action

The Force is strong with this one

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galaxy
Don’t get your knickers in a twist. This isn’t about that.

Star Wars: Episode VII officially opens today, and my God, what an impact this is having. I’ve been a fan since way back in ’77, but not to the point of sleeping in front of a movie theatre for days on end.

I’m opting to wait a couple of days and let all the crazy hoopla die down. It’s not like it’ll play for a week and disappear. Even the neighborhood theatre up the street is playing it on both screens. That’s saying something.

Looking at this phenomenon from a screenwriting point of view, you can’t help but be impressed with the world that’s been created here. Count me among those inspired by the creativity on display in these films and who strive to achieve something similar with our own work.

I’ve written before how I’d love to write the next STAR WARS (as would a zillion other writers), but I don’t mean a sprawling epic space opera, although that would be kind of cool.

I’m talking about an entertaining story of memorable characters and situations that you never get tired of seeing. That thrills you with its overwhelming sense of wonder. The sheer joy of being swept away as this tale unfolds before your eyes and ears.

Do I have that ability? Hard to say, but I like to think so. Nobody thought STAR WARS was going to do well, and you know how that worked out.

So in the meantime, I’ll keep plugging away, telling my own stories the best way I can, and hope that someday I come close to accomplishing something similar. At the very least, it’ll be fun trying.

See you at the movies.

 

Ask an Astonishingly Productive Script Consultant!

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Bill Boyle

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on writer-educator-consultant Bill Boyle of www.billboyle.net.

*editor’s note – Bill passed away in July 2018

Veteran screenwriter Bill Boyle has been involved in the film industry in both Canada and the U.S. for over 25 years as a writer, director, agent, producer, story editor, and mentor. Mr. Boyle has the rare honor that every screenplay and television series he has written has been produced or optioned. He currently has four screenplays produced and a fifth scheduled for production. Two others are presently under option. Additional information on the films can be found at www.billboyle.net or at www.imdb.com

In addition to screenwriting, Mr. Boyle devotes a significant amount of his time sharing his experience mentoring younger screenwriters. He teaches screenwriting at UCLA and has lectured throughout Canada and the United States.

Mr. Boyle is one of the most popular script consultants in the industry. He has consulted on over 1,000 screenplays worldwide. Creative Screenwriting Magazine rated him among the top 10% of screenwriting consultants. He is the lead proponent of a visual style of screenwriting called “The Visual Mindscape of Screenplay” that focuses on the visual and visceral aspects of screenwriting. His book of the same name was released in 2012.

1. What’s the last thing you read/watched that you thought was incredibly well written?

I am a huge fan of Jo Nesbo’s novels. His visual exploration of the environments he creates are so visceral that once read it is impossible to ever forget them. As for screenplays, I recently read Nightcrawler and found it exceptionally well-written.

2. How’d you get your start reading scripts?

If you mean reading scripts as a job, I was never actually a script reader. I was a manager in Canada and read many scripts that my actors were up for, as well as reading the work of my own screenwriters and playwright clients.

3. Is recognizing good writing something you think can be taught or learned?

It needs to be taught, but not taught as in learned; taught as in establishing the ability to connect fully with the writing and to remain focused. That ability and willingness to be fully immersed in the screenplay allows the reader the conduit into the rhythm, pacing and flow of the narrative. Sounds obvious, but it is my experience that the vast majority of writers ‘skim write’, which is to say they focus all of their attention on what they want the scene to say and little on the atmosphere and pacing of their scenes.

4. What are the components of a good script?

A good script is one that captures the visual and visceral imaginations of the reader. Actually, it’s a misnomer to say we’re writing for the reader, when actually we’re writing for the viewer within the writer. Besides being a visual expression of the story, a good script also expresses the proper pacing and atmosphere within each scene. These are the two elements most often missing in a screenplay.

5. What are some of the most common mistakes you see?

-Detailed Action

-Skim writing

-Blueprint Narrative lacking pace, atmosphere and visual expression

-Overwritten dialogue that lacks a pulse.

6. What story tropes are you just tired of seeing?

The two things that disturb me the most are how fundamentalist screenplay instructors and gurus have poisoned the creative minds of so many young writers.  This attitude of “my way or the highway”, or the ever-growing list of things a screenwriter must not do (Voiceovers, Camera Angles and Directions, Character Descriptives, Flashbacks, etc) is absurd.

For me the big one is the white on the page dictum. Of course, part of the art of screenwriting is the ability to tell the story in a succinct, near-haiku style. This form of brevity allows the story to flow and remain in the Absolute Present Tense. But this should never go beyond the point where it strips the narrative of its creative purpose.

I actually believe that white on the page is a way of devaluing the writer’s role in the filmmaking process. I seriously question when and why white on the page become more important that what is on the page.

7. What are the 3 most important rules every writer should know?

-Screenwriting is first and foremost a visual expression. Whether you choose to ignore it or not there is always and image on the screen.

-Establish pacing and atmosphere in your scenes so as to create a visceral experience within the reader/viewer

-Every action, element and scene of a screenplay exists in the Absolute Present Tense

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

A script by Canadian screenwriter Laura Beard called ‘A Quiet and Distinguished Gentleman’. It was about a French Catholic detective who must overcome the bigotry of an English Protestant city and police force to solve a brutal axe murder in 1930. There are things she does with that script that to this day I still use in my lectures. A brilliant and very clever piece of work.

9. How do you feel about screenwriting contests? Worth it or not?

I am not a fan of screenwriting contests. Before I explain why, let me make the distinction between contests and fellowships. I think the fellowships (Nicholl, Praxis, Disney, etc.) are excellent programs.

I swear to god I have never heard a ‘true’ story of someone having a script produced based on a contest, which, considering how many there are out there, is rather shocking.

This idea of letting the writers know that they have moved to the next tier and then the quarterfinals, semifinals, etc., is their rendition of Three Card Monte. They let you think you win for a while so that you come back for more. What other reason is there?

10. How can people get in touch with you to find out more about the services you provide?

Check out my web site www.billboyle.net. You can also sign up for my newsletter, blog notices, online course dates and when spaces open up for my Unlimited Script Mentoring Program.

11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

I will go for pretty much anything except the pie in The Help.

Ask a Significantly Astute Script Consultant!

Maximum Z action, characters, concept, contest, craft, development, dialogue, Disney, emotion, ideas, loglines, outlines, pacing, pie, screenwriting, script, spec, story, storytelling, structure, writing

Laurie Ashbourne

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on writer-producer-consultant Laurie Ashbourne.

After seeing Who Framed Roger Rabbit in an old theater in Philly, Laurie knew that she had to be a part of that process.  Within 6 months she was in Disney Feature Animation‘s new studio in Florida working on a Roger Rabbit short and The Little Mermaid, and stayed on through the production of Lilo and Stitch. Leaving that cocoon to create and own her work, she quickly segued to live action and documentaries as a writer, producer and script supervisor.

With four features she wrote as work-for-hires in production, a dozen ghost- writing films and pilots in development, an independent animated feature in pre- production, an original story she wrote (10-31) was recently announced on the fast-track to production with acclaimed producers Eli Roth and Roger Birnbaum and a bio-pic she wrote is in early stages with Bohemia Group Originals.

Laurie is also longstanding story analyst for the likes of Amazon Studios Feature Films and Austin Film Festival.
In addition, she oversees several projects in development via her company, LA Story Studio. Her documentary work continues as well, as a producer for iconic director Robert Greenwald’s Brave New Films banner where she just co-
produced, SUPPRESSED – the fight to vote (2020), and RACIALLY CHARGED (2021), featuring two-time Oscar winner, Mahershala Ali.

1. What’s the last thing you read/watched that you thought was incredibly well-written?

I recently read a screenplay for a competition that was amazing. It was so well-paced and had such a perfect economy of words, twists and great characters – I wish I could share it with you, but I have no doubt that sooner than later everyone will have a chance to see it on screen.

For watching, the film LITTLE BOY. About 4 years ago the casting director asked my son to read for the part, so I was sent the script. It was such an emotional story that read really well, even though it broke some traditional pet peeves of mine, I completely overlooked them because I was so engrossed in the story. My son ended up sending in a video read because I was on a job in Virginia AND he had just lost his 2 front teeth so we knew the read wouldn’t go over at its best. Regardless, we went to see it (and I have to say the boy they had for the lead did a great job). I immediately could see where they had to change some things but it mostly stayed true to the script. I enjoyed the film and it was completely emotional, but I could definitely see how it read better than it played.

2. How’d you get your start reading scripts?

My first job in the industry was with Walt Disney Feature Animation, and as a department head I was in on a project from development through to final reels. But I didn’t start reading them professionally until I left the company to work in independent film, over ten years ago.

3. Is recognizing good writing something you think can be taught or learned?

The tenements of the craft can be taught easily but if a sense of story isn’t there then those ‘guidelines’ become hard and fast rules that can overlook a good story and what it needs to be brought up to industry standards. Learning story is possible, but it’s not for everyone, those that it is for can’t let it go. I’ll use my son as an example again. He will watch a movie until he knows it by heart and then pick apart the structure and characters, all by his own will. He said to me the other day, “When a movie does well, they automatically make a number two, and they do it quickly, and when that doesn’t do well they spend more time working out number three. Number twos always stink.” He’s 10, so I think it’s safe to say that a sense of story is ingrained in his psyche with no teaching other than immersing himself in something he enjoys.

4. What are the components of a good script?

Characters with an emotional want that comes across as genuine – in this case it’s the difference between a homeless person holding up a sign that says “will work for food” and one that holds up a sign that says “hungry, broke please give”. The audience is much more likely to attach themselves to a character who is willing to do what it takes to survive – the character that is willing to work for his food.

Craft contains a lot of things that get a bad name as hard and fast rules, and it’s true that if you are trying to break in you have to look like you are willing to adhere to industry standards, truth is your craft demonstrates mastery of cinematic story SOME formatting issues can be overlooked. So at the top of the mastery of cinematic language is, giving the actors something interesting to do that advances the plot and peels back the layers of their character. This does not mean writing verbose prose; that is not cinematic. Cinematic is thinking like a director in your mind, but conveying that action in words that do not include camera direction.

5. What are some of the most common mistakes you see?

-Misuse and abuse of parentheticals and exclamation points

-Typos and poor formatting

-A misunderstanding of scene headings in content and purpose

-A great idea poorly executed, usually in character and pacing

-A poor balance of dialogue and action (which is usually because of way too much dialogue)

6. What story tropes are you just tired of seeing?

It seems to be cyclical; every year there is more of one than another, so I guess that falls into chasing trends. Right now, there seems to be a lot of smaller character pieces, which is good for independent film, but with specs that are trying to break in (rather than going out and producing the indie on your own), it’s really difficult to get behind a moody character wandering the town or country instead of facing an uncomfortable truth. So it goes back to the homeless analogy – why do I care about this person, and please make it interesting without a having a diary in voiceover.

I admit it’s a bit of a catch-22, it’s also very difficult for an unknown to break in with a tentpole, but there is a happy medium where there are just enough elements to give the audience and producers something worth the investment of time and money.

7. What are the 3 most important rules every writer should know?

-Your material will not resonate with everyone, but if it’s not resonating with anyone, it’s time to analyze those notes you thought were shit.

-Write because you have to get a story out of your system, not because you want to strike it rich or win a contest.

-Let the audience (or reader) get to know your character through the action we see them take on screen, not via a laundry list of their traits.

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

Sure. I’ve had the pleasurable honor to move a lot of scripts forward and nothing makes me happier than to see writers I worked with or read be working in the industry. Frankly, most scripts that come to me don’t have a logline, and I craft one for the coverage – most contest scripts don’t come with loglines. Loglines when done well are a craft unto themselves and contests are won on these concepts, but a great logline does not make a great script. This goes back to one of my top three: Most great ideas fall short on execution and again, I really think that comes down to sense of story. I personally write a logline before (during and after) I write a script. Writing it out at the start helps shape your outline. But just as the outline will change as you write, the logline should too, by becoming tighter.

I recently read a logline on LA Screenwriter called The Muffin Men – it was really brilliant. But who knows if the script is?

9. How do you feel about screenwriting contests? Worth it or not?

Yes, but do your homework. There are more scams than legitimate career changers. It’s worth it to get your script in top-level shape and submit to the top-tier contests (which there are less than 10) the odds are tougher due to the number of submissions but if you seriously want to advance your career, there’s no use in wasting money on the Podunk USA’s screenplay competition.

10. How can people get in touch with you to find out more about the services you provide?

My company at LA Story Studio, my blog 1st 10 pages, or via Stage 32 – https://www.stage32.com/LAstory.

11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

I’m not much for desserts, but I like apple if it’s fresh and not overly gooey, or key lime. When I was a kid I was all about Tastykake cherry pie.

Ask a Man-of-Distinction Script Consultant!

Maximum Z action, antagonist, characters, comedy, conclusion, consultant, contest, drama, horror, loglines, pie, premise, production company, protagonist, reading, screenwriting, script, setup, story, storytelling, structure, writing

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on writer-consultant-Scriptmag contributor Ray Morton.

Ray Morton is a writer and script consultant. He writes the Meet the Reader column at Scriptmag.com and is the author of seven books, including A Quick Guide to Screenwriting and A Quick Guide to Television Writing. Ray is available for script consultation and can be reached at ray@raymorton.com. Follow Ray on Twitter: @RayMorton1

1. What’s the last thing you read/watched that you thought was incredibly well-written?

I recently re-watched ORDINARY PEOPLE for the first time in a long time and was blown away by how precise Alvin Sargent’s wonderful screenplay is. To begin with, it’s a very moving story. The construction is incredibly tight — always moving forward toward the climax. And every scene and moment in the script both reveals character and moves the narrative forward. It is masterful work on the level of a Swiss watchmaker.

2. How’d you get your start reading scripts?

A friend of mine worked in development at Castle Rock. She told me they were looking for readers. I was already a working writer, but was looking for work in between gigs, so I did a piece of sample coverage. They began using me and things went from there.

3. Is recognizing good writing something you think can be taught or learned?

I think you have to have an affinity for good writing. Whether that can be taught or not, I don’t know. For me, it developed naturally as a result of doing a lot of reading, which I’ve always done since I was a kid. I think you can be taught what elements make a viable screenplay.

4. What are the components of a good script?

A good script starts with a strong premise. From there, a story must be developed that is well constructed and makes the most of the premise. A good script has a protagonist with a strong, clear goal that develops in the first act and that he pursues throughout the second and third acts.

The protagonist must be someone we care about — not like, necessarily, but who we have some sympathy for and in whose plight we can invest ourselves emotionally. The supporting characters should be vibrant and distinctive. The dialogue should be strong — each character should speak in her/his own unique voice. The script must be what it promises – a comedy must be funny, a horror movie must be scary, a drama must be moving, and so on. And the ending must be satisfying — it must feel like the absolutely right conclusion to the story we’ve just witnessed.

5. What are some of the most common mistakes you see?

By far, the most common mistake aspiring screenwriters make is to spend all of Act I setting up a particular premise and then abandoning that premise in Act II and taking off on an entirely different tangent, so that the script ends up reading like two entirely different stories that just happen to feature the same characters. The other most common mistake is a lack of clarity — as to what the premise of the story is, who the protagonist is, what his goal is, what the motivations behind the major actions and events in the story are, and so on. A third common mistake are scripts written like novels, with paragraph upon paragraph devoted to telling us what a character is thinking and feeling on the inside — things that will never be seen on screen.

6. What story tropes are you just tired of seeing?

I’m tired of non-linear storytelling — there has been so much of it in the last ten years and so little of it done well. I’m tired of flashbacks, which are overused and ruin the flow of stories. I’m tired of stories that begin in the middle, jump back in time, then catch up halfway through. All of these things have been done to death to the point where I am longing to read a story that begins at the beginning and unfolds chronologically until it ends at the end.

7. What are the 3 most important rules every writer should know?

I’m not a big believer in rules per se, but the three things I think screenwriters need to know are:

-Screenwriting is dramatic writing and you need to understand the basic principles of dramatic writing to be an effective screenwriter.

-You need to rewrite. Too many aspiring screenwriters are reluctant to rewrite – they’ll futz around the edges, make a few cosmetic changes, and leave it at that. You must be ruthless with your work — willing to go over it again and again and really fix what doesn’t work, or you will never write a good script.

-This is a business and you must act accordingly — there are no shortcuts or magic tricks, no one owes you anything, and you must behave professionally at all times even if the people you’re dealing with do not.

8. Have you ever read a script that was an absolute, without-a-doubt recommend? If so, could you give the logline?

I’ve read two. One was the script that eventually became the Geoffrey Rush film SHINE. The draft I read was just about perfect (although the final film was very different from the screenplay and I didn’t like it nearly as much). The second was a script called CRICKET SPIT, about a young girl whose doctor father lies to her (out of well meaning kindness) about her best friend’s terminal condition, which causes a rift between parent and child. It was a “small” movie and never got made but it was terribly moving and just brilliant.

9. How do you feel about screenwriting contests? Worth it or not?

The top 5 or so — the Nicholl, Big Break, etc. – can be very worth it, because most of those contests can bring you to the attention of the industry in a number of ways (hooking you up with producers, introducing you to managers and agents, etc.). The lesser ones – ones sponsored by no-name organizations and ones that keep urging you to add extra services (buying coverage, buying a seat at the awards ceremony, etc) –  are a waste of time and money.

10. How can people get in touch with you to find out more about the services you provide?

They can go to my website – raymorton.com – or email me at ray@raymorton.com

11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Chocolate silk, hands down.

Ask an Agent-turned-Script Consultant!

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Michele Wallerstein

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on Michele Wallerstein.

Screenplay, Novel and Career Consultant, Michele works with writers to help get their work into shape so that it is marketable for the Hollywood community and/or the publishing world. Michele’s career consulting consists of critiquing your projects and/or having personal career conferences to answer questions that writers have about their creative work as well as questions about the business side of their creative life. Michele is the author of: “MIND YOUR BUSINESS: A Hollywood Literary Agent’s Guide To Your Writing Career”.

Prior to becoming a Consultant, Michele was a Hollywood literary agent where she represented Writers, Directors and Producers in Motion Pictures, Movies for Television and Television Series and has sold $1 Million spec scripts. Michele served as Executive Vice-President of Women In Film and was on the Board of Directors for many years. She owned The Wallerstein Company and guided the careers of writers such as Larry Hertzog (Tin Man, La Femme Nikita, 24), Christopher Lofton (Robinson Crusoe, Call of the Wild, Scarlett, True Women), Peter Bellwood (Highlander, La Femme Nikita), Bootsie Parker (Booty Call, Married, With Children, The Hughley’s), and many others.

Michele has been a Guest Speaker at numerous Film Festivals, Pitch Fests and Writer’s Groups all across the country. She teaches the ins and outs of the business of your writing career as well as how to get the most out of your material.

1. What’s the last thing you read/watched that you thought was incredibly well-written?

I adore the writing on “Downton Abbey” on PBS. Their character delineations are superb. The dialogue makes the stories come alive. Unfortunately, I rarely go to theaters for movies because most of them don’t seem to be made for grown-ups.

2. How’d you get your start reading scripts?

I began reading scripts about 100 years ago when I was an assistant to a literary agent. After becoming an agent, I continued to read everything I could get my hands on. These experiences gave me a world of knowledge and have been a great help to me as a screenplay consultant.

3. Is recognizing good writing something you think can be taught or learned?

I’m not so sure it can be taught or learned. Anyone can learn the basics of screenwriting by taking classes and reading some of the many books available. However, understanding human nature and the psychology behind people’s actions and reactions comes with life experiences. If one doesn’t understand these things they will never get the importance of great dialogue.

4. What are the components of a good script?

In my experiences as an agent and as a consultant I find that adhering to the basic 3-act structure is invaluable. Along with that a writer must be able to write characters with heart, feelings, emotions and individual personalities. Grammar, spelling and syntax are also keys to good writing.

5. What are some of the most common mistakes you see?

I often find that the characters are uninteresting and I don’t care about any of them. It’s also common to find people who try very hard to write something unusual and it comes across as too complicated, far-fetched or dull. If written well, a thriller, mystery, love story or romantic comedy can be a standout showpiece for a good writer.

6. What story tropes are you just tired of seeing?

I’m quite tired of action films and films with an abundance of blood and guts. Too many people have become dulled to violence and those scripts are written without decent stories or characters.

7. What are the 3 most important rules every writer should know?

-Follow the accepted 3-act structure.

-When writing spec scripts it is a good idea to do at least 3 in the same genre.

-Have your scripts read by vetted professionals prior to trying to land an agent.

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

When I was an agent I read a spec by a new, young writer that knocked me out. It was a love story with lots of fantastical action about the discovery of the Garden of Eden. It was gloriously written and I sold it for close to $1 million within 2 weeks of reading it.

9. How do you feel about screenwriting contests? Worth it or not?

Contests, pitch fests, seminars etc., can all be very worthwhile if one knows how to make contacts and to follow up with those people. It is a great place to meet executives who can help move your writing career forward. I explain this in detail in my book “MIND YOUR BUSINESS”.

10. How can people get in touch with you to find out more about the services you provide?

I am always happy to help writers and they can email me at: writerconsultant67@gmail.com. I have a monthly blog for writers: www.wwwconsulting.blogspot.com. Writers can also check out my online course Moving Your Writing Career Forward via Screenwriters University.

11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

I do love warm peach pie with a dollop of vanilla ice cream.