character making a return appearance, or having some key scenes take place in the same location. Again, it’s all about what works within the context of the story.
(Admittedly, I’m also working on this from the mindset of keeping the budget low. If having the same character appear twice, rather than it being two separate characters, or being able to use a location more than once means less money that needs to be spent, than so be it. It’s an influence, not a rule. But this is me. You may choose to take a different approach.)
Another benefit of tying elements together is that it shows how much thought and effort you’ve put into crafting this story together. The evidence is right there on the page. You’re proving that you’re actually thinking this through and not just randomly throwing things in and hoping something sticks. You’d be surprised how many writers do that.
Don’t be one of them.
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