Richard Walter is a novelist and author of best-selling fiction and nonfiction, celebrated storytelling educator, screenwriter, script consultant, lecturer and recently retired Professor and Associate and Interim Dean of the UCLA School of Theater, Film and Television where, for more than forty years, he chaired the graduate program in screenwriting. He has written scripts for the major studios and television networks, including the earliest drafts of AMERICAN GRAFFITI; lectured on screenwriting and storytelling and conducted master classes throughout North America as well as London, Paris, Jerusalem, Madrid, Rio de Janeiro, Mexico City, Beijing, Shanghai, Sydney and Hong Kong.
He is also a pop culture commentator, blogger and media pundit who has made numerous appearances on The Today Show, The O’Reilly Factor, Hardball with Chris Matthews, ABC Primetime, Scarborough Country and CBS News Nightwatch, among many other high-profile national television programs. More than a hundred newspaper and magazine articles have been published about him and the program he directed at UCLA.
What was the last thing you read or watched you considered exceptionally well-written?
The new bio MIKE NICHOLS, A LIFE by Mark Harris.
How’d you get your start in the industry, and was that connected to you instructing at UCLA?
I came to California over fifty years ago for, I thought, three weeks, but fell into USC film school at the last minute, and never looked back. It was through faculty and classmates there that I learned screenwriting and made the earliest connections that led to professional assignments.
A little more than ten years later, at a glitzy showbiz party in Malibu, I was invited to join the faculty at UCLA. I was busy adapting my first book, the novel BARRY AND THE PERSUASIONS, for Warner Brothers, who had bought the film rights and hired me to write the screenplay. I was not seeking work. Still, as I would advise my children, you don’t have to eat the whole thing, but at least taste it. I tasted teaching and found that it was the perfect complement to writing.
As someone who actually teaches screenwriting, is recognizing good writing something you think can be taught or learned?
Yes and no. No one needs education to decide what scripts or movies they like. That said, there’s good evidence that studying the art and craft in a worthy program goes a long way toward launching and maintaining a career.
What do you consider the components of a good script?
First of all, story; that is, what the characters do and say. What they do and say also establishes who they are. Regarding the latter, that is, what the characters say, dialogue needs to be worth listening to all for itself, but it can’t be all for itself. It needs at the same time also to advance the story and advance the audience’s appreciation of the characters. Conflict, controversy, and confrontation are required throughout the narrative, and those are just the ‘cons.’
What are some of the most common screenwriting mistakes you see?
Overwriting. Too many pages. Too much dialogue. Too much description, especially regarding instructions to the actors regarding pauses and gestures and such.
What story tropes are you just tired of seeing?
I’m weary of superheroes and comic-book adaptations.
What are some key rules/guidelines every writer should know?
Less is more.
Successful writing is not about adding paraphernalia to a narrative but taking it away, revealing a story that’s somehow already there.
Don’t have one character tell another what you’ve already told the audience.
Movies must appear real, but in fact they are fake. Writers should be wary, therefore, of writing ‘the way it really happened’ and creating dialogue that captures the way people ‘really speak.’
What ‘really happens’ in life is, for the most part, boring. The way people ‘really speak’ is available in the streets for free, you don’t need to go to the movies for that. Also, and again, the way people ‘really speak’ is, for the most part, tedious. Know what I mean? Get what I’m saying? Understand my point?
Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?
Sure. The give-away is economy: few words that reveal a lot, instead of the other way around. Nothing is present for its own sake but exclusively for the advancement of the narrative. Fancy language that might be appropriate in literature will swamp a screenplay.
**AUTHOR’S NOTE – I’ve often said one of the best pieces of writing advice I ever heard was “Write as if ink costs $1000 an ounce”. Richard said that at a seminar of his I attended very early in my career. It really stuck with me, and I’ve used that as a guideline in my writing ever since.
How do you feel about screenwriting contests? Worth it or not?
There are some that are absolutely worthy.
How can people find out more about you and the services you provide?
Visit www.richardwalter.com. There’s info regarding my books, limited-enrollment online screenwriting webinars, whose enrollees’ scripts I’m willing to read, script consultation services, and more.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
Pecan. And I don’t mind a scoop of vanilla ice cream on it.