analysis

It’s now second nature

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Even Grace Kelly wouldn’t hesitate to take a look at a new script

This past weekend we attended a social event, and one of the other attendees knows that I write scripts, so I was asked the list of usual questions.

“Have I seen anything you’ve written?” “What sort of stuff do you write?” “How many drafts do you go through?” “Do you read a lot of scripts?”

The follow-up to that was “How do you know if a script is good or bad?”

I explained that you can usually tell by the end of the first page. The way the writing reads. The characters. The dialogue. Good or bad, chances are pretty high that’s how the rest of it is.

I’ve been reading scripts for a long time, which has had a major impact on my ability to effectively recognize the level of quality in a script.

When I occasionally go through some of the online forums, there’s always somebody asking how they can improve their craft, as if there’s some kind of trick or secret to it.

Well, there isn’t. The answer is extremely simple and straightforward, and a lot of experienced writers say it and repeat it on a regular basis.

Read more scripts.

There really is no better way to learn.

It’s astonishing that some writers don’t see it as helpful. Or necessary.

Too many newer writers might feel their work is either “just fine the way it is”, or aren’t sure if it’s up to snuff. The more scripts you read, the more it’ll help your analytical skills, which you can then turn around and direct at your own work. Many’s the time I’ve been able to either come up with a solution on the spot, or taken the time to really think my way through to it.

Would I be able to do either if I hadn’t been reading scripts and see how other writers put their story together? Probably not. Nor is this saying I’m copying what other writers are doing. Far from it. Their work is influencing how I do that; putting my own spin on it, if you will.

One of the definite benefits of living in the digital age is that there is an abundance of scripts available online, just waiting for you to come along and read to your heart’s content.

Websites that feature scripts for already-produced films. Members of online groups. Other writers with whom you connect (via networking and good manners).

While I try to devote at least part of my day to working on my own material, if time permits I’ll also spend some time reading a script. It’s usually that of another writer. Sometimes they’ll come to me, asking for notes, or I’ll read something about their script that really grabs me and makes me want to read it, so I’ll politely ask, provided I already know them.

If I don’t, I’ll introduce myself and explain how I found them and mention what intrigues me about their script, then ask if they’re open to me taking a look. Most of the time, they’re totally cool with it, and might even offer to read one of mine. Win-win.

I read a lot about writers who spend so much time writing and so little time reading, no matter how much it’s advised doing so will help further develop their screenwriting education and skills.

Their writing will get better – gradually. Maybe. Not being willing to learn more will only hinder their own development.

Don’t be that writer. Be the one who’s always writing, reading and learning.

That’s the one who gets better.

Happy reading.

A very hands-on Q&A with Geoffrey Calhoun

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Geoffrey D. Calhoun of wefixyourscript.com is listed as a Top 100 Indie Writer in the World. He has optioned several screenplays and has worked as a writer on two features coming out in 2017: The Little Girl and Studio 5. His multi-award-winning thriller Pink Bunny is scheduled for a 2018 release. Geoffrey has won multiple screenwriting awards and has worked as a producer, an assistant director, and director on indie film productions. He has been sought out by studios as a script consultant and a re-writer for various stages of development and production.

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

The last thing I watched I couldn’t stop thinking about was Arrival. I loved this film. It had depth and really explored her character. I loved how they played around with the structure of the film in creative ways that really built up to a climax. It was fantastic. I could see how Eric Heisserer did over 100 drafts to make that story perfect.

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

I actually began writing on a bet. A friend of mine was an editor for a local kids show. He wanted to push himself to write a script so he challenged me to see who could write better. Personally, I wasn’t interested because I have dyslexia. I agreed to do it, and ended up really enjoying the process. Since then it became more than a passion, almost like a volition. I wanted to be the best screenwriter I could possible be, so I started studying and learning from the greats such as Syd Field, Robert McKee, Viki King and reading screenplays by modern legends as well like David Goyer, Jonathan Nolan, and Christopher McQuarrie.

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

I think it can be learned. It comes with time. The average movie attendee can recognize a bad film. Now, some people prefer bad films, but that’s a whole different form of self- torture (wink). I like this question. It reminds me of the debate about raw talent vs. learned skill. Some teachers out there believe if you don’t have a modicum of innate talent with writing, then you’ll never be a good writer. I completely disagree with this. Their defense is that this is an art, and thus you must have a certain amount of “taste” in order to know the difference between what’s good and bad. I think what we do is more than an art. It’s a craft; a learned skill plain and simple. Something that can be mastered with just two things, time and practice. That’s all you need. We are craftsmen, like the blacksmiths of old. At first creating something small and simple like a horseshoe, then with time we master our skill and create compelling stories and works of art like the ornate armors of old.

4. What are the components of a good script?

It all starts with having something to say in your script. What are we trying to pass off to the audience? What do we want to tell them about life? Something that will open their eyes and help them see things from a new perspective? Or something that will reassure them and speak to the struggles they are going through? When we have a theme like this and we pair it with a sympathetic character, then we create a compelling story that’s unforgettable and emotionally moving. Take Arrival. It’s about a woman’s struggle with loss. That’s something that speaks to everyone, which is why it resonated so well with people.

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

Wow, that’s a tough one. I see mistakes of all kinds from new screenwriters to professionals. One mistake I often see is having underdeveloped characters. They’re superficial and are around just to be a face. Sometimes they’re even described as pretty or handsome, which reinforces this. When I get hired for a rewrite, the first thing I do is take the characters and layer in depth to make them more human and sympathetic; give them reasons to do what they’re doing and why they make the choices they do. I create depth by adding to them traits that we all suffer from but never talk about such as secretly insecure, lonely, or lost, etc.

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

This is more a genre thing for me but I’m sick of the false ending in horror films. Here we spend at least 90 minutes emotionally involved with a character. If it’s a good one – Dawn of the Dead is a good example – then you’ll have me on my seat the entire film. Then at the end, the lucky few characters that have survived finally make it…until there’s a surprise jump scare right before the credits roll and we discover the characters we’d been rooting for this whole time never make it. I’m so frustrated by this. For me it feels like a waste of my time to discover they all die because of a dirty trope in the end.

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

1) STEAL: Steal everything from everyone. Writers are the best thieves in the world. I’m not saying plagiarize, but when you find a technique or scene that really works for you, break it down and make it your own so you can add it to your toolbox.

2) STUDY: This goes with stealing. Learn from the masters. Writers like John August have a blog that you should be following. Don’t stop there. Learn from the masters that taught the master such as Aristotle. If you pay attention, all the great screenwriters will quote Aristotle. There’s a reason for that.

3) IGNORE THE BS: There’s a lot of flack out there towards aspiring screenwriters. I recently read an article where a Hollywood writer was bragging about telling screenwriters they’ll never make it. He tells them they should just give up because they aren’t talented. It’s BS. You can make it, but it takes time. A long time. If a dyslexic from Detroit can make it, then you can too. One of the reasons I founded wefixyourscript.com was exactly for that purpose: to give screenwriters that extra helping hand to not just  improve upon their screenplays, but to help them become better screenwriters. That’s why we include the one-on-one consultation.

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

Definitely. In fact, I just did some coverage on a dramatic short that had a fantastic concept. I helped them tweak it, but only a little. I guarantee it won’t have a dry eye in the audience when it films. Unfortunately, that’s all I can say about it.

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

I think they’re great, and I strongly recommend contests in festivals. That’s where you can really make headway as a writer. You need to network and make connections to build up your reputation. You can meet other writers, producers, and directors that will eventually land you in a spot where you’ll be getting work. When you go to these fests you want to be the life of the party. Have fun. Get yourself out there. And make sure you’re handing out business cards. It will get you work.

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

They can contact us at info@wefixyourscript.com. They can also sign up for a free 15-minute consultation on our website. With our consultation, we offer ways to help your work or answer any questions about us or the industry in general. We’ve had some great feedback on this service.

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

I’ve got to go with mom’s pumpkin pie. There is one caveat though: it must be smothered with a big dollop of whipped cream.

Gosh, what a full plate!

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primanti bros
It’ll take time, but feeling confident I’ll accomplish that which I set out to do. (In the meantime, anybody up for Primanti Brothers? (Pittsburgh shout-out!))

My projects over the next couple of months are shaping up nicely.

-Finish overhauling the outline for the comedy spec and convert it into pages

-Some more fine-tuning on the pulp sci-fi (courtesy of a steady influx of good notes)

-Maybe one more pass on the western. Yeah, I know. But I recently got some keen insight on a few parts which could do with a little improvement.

The potential is still strong for all three, both in terms of contests and queries.

I have to say that this time around, my analytical and editing/proofreading abilities feel a bit stronger. Not that they’re the pinnacle of perfection, but at least slightly more developed than, say, a few years ago. That’s a definite plus. Nor would I hesitate to take full advantage of the sage advice of my squadron of savvy readers.

I feel a bit more prepared now, as well as a little more confident about ending up with a triad of really solid scripts.

That’s the hope, anyway.

Another part of my enthusiasm comes from seeing the results of some of the major screenwriting contests, some of which I entered and didn’t fare as well as I’d hoped. I’ll work on these scripts, send ’em out and hope for the best.

On a brief side note, I recently read the comment on an online forum – “Waiting for notes. What should I do to occupy my time?”

I suggested “Start working on your next project.” It’s what I would do. Can’t think of a better way to get your mind off a finished script than starting a new one or digging into the archives and touching up an older one. Gets the creativeness pumped up and really does help pass the time.

Anything that lets you flex your writing muscles while adding to your arsenal of material can only be seen as a good thing.

A subject worth discussing

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Listen up, and listen good

Stepping onto my proverbial soapbox to utter a few thoughts on something that needs to be said.

If you’re part of an online forum, and you post your material in that forum seeking feedback from other members, you will get all kinds of responses. Some will be positive, and some will be negative – maybe to point of being outright condescending.

How do you respond to the positive ones?

“Thanks. I appreciate it.” Maybe elaborate a little, or a follow-up question or two. Possibly even ask to communicate with the person in private.

The negative and/or condescending ones?

“Thanks.”

That’s it. No matter how much you feel the urge to respond with a stinging retort written in ALL CAPS and a lot of exclamation points, just don’t. You asked for comments and you got ’em.

A thick skin is a necessity in this business. Arguing or getting angry because you don’t like what somebody said won’t help you or your writing, and it makes you look petty and unprofessional.

Now let’s address the other side.

Somebody asks you for notes, and based on the quality of the material, you do the best you can, trying to be as helpful as possible. Be honest with your suggestions of what needs to be fixed.

Does it have potential? Mention that. Are there problems? Identify them and how they could be fixed.

If the writing reflects an amateur, or a poorly constructed idea, point out how and why in a constructive manner. There’s no need to be insulting or talk down to them. Chances are they’re still learning, so they don’t know as much as you do.

They may not like what you have to say, maybe even going so far as to insult you and your experience, or deride your comments. But that’s on them. You’ve done your part.

So let’s review.

You want help? Take what you get, even if you don’t like it. After your temper cools down, take a serious look at what was said. There may be something in there worth using.

Somebody asks you for help? Be professional and as helpful as you can. Don’t hold their lack of experience against them.

No matter whether you’re giving or receiving, be patient, tolerant, and open-minded.

Keep that in mind, okay?

Thanks. The soapbox is now available.

That special spark within

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roald dahl
Why is this writer smiling? You would too if you came up with the term “Everlasting Gobstopper”.

This past weekend, I had the opportunity to meet with some fellow Bay Area writers. Among their number was a writer who had written some small stuff, and was in the middle of working on her first big project – a TV pilot.

Even though I don’t know much about writing for TV, I and another writer offered up what advice we could. The recipient was very appreciative, and one of the things she said later on in the conversation made a very strong impression on me.

“I know the first draft isn’t going to be perfect, but I’m just really loving writing this.”

Truer words could not have been spoken.

Like I told her, I write stuff I would want to see. It’s taken me a long time and many drafts of many scripts to feel like I’ve really come into my own. Each time, the end result is a script for a movie I think would be an absolute blast to see play out on the big screen.

It always astounds me when a writer complains about having to write (or rewrite). If you don’t like doing it, WHY ARE YOU DOING IT?

It was genuinely pleasing to hear this writer who, despite the challenges she knew awaited her, was still excited about working on this project. Sure, she was still nervous about doing a good job and hoped the end result didn’t suck too much. No matter how many scripts you’ve written, that feeling never goes away.

But to simply see her face light up while she described the story (which is a real doozy, believe you me) and hear her talk about what she’s experienced so far, including doing the research involved, and learning what to do and not to do regarding formatting, it was just really, really pleasant.

I’m sure a lot of us do this because the title “storyteller” really suits us to a tee. Are some better at it than others? Sure, but instead of being discouraged about what you perceive as a lack of progress, try seeing every time you write as a chance to learn and improve. Because it is. It’s certainly been that way for me, and I strongly suspect I’m not alone in that.

I got the impression our little chat gave this writer an extra little jolt of encouragement that she wasn’t expecting. She doesn’t know when the pilot script will be ready, but I told her not to worry about that and just keep enjoying writing it.

I suspect she will.

-Friend of the blog Andrew Hilton (aka The Screenplay Mechanic) is offering a special deal as part of his stellar screenplay analysis. (Editor’s note – his notes helped shape my western into what it is today)

If you use any of his services, refer a friend, or write a Facebook review of your experience using his services, you are automatically entered to win a free DVD of the motorcycle documentary WHY WE RIDE (of which Andrew was a co-executive producer).

The winner will be chosen on October 1st. The holidays will be here before you know it, and if you or somebody you know loves motorcycles, this would be an excellent gift (as would purchasing some of Andrew’s script services for that special screenwriter in your life).

All the details here.

-My time in the San Francisco Half-marathon the weekend before last – 2:02:56. Disappointing, but still glad I did it. I blame all those uphill stretches in the second half. And probably not training enough.

Next race is coming up in a few weeks in Oakland. Pleasantly flat Oakland. Training a little harder for it, with the intention once again of hoping to break the 2-hour mark.