Naomi Beaty is a screenwriting teacher and consultant who works with writers, producers, and directors at all levels to develop their film and TV projects. Naomi has read thousands of scripts and worked with hundreds of writers, first as a junior development exec at Madonna and Guy Oseary’s Maverick Films, and currently through group workshops and one-on-one coaching.
She also wrote the short, actionable guide Logline Shortcuts: Unlock your story and pitch your screenplay in one simple sentence.
What’s the last thing you read/watched you considered to be exceptionally well-written?
I’ve been bingeing a lot of series over the past several months (who hasn’t?) and the three I absolutely fell in love with have been The Great, Mrs. America, and The Queen’s Gambit.
And I was blown away recently by a script I read for a client, but I haven’t asked if it’s okay to mention him here, so I won’t. But if anyone’s looking for an amazing boxing movie, I’d be happy to connect you!
How’d you get your start in the industry?
Like a lot of people, I went the assistant route. I worked for a producer-manager, which was a great introduction to how the industry works. And then moved into development at a larger production company, which was a real education.
Is recognizing good writing something you think can be taught or learned?
We all have gut reactions that tell us whether a story moves us, right? But being able to read a screenplay and understand whether or how it’s working takes some experience. So there’s obviously something to be said for whether a screenplay gets an emotional response from you, but we shouldn’t stop there. It takes time and effort and a lot of reading analytically in order to truly understand what makes writing “good.”
What do you consider the components of a good script?
A strong concept, structure that delivers a satisfying experience, characters we care about and invest in who are transformed by the events of the story, clear, meaningful stakes, dialogue we actually want to hear. And all of those things working together in a way that makes us feel something.
What are some of the most common screenwriting mistakes you see?
There are a bunch that I think fall under one big umbrella, which is: forgetting that you’re a storyteller. We want you to guide us through the story, direct our focus, tease out the tension, all to achieve the effect you want. It’s easy to overlook when there’s so much that goes into just figuring out how to put a story together, you know? But the delivery of it can separate good from great.
What story tropes are you just tired of seeing?
The clumsy hot chick comes to mind. It’s right up there with “beautiful but doesn’t know it.”
What are some key rules/guidelines every writer should know?
I often joke that there are no rules in screenwriting… except these three:
1. Don’t confuse us.
2. Don’t bore us.
3. Make us feel something.
Other good guidelines:
– Know what story you’re writing. That doesn’t mean you have to know on the first draft – sometimes it takes time to figure it out – but until you know, that script is going to be a struggle.
– Make sure you share that story with the audience. We need to clearly understand who wants what, why they want it, what they’re doing to get it, and what’s stopping them. It sounds basic, but you’d be surprised how few scripts really nail all of those pieces.
– Start with the strongest concept you can. It’s something that’s tough to correct for later on.
– Learn how to build and escalate emotional stakes! I don’t think I’ve ever read a script that wasn’t better for it.
– Finish your screenplays whenever possible. Abandoning something halfway through because it doesn’t seem to be working means you never get the chance to learn why it isn’t working, how you could fix it, or what you should do differently next time.
Have you ever read a script where you thought “This writer gets it.” If so, what were the reasons why?
Yes! The script doesn’t have to be perfect, but when it’s clear that the writer knows how to put a story together and can convey it in a way that it feels like a movie – then I know that writer gets it.
How do you feel about screenwriting contests? Worth it or not?
Some are, most are not, but in the end it really depends on what you mean by “worth it.” If you’re just looking for a reaction from a fresh set of eyes and a sense of how your script stacks up against others, there are a number of contests that can offer that.
If you’re looking to actually move the needle in your career, there are very few contests that are worth the cost of entry.
How can people find out more about you and the services you provide?
The best place to find information about my services and workshops is my website! writeandco.com. I also have a short ebook that’s available for free on Amazon, called Logline Shortcuts.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
If I’m allowed a savory choice, I’ll take a chicken pot pie. But for dessert, chocolate cream pie with graham cracker crust, please.