Cody Smart is an L.A.-based Latina writer, script consultant and script doctor with degrees in English Literature & Linguistics, Screenwriting, Development, and Producing, who prides herself of helping writers take their work to the next level, in both English and Spanish. She moved from Santiago, Chile to L.A. to pursue her masters, fell in love, and now enjoys family hikes chasing her toddler around in the perfect L.A. weather.
She worked as a script analyst at Sony for three years, reading hundreds of scripts, and honing her craft and learning to appreciate the development of scripts and how to best guide writers to deliver the best script possible.
She also works as a judge for seven film and screenplay competitions, where she’s learned what makes scripts engage readers and attract the attention of managers, agents and producers. As a writer herself, Cody has placed in multiple competitions, and won some awards.
Cody is also the head of coverage of Story Data, a script-hosting site, where she does a bi-monthly vlog with tips for screenwriters.
She also currently teaches two courses about Screenwriting, Script Doctoring and Get Your Script Contest Ready, as a UCLA Extension instructor in the Writers’ Program, and is developing a new TV Workshop for the fall quarter.
Cody has worked with a wide variety of clients, helping to provide in-depth script analysis, and also rewriting/doctoring hundreds of scripts in order to get them ready for production. She loves working directly with her clients, understanding their needs, and staying true to the essence of the story the client is trying to tell, in order to elevate the story and characters.
What was the last thing you read or watched you considered exceptionally well-written?
THE QUEEN’S GAMBIT. I was a little bit late watching it, as it came out in 2020, but I was so legitimately impressed at the quality of the writing. They managed to take chess, a “boring” subject that doesn’t lend itself to be that visual or entertaining, and turned it into an exemplary work of character development.
How’d you get your start in the industry?
While I was in grad school, I started interning at Sony, and that’s were I fell in love with the development side of things. Before that, I always thought my path was to be a writer only. Then I discovered how interesting developing and consulting was, helping other writers improve their work, and getting scripts ready for production.
Is recognizing good writing something you think can be taught or learned?
Yes, definitely. I believe everyone can learn if they have the will and want to do so. If you study scripts and films, and study your craft, you can learn what good writing is. That’s also what makes any writer a better writer: studying the best in the craft, lots of practice, and lots of rewriting.
What do you consider the components of a good script?
A good script is a great mix of different things: amazing characters that are three-dimensional and realistic, with real wants and needs, and great arcs. A world that aligns with the tone and genre, and that hopefully is also new in some way. A premise that either feels fresh and new or that is a new take on old ideas, making it feel fresh and new. Writing that has a voice of its own, and that makes you want to keep turning pages.
What are some of the most common screenwriting mistakes you see?
As a consultant & doctor as well as a judge for multiple festivals, I’m constantly looking at issues in scripts. Doing that, I’ve found these to be the most common:
– A premise that doesn’t work from the start. Usually this means you just have an idea, but no plot. Or you have an unoriginal concept or one we’ve seen hundreds of times before.
– Not proofreading, which leads to bad formatting, typos, grammatical errors, etc.
– Not outlining first – then you don’t know where your story is going, and it shows in your draft, as the story loses aim. Part of this could be when the story/the protagonist has no clear goal.
– Dialogue that doesn’t feel natural or no use of subtext.
– Starting scenes too early and leaving them too late.
– Not killing your darlings – some scenes may be greatly written, but if they don’t advance the plot, then you don’t need them in your script.
– Directing in your script – this tends to take the reader out of the world of your story.
– Not grabbing your reader/audience in the first 10 pages (or even the first 3!)
– Overusing transitions.
– Use of flashbacks that don’t move the story forward or don’t reveal any new information.
– Zero character introduction/description. No memorable introductions, so we forget them. Also too many characters being introduced at the same time, so we forget who’s who.
– The world of your story isn’t clear.
– Long chunks of descriptions – Readers are known to skip past these.
– Too much exposition.
– No subplots or interesting supporting characters.
– Antagonists that are two-dimensional or formulaic.
– Writing a formulaic script just with the intention of selling it, instead of writing a unique story you’re passionate about that’ll definitely get you noticed (even if just as a writing sample).
What story tropes are you just tired of seeing?
Tropes work for a reason—audiences expect certain things in certain movies, like a falling in love montage in romcoms. But just because people expect them, that doesn’t mean they don’t want to be surprised. The tropes I’m tired of seeing are those that just follow tropes to the letter. I love when a writer turns a trope upside down and surprises the audience. When they don’t and deliver the same old things, then that’s when they’re boring and I don’t want to see them anymore.
What are some key rules/guidelines every writer should know?
– Show your voice in your script. That’s what will set you apart from the thousands of scripts being written every year.
– Write the story you want to tell as a writing sample to impress people, and open doors for you, even if it doesn’t get bought or filmed.
– Formatting exists for a reason. Follow it and don’t play games, or your script won’t get read, even if it’s amazing.
– It’s hard to come up with new ideas that haven’t been told. But new takes on old ideas that make the ideas feel fresh can be a great way of creating something that feels new.
-The best antagonists are just as interesting as the protagonist, and they’re the hero of their own story. When we understand their reasoning, that makes them much more powerful.
Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?
I remember when I read the script for JUNO. It had such a unique voice and point of view. It had a protagonist that felt real, with flaws and dreams. It explored what felt like real teenagers. It had amazing supporting characters, and we could understand everyone’s POV in the story, as different as they all were. And it was pretty contained. It could be shot for cheap. But most importantly, it wasn’t something completely new: we’ve seen stories about teen pregnancy before but it turned the idea upside down, making it feel so fresh that it ended up winning so many writing awards.
How do you feel about screenwriting contests? Worth it or not?
Totally worth it. I even developed a course called “Get Your Script Contest Ready” for UCLA Extension that debuts in June 2021. That said, having a contest strategy, knowing what appeals to contests, identifying the best contests to propel your career forward, and understanding that you also need to network and take an active role in getting your scripts out there are key things every screenwriter needs to know.
How can people find out more about you and the services you provide?
For information about my script consulting & doctoring services, or my writer services, they can check out my Facebook page (@NextLevelScreenwriting), my Instagram page (nextlevelscreenwriting), or send me an email (email@example.com).
I can share more about my services and background information, and we can talk more in detail about what they need help with, as I offer very personalized services.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
Wow, this is such a hard question, because I have such a sweet tooth. But if I had to pick just one, I’d have to say my grandma’s pecan pie recipe. It brings back so many amazing childhood memories by the smell and taste of it, especially living far away from my family, and missing them all the time.