Unless you’re collaborating with a co-writer, the actual process of screenwriting is for the most part a solitary process. All of the work involved depends on you, and you alone. It can be tough and frustrating.
And that’s just the writing part. We haven’t even touched on dealing with notes, rewriting, or marketing your script.
It’s an uphill climb. Practically vertical, even.
“Argh! It’s too much for one person to take on by themselves!” you might exclaim.
Never fear. You are most assuredly not alone. Every other screenwriter has gone through the exact same things you have, and will continue to do so.
And one of the most powerful weapons to help you get through it all is easily at your disposal: those other writers.
I can honestly say both my writing and my career (such as it is) would not be at the level they are today if it hadn’t been for other writers lending their helping hands over the years.
Whether it was notes, leads, or connections, my network of writing associates has proven to be an indispensable resource.
The writing community wants to see writers succeed. Sure, we all want it for ourselves, but if you can give somebody else a boost, why wouldn’t you?
I get all the usual “scripts wanted” emails. About 98 percent of the time, I don’t have a script that matches what somebody’s looking for. But due to interaction with all my fellow screenwriters, I might see something and think “Hey! I think _____ has a script like this.” I’ll then forward it to that writer, saying I thought of them when I saw it. Sometimes they’ll have already seen it and applied, or it’s totally new and they’re very grateful for the lead.
Additionally, because I’ve spent so much time cultivating relationships, a lot of these writers know me and what scripts I have, so they’ll send me a listing. Even if it doesn’t work out, it’s still more results than I would have gotten by myself. Like with the writing, any progress is good progress.
And speaking of the writing, after I think a latest draft is ready to show, I’ll go to my usual circle of reliable note-givers to get their feedback, and they’ll do the same with me. Every once in a while a writer I’ve only interacted with via social media will contact me, asking if I’d be willing to take a look at their script. If there’s no deadline, and I can squeeze it in, I’ll gladly tell them to send it along.
There will also be those times where you’re feeling low; like nothing’s going right. Guess what? This is definitely another one of those “it happens to everybody” scenarios, and believe me – everybody can relate to it. Want to talk about it and get it off your chest? Writers are willing to listen – and offer a solution if they can. Just getting it out of your system can be helpful.
Also very important – return the favor. Somebody’s helped you out? Offer to do the same – in any capacity you can. When I ask somebody for notes, I make sure to say I’m more than happy to return the favor – because I am. They were willing to put in the time and effort to help me, so the least I can do is the same for them.
A big part of all of this is to accomplish any of this, you have to become part of the community itself. Fortunately, even that’s pretty easy. There are so many ways to get to know your fellow writers.
My recommendations:
-screenwriting groups on Facebook, but mostly the smaller ones. The bigger ones tend to be a lot of egos and sniping.
-Script Pipeline’s #PipelineWriters on Twitter. 5pm PST on Fridays. Especially helpful if you like mugs.
-#scriptchat on Twitter. 5pm PST on Sundays
Regarding all of these, groups and communities overall, you get out of them what you put into them.
Leave your ego at the door. Be nice to people. Treat them the way you’d want to be treated.
Ask questions. Make it about them, not you.
Establish relationships. Be supportive for good news and bad news.
You may be working on your scripts by yourself, but you’re most definitely not alone.
Kyle Andrews is a Screenwriter, Actor, Producer, and Writer Advocate living in Los Angeles. As a writer, Kyle has written for or worked with several film hubs and online screenwriting resources. As an advocate, his “Kyles List” has helped several up-and-coming writers attain success in the industry. He is currently in development on three features, two as producer and one as writer.
What was the last thing you read or watched you considered exceptionally well-written?
There’s so much thoughtful, inspiring, engaging, and downright special (yeah, I said it) content out there at the moment, sometimes it’s difficult to narrow that down to just one or two. So, I won’t!
Lately I’ve been watching a lot more television than film. This past weekend I binge-watched Ted Lasso and I’ve never been left so deeply inspired by such a lovable goofball. For dramatic flavor, Raised by Wolves reminds me a lot of how I felt watching both The Leftovers and the reboot of Battlestar: Galactica, and I really wish more people would take a chance on it. WandaVision is also fantastic—though if folks enjoy a Marvel show that takes risks, I’d encourage them to check out FX’s Legion (also on Disney+).
I listen to a lot of audiodrama podcasts (a term than encompasses comedies, dramas, sci-fi, horror—basically any fictional podcast). The production/entertainment values are wildly disparate, but some of the standouts I’ve listened to in the last few months include The Magnus Archives; NORA; The Mistholme Museum of Mystery, Morbidity, and Mortality; and 1865.
There have also been a number of exceptional scripts I’ve read from undiscovered writers recently, and I’ve got those up over at my Advocacy page: kylefandrews.com/advocacy
How’d you get your start in the industry?
I’ve been writing screenplays and stage plays for 20 years, since I was a high school drama nerd and indie video store manager in my hometown in Massachusetts. At the risk of being too honest, this is where I admit writing wasn’t really my pursuit—I just enjoyed doing it while I focused on trying to be an actor, a much safer career choice. I ended up at Emerson College where I got a BFA in Acting with a playwriting minor, both of which taught me a great deal about craft…and very little about how to actually apply it all to the real world.
After moving to LA a little over a decade ago I had some moderate success acting in commercials but didn’t start finding real momentum until I started writing and producing my own projects. After a short film I cowrote, coproduced, and starred in got some traction at a few festivals I was approached by a competition and coverage service to help run their contests and manage their reader staff. That gave me the freedom to start meeting kind and generous industry pros while stretching my writer legs. This led me to where I am now: advocating for screenwriters, developing scripts and writer skills, lining up a few feature productions, and writing for myself and on contract.
Is recognizing good writing something you think can be taught or learned?
Any skill can be taught or learned, so long as someone puts in the time, has a level of humility and self-awareness, and is willing to admit they don’t know what they don’t know.
When it comes to recognizing good writing, I would hesitate to make it too binary a distinction, that you either can or you can’t. I think the most important thing is to recognize your own approach to what the author has written is inherently biased, subjective to your own experience and perspective, and—most importantly—not canon. Criticism free of judgement is how you empower artists to flourish.
For me, the most important thing is to recognize whether the writer met the goals they set out to meet, if doing so was an engaging experience for me as an audience member, and if not, how best to help them achieve those goals.
Anything else is just, like, your opinion man.
What do you consider the components of a good script?
Earth, Wind, Fire, Water, and Heart. Go Planet.
The thing I look for most is how a script ties its various components together. The threading of the various aspects of character, plot, theme, relationships, personal history and backstory, setting, and even tone and genre together in a way that makes sense as we come to learn about and experience them for ourselves, and grow as we watch them succeed or fail (or both).
Another thing writers hear a lot is “don’t be boring,” and like, yeah, that’s generally good advice. But how do avoid boring your reader? Interesting characters, smart dialogue, fun action are always useful—but for me, it’s making the threads of the story as dangerous as possible. When a script is connecting with a reader on a visceral level, it’s because we care about the people we’re reading and we don’t know whether they’re going to get out of it.
And danger doesn’t always, or even typically, mean physical—it just means the stakes behind it are life and death, even in comedy. For instance, a character in unrequited love might feel like they’ll die if their love interest ever found out; the opportunity for a potential yes gets overshadowed in the misery of all the ways they could say no. Get some real tension in there and we’ll care what happens regardless of the answer.
What are some of the most common screenwriting mistakes you see?
Writers make the mistakes that fit their level of experience, so every mistake is common in that sense. For a newer writer, it’s thinking that formatting is the biggest concern and not spending enough time in the pre-work before diving into the script itself. For a pro, it’s leaning on habits that may no longer be serving them.
Not following through with actually marketing the script is another concern. Personally, I look to elevate the craft whenever I can, and I love seeing writers who do the same—but our art form is one that is only going to be appreciated by a handful of people. Figuring out how to get the script made into a visual piece of art is something I encourage writers to focus on, at least for a bit before they jump into the next great script idea that they’ll lovingly craft and not pitch to anyone.
I run into plenty of “basically ready” scripts, but the writer has no idea how to market their work—or worse, throws obstacles into their own way through assumptions. Instead of trying to pitch what they’ve got, they spend their time writing new scripts and their money and energy competing for the approval of anonymous screenwriting competition readers with indeterminate levels of experience to soothe their ego.
Combine that time, energy, and money into learning how to pitch your work and grow your network and you might actually see the results.
What story tropes are you just tired of seeing?
I’m actually a huge fan of using tropes if a writer is able to subvert it with purpose and puts it in a new light. Which on some level makes it not a trope, I guess?
That being said, I don’t consider misogyny, racism, ableism, or the like to be “tropes,” but rather a deeper indication of something inherent in the writer’s worldview It’s very easy for me to tell the difference between a character with these qualities and a script that actively or passively engages in these things. I tend not to make time for these works and I let those writers know it.
What are some key rules/guidelines every writer should know?
-Script rejection is not about you, it’s about them and their current needs.
-You will never get anywhere if you don’t let people read your script.
-Disagreeing with a note is as important as agreeing with one because it helps the writer clarify for themselves what their intention is.
-Invite and embrace constructive criticism and encourage yourself not to dismiss all criticism as “unconstructive.”
-At the same time, respect yourself by recognizing when someone isn’t respecting you and allow that person’s opinions to fade into the background.
-“Formatting” is less about demanding adherence to a strict set of rules and more about making sure a script reads clearly to the benefit of potential collaborators.
-Please for the love of all that is holy stop focusing on whether to bold sluglines or use “we see” or include songs and just tell a good story.
Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?
Absolutely, often, and with great aplomb, from new and “elder” writers alike. In these situations, the writer has deeply explored the backstory, invested in the characters’ individual perspectives, and connected the relationship threads between them, their world, and the events of the plot, found the organic rhythm for the story, and presents it to the reader in a way they can engage with, understand, and visualize as often as necessary.
Do all that and no one will care if you’ve bolded shit.
How do you feel about screenwriting contests? Worth it or not?
Hoo boy, this is the most complex question phrased in the simplest way. Having worked within that system, I know first-hand how some writers and their careers have benefited from winning or placing high in them. I have personally worked with contests to help them promote their writers and have connected several with managers, gigs, and a larger network as a result. I’ve even developed a couple of services that certain contests still employ to the benefit of their writers.
I’ve also heard from reps and producers that they’ll receive a Top 10 list of writers from a competition or coverage service and none will get signed because the folks judging the scripts don’t have a frame of reference for what is ready for market. This gets compounded when some writers whose scripts are close but do need some work get an outsized impression of their impact and don’t bring it the rest of the way.
There can also be a lack of transparency that that doesn’t serve to build trust. I don’t want to disparage individual competitions, but some of them also pitch relationships they don’t actually have or prizes that they can’t fulfill. There are also a couple full-on scams, but I don’t want to get sued by the sociopaths who run them (they are, thankfully, fewer and farther between than you might think).
I guess my feelings boil down to how an individual writer uses it to their personal benefit. If they can win or make finals and they promote themselves with those victories, then that’s great. If the service has a presence in the community a writer finds helpful, that’s also good. If the writer is newer and they’re looking for basic, no frills feedback, then it can certainly be a starting point for development. For everyone else, I think they’re best as accessories to the main work—fun for adding some flair but won’t provide you much cover in public.
How can people find out more about you and the services you provide?
My website kylefandrews.com includes all aspects of my work including Writer Advocacy and my own acting, writing, and producing.
They can also find me at @kylefandrews on Twitter and Instagram.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
I’m more of a cake guy, but if all we have is pie and “pizza” isn’t an option, then I’m going with pumpkin because it’s savory/sweet, seasonal, and nostalgic—it’s the McRib of pies.
Paula Sheridan is an award-winning entrepreneur and the award-winning author of The People’s Book Prize for her debut novel, The Grotto’s Secret, written under her pen name Paula Wynne. Harbouring a near-obsessive love of learning the craft of writing, Paula has been scribbling down the stuff in her head ever since she can remember.
Paula came up with the idea for the Page Turner Awards when she won The People’s Book Prize in 2017 and received her award from Sir Frederick Forsyth at a glittering awards ceremony in London.
When she’s not day-dreaming up plots for new historical thrillers while walking her Springer Spaniel in the Andalusian countryside, she’s helping Indie Authors to achieve their dream of seeing the novels in a reader’s hands, through her reading community on Book Luver. Paula also blogs about writing techniques and reviews writing books on Writing Goals.
What’s the last thing you read/watched you considered to be exceptionally well-written?
Last night I watched The Book Thief and the book has been on my reading list for ages so after watching the excellent film adaptation of the novel, I will definitely get the book and read it. I’ve also recently watched some cultural films from Australia and India with heart-warming stories and it brings back my mission on Page Turner Awards, which is to reach out to writers across all cultures, religions and interests, simply because they will have amazing stories to tell.
How’d you get your start in the industry?
My first book was published by Wiley. It was a non-fiction book called Pimp My Site. After that I published fiction novels and since then I’ve been learning more about screenwriting. I was also very lucky to win a Director’s Course through Screen South, which inspired me to continue my quest for learning more about writing screenplays. My debut novel, The Grotto’s Secret, won The People’s Book Prize which inspired me to set up Page Turner Awards.
Is recognizing good writing something you think can be taught or learned?
Yes, absolutely! For many years I’ve had an obsession with learning writing techniques and I’ve read hundreds of excellent writing guides, so many that I eventually started WritingGoals.com to showcase all the great writing guides which help writers to improve their craft of writing.
What do you consider the components of a good story?
Lots of elements make up a good story. For the first few pages, the character must hook the reader so they are compelled to continue reading. Beautiful prose is another good element and good writing is easy to spot. It shows the reader, or in the case of a judge on Page Turner Awards, that the writer has honed their craft. At the same time, it takes them deeper into the story. So, compelling characters with a great hook get readers and judges of a screenplay contest to want to know more about the story.
What are some of the most common writing mistakes you see?
Lots of grammatical errors, which are really easy to fix. For example, a writer can use a self-editing software, such as ProWritingAid, to help them spot these pesky gremlins which creep so easily into a piece of writing. You can take a free trial here.
What story tropes are you just tired of seeing?
Zombies! There was a stage where everyone and their aunt wanted to write a zombie story, but soon that will morph into writing about viruses and pandemics, if that hasn’t already happened!
What are some key rules/guidelines every writer should know?
-We only accept the first ten pages.
-Film producers and readers in a film production company normally would know by the first ten pages if they want to read further and if they are engaged with the story up to that point.
-The same goes for literary agent and publishers. They also know very quickly if the story will make the grade. They can also tell if the writer has just thrown something together or if they have put precious time into the story’s first pages.
-Writers should know their premise or logline, and hone and tone it. This is to give the judges a good idea of what the story is all about and how it shows conflict and growth for the character in the story.
-We’re not concerned with spacing and formatting because our judges are looking for story and character and the words they read. Spacing and formatting comes when the agent or publisher asks to see more of the work.
-Screenplay entries, on the other hand, are very different. They need to be submitted in the industry standard format for the film producers to see the story as a screenplay script.
Have you ever read a script or manuscript where you thought “This writer gets it”? If so, what were the reasons why?
We had lots of entries last year where our editor, who was doing feedback, came back to us telling us that one writer in particular was very good and could write exceptionally well. Other judges had similar experiences and as a result, three writers won a literary agent to represent them, five writers won a publishing contract, six writers won a writing mentorship and thirteen independent authors won an audiobook production. We are thrilled with these fantastic successes from our inaugural awards.
Seeing as how you run a writing contest, what are the benefits for writers and screenwriters to enter the Page Turner Awards competition?
The benefits to screenwriters is that they will have the opportunity to put their scripts in front of our judging panel, who are all actively looking for scripts to option and produce. Thus, screenwriters will have the opportunity to get their work optioned for film if any of the judges like the writing. The same goes for the Writing Awards, where literary agents and publishers may want to publish the work if they like it. Success stories from 2020 include three writers won literary representation, six writers won a writing mentorship, five writers won a publishing contract, and thirteen independent authors won an audiobook production.
How can people find out more about you and the services you provide?
They need to go to https://pageturnerawards.com and follow the steps under our menu – Enter. It’s all done online so they will be asked to register an account, which will then send you an email to verify it. Then you can log in and follow the steps to submit your writing.
The early bird discount for Page Turner Awards ends this Sunday (28 Feb), so you can register now, and then have until the end of May to submit your script.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
If you mean a baked pie, I can’t resist a pecan nut pie. Just thinking of it now makes my mouth water and I want to stop typing and go and bake one!
David Schwartz is a freelance screenwriter and script consultant. Prior to being a script consultant, he took a few screenwriting courses in college along with other film courses. After college, he continued working on his first feature and started submitting his scripts to a variety of screenwriting contests. In fact, his first feature made it as a quarterfinalist in the 2019 Bluecat Screenwriting Competition. He’s written several scripts, mainly short films, and is focusing on helping writers with their scripts!
What was the last thing you read or watched you considered exceptionally well-written?
In my spare time, I’ve been watching a variety of things, but as for shows that have been well-written, I’d say WandaVision and Bridgerton. I thought I wouldn’t like those types of shows because I’m not much of a comic book fan and had never heard of Bridgerton, but I find both shows enjoyable to binge. I’m usually someone who likes musicals, so this might sound a bit cheesy, but I’m really enjoying Zoey’s Extraordinary Playlist! It’s got humor, heart, and great songs that tell a story and moves the plot forward. At first I thought the concept sounded corny, but seven minutes into the pilot, I was hooked and became totally obsessed. I sometimes get emotional during that show. Oh, and I also like The Mandalorian.
How’d you get your start in the industry?
I started when I first took a screenwriting course in college. At first, I thought it was going to be a real challenge. Prior to taking the course, I had no idea how much work it takes to write a script. But after completing the course, I actually found screenwriting very enjoyable and took a few more courses to develop my craft. In fact, I’m still working on a script I started writing during one of my courses. After college, I continued working on my script and started submitting it to contests and paying for some feedback. After receiving feedback from professionals in the industry, I was inspired to start my own script consulting business.
Is recognizing good writing something you think can be taught or learned?
I think it’s a mix of both. When I look at a script, I can tell the writer’s experience based on their writing. For example, if someone has dialogue that’s flat or very on-the-nose, I can tell they’re just starting out. But then again, lots of writers, even professionals, tend to sometimes have some on-the-nose dialogue in their writing. When it comes to writing, I see myself as both student and teacher so it could go either way. When I read a script, my feedback is based on both what I’ve learned in my screenwriting courses and the feedback I’ve received on my own scripts.
What do you consider the components of a good script?
A good script in my opinion is a solidly structured story. If you don’t have a structured story from start to end, the reader tends to lose interest early on. I’ve noticed this in more than a few scripts I’ve read, but it can be easily fixed. Before anyone starts writing, I’d suggest having a beat sheet so the writer has a blueprint of their script from beginning to end. Another component of a good script is conflict. Every scene, whether it’s big or small, has to have conflict. And finally, character development is extremely important. I love seeing characters develop from start to end, and that’s what makes movies great.
What are some of the most common screenwriting mistakes you see?
The most common mistake I see is sometimes the writers will start their script with the inciting incident at the very beginning and continue on from there. The problem with this approach is I don’t get a sense of who the protagonist is as a person. I don’t necessarily have a reason to root for them to achieve their goal over the course of the film. That’s why I strongly recommend writers have a beat sheet before they jump into writing their script. It’s going to make things so much easier for the reader and the script is going to be a smooth read. (If you want to know more, I’ve written a blogpost about it.)
What story tropes are you just tired of seeing?
I’m kind of tired of seeing love triangle plotlines. If I wanted to watch a love triangle plotline, I’ll just rewatch Friends. I also hate it when two people are having a conversation in the car and the driver takes their eyes off the road and continues talking with the passenger for 30 seconds or longer. Seriously, it irks me a bit.
What are some key rules/guidelines every writer should know?
Don’t be boring.
Every scene must have conflict and serve a purpose. Additionally, each scene needs to drive the plot forward.
If you have writer’s block, keep writing and come back to it later.
It’s okay to take a break every now and then. Sometimes it’s best to rest after 2 hours of writing nonstop.
Don’t be afraid to ask for help.
Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?
I remember reading a script a while ago where it was a bit hard for me to provide critical feedback on their script because it was so well-structured. I was in awe of their script and in fact, made a few minor suggestions to them in the feedback. A few months later, they posted in one of the Facebook screenwriting groups that their script made it to the quarter-finals in a screenwriting contest.
How do you feel about screenwriting contests? Worth it or not?
It depends on the contest. Some contests, like Bluecat for example, have a reasonable price and the feedback is free. The best part is writers can resubmit their scripts twice, which is nice. But not all feedback is free, and you have to pay an extra fee to get feedback on your script. Plus, depending on where you’re submitting, the contests can be very competitive. As a script consultant, my goal is to help writers develop their craft before they start submitting their work to the professionals in the industry.
How can people find out more about you and the services you provide?
Been splitting time among several projects, including developing a few new ideas, including sketching out an idea for a new short, and the ongoing rewrite/overhaul of the horror-comedy.
Also been working through a lengthy list of specs from fellow writers in need of notes. Latest tally: halfway there! At this rate, hope to be totally done with it by the end of March.
Just wrapped up the latest batch of query letters. No read requests yet, which is admittedly kind of disappointing, but no big deal. Did get a few “not for me”s and “not taking on any new clients right now”, plus one “we’re a bit swamped at the moment, but you can try again in a few months”.
There was also one “we don’t rep writers”, which raises the questions ‘then why is Literary Management part of your firm’s name’ and a ‘writers submit here’ link on your website? Am I missing something?
Yet with everything I’ve been doing, there are still times where good things and positive news seem unattainable. I still have no intention to stop trying, but as any screenwriter will tell you, somedays it’s just really tough.
As I’ve said in numerous conversations, I enjoy the writing part of this too much to want to even consider giving up. Many of you have been more than generous with your encouragement and positive vibes, and I really appreciate it. Never underestimate the effectiveness of telling somebody you believe in them.
So as this week wraps up and we head into the next one, I’ll keep at it, doing what I can to make the dream come a little bit closer to becoming a reality. Sure, it might not happen right away, but like with the writing itself, any progress is good progress.
Maximum Z 