Ask a Truly Superlative Script Consultant!

May 19, 2015April 21, 2016 Maximum Z analysis, antagonist, characters, cliches, comedy, concept, conflict, consultant, contest, coverage, craft, development, dialogue, emotion, feedback, goals, horror, ideas, loglines, mentor, pace, pie, producer, production company, protagonist, reading, rewrite, screenwriting, script, story, storytelling, structure, television, tropes, 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-producer-consultant-instructor Terri Zinner of afilmwriter.com.

Terri Zinner has been in story development for over 15 years. She began as a reader for Blue Cat competition and then a reader for Gallagher Literary, who eventually promoted her to SVP of Development.

Terri is also a produced writer and Producer of independent feature films such as EL CAMINO, THE BRIDE FROM OUTER SPACE and other independent projects. Terri worked on the award-winning film MONDAY MORNING.

Terri has provided story consultation on such films as AMERICAN SNIPER, ALBERT NOBBS, KILL YOUR DARLINGS, BREAK THE STAGE, THE HOWLING: REBORN, WHAT MAISIE KNEW, THE BRASS TEAPOT, LOUDER THAN WORDS and more….

Being named as one of the top story consultants in Creative Screenwriting Magazine, Terri is a sought-out story and screenplay analyst. Terri founded the website A FILM WRITER and developed the Screenplay Reader Training. She mentors and trains a team of screenplay readers.

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

I had the honor of reading the script AMERICAN SNIPER. It’s one of those rare occasions when you know that this script is something special from the very first page. The script was heart pounding and riveting from the opening through the ending. The story just came to life for me, as if I were actually watching the movie. The writer, Jason Hall, earned a well-deserved nomination for a harrowing script. I’m also always in awe of TV writers, who have a special gift with words. I admit I haven’t had much time for watching TV, but DAMAGES was one of my favorite shows because I thought the writers did a terrific job of creating a complex character in Patty Hewes. She was a fascinating, morally corrupt character to watch, and I found the dialogue to be very powerful. I try to watch a variety of films, but when I watch now, I tend to pay more attention to the structure. In fact, I forced my friend to go to a horror film, EVIL DEAD, just to analyze how the structure worked.

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

Like most readers, I began by writing screenplays. I optioned a few, but then I was provided the opportunity to become a reader for Gallagher Literary and a reader for Gordy Hoffman’s Blue Cat competition. I found that my real skills were in deconstructing a screenplay and guiding the writer in the development of their script. I read all I could on developing screenplays, structure, and what makes for a great character. I went from a reader to Sr. VP of Development. It just became a passion that I haven’t overcome. I created my own website AFILMWRITER.COM with the idea of helping writers at an affordable rate. Through word of mouth my business began to grow and expand. I also freelance for other agencies and have produced independent films. I developed a program to help teach and mentor others on how to become an effective professional screenplay reader. I enjoy nothing more than the creative process and mentoring writers in their craft.

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

Like writing, I think being a screenplay reader or story analyst is a craft. It requires a fundamental understanding of the rudiments of structure, plot, tension, character, dialogue, and what makes for a great story.

I actually teach a course for potential readers. It’s an intensive course and the reader is given the opportunity to practice coverage. I’ve seen my readers grow as analysts, but like anything, it requires ongoing learning and understanding the craft, being open to visionary worlds, and having a passion for the craft. It’s not about being punitive or negative, but for me it’s about finding the strengths in the writer’s script and helping the writer build upon those strengths. I do become concerned about people who claim to be professional readers, but know little about the craft. A reader has to have the ability not only to deconstruct what’s on the page, but also to be able to deconstruct what’s not on the page.

4. What are the components of a good script?

There’s so much that goes into writing a great screenplay. It’s a skill to bring those elements together. You can have a terrific idea, but executing that idea is the major challenge. Creating an original concept, or taking a tried and true concept and telling it from a new point of view is one step in crafting good script.

Understanding structure, pace, and how tension and conflict works is pivotal to the craft. Creating deep and complex characters with not only a well-identified external goal, but with inner conflict and struggle is part of writing a great character. Giving characters strong moral choices to make and defining moments can create powerful storytelling. Powerful dialogue can propel a script. Incorporating an emotional theme that’s well assimilated into the script can make for a compelling script.

A writer should be asking questions like this: Is there a ticking clock tension and sufficient tension to sustain the story? Does this tension build? Is there a relationship component to the story? Is there a satisfying ending that involves a hero/foe conflict or confrontation?

A reader knows a great script when they can visualize it as a film in their mind vs. on the page.

For me, the most significant component of a great script is that the script provides an emotional experience, in which not only does the character learn something about life, but so do I.

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

Normally, it’s the lack of the writer having the ability to convey a clear and compelling story. It can be challenging to read a script and not be able to visualize what the writer is attempting to convey. I honestly want to be able to provide constructive notes, but sometimes you run into a script and you’re simply bewildered by what the script is truly about. This commonly occurs when the writer doesn’t stay on task with the goal and the script isn’t goal-focused. The hero may not be proactive. Without a strong structure it’s going to be a long, difficult read for the reader.

For new writers, certainly professional presentation is a common mistake. First impressions are important, but these elements are easily correctable. Writing “ordinary” characters or on the nose dialogue is also more typical with new writers. Some writers tend to over write. They add dialogue when dialogue isn’t necessary and they forget the power of visual storytelling.

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

I recently wrote a blogpost on this topic. Several scripts involved slacker men playing video games. Script after script, all these immature men are obsessed with video games. Some of the other common tropes for me are lines of dialogue that make me cringe. My most feared line in a script has to be: “You’ll never get away with this.” If I read a comedy, most likely in the first act the character will lose their job, get evicted, and break-up with their significant other. If the character races to the airport at the end of the script to stop the person they love from leaving, it’s not original. I have to admit I’m not fond of the script in which the world is in jeopardy of being blown up. There’s always a way of taking the tried and true, and crafting it to be more refreshing.

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

-Learn the craft. Study structure. Understand conflict and tension.

-Understand it’s a creative process. Feedback, coverage, and rewrites are part of the process. It’s not personal.

-Be passionate about what you write.

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

I have been fortunate to read some great scripts ranging from American Sniper to Killing Your Darlings to Albert Nobbs. All were recommends. I’ve read other scripts that I have given a recommend to and they are in development. On the other hand, I have given “consider” to scripts that have also been produced. I’ve watched some of films I’ve recommended and haven’t enjoyed the film as much as the script. “Rating” a script can be somewhat subjective. I’ve given recommends on scripts that others have passed on, and I’ve passed on scripts others have given considers or recommends to. The lesson for writers is that every reader is not always going to love or like your script. That’s okay. You also shouldn’t just rely on one reader. I always encourage getting coverage from more than one professional reader to get a good idea of how readers are reacting to your script. Make sure they know their craft.

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

There are many screenwriting contests, so I think the writer has to be selective in which ones they enter. It can be an opportunity for writers to get their name out in the community and receive feedback, but it’s also a business and can be costly. A writer has to remember that placing in a contest doesn’t necessarily mean the script will receive a consider or recommend from a professional reader. On the other hand, a great script may not place. Contests are very dependent on the reader you get.

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

I am always open to writers or potential readers. They can contact me at afilmwriter@aol.com or visit my website afilmwriter.com

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

Cinnamon Crumble Apple Pie.

Ask a Man-of-Distinction Script Consultant!

May 12, 2015 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

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 One of the Great Brains Behind the GAPF!

May 5, 2015April 21, 2016 Maximum Z antagonist, characters, cliches, comedy, consultants, contest, dialogue, drama, goals, horror, logline, loglines, Los Angeles, mentor, obstacles, passion, perseverance, pie, pitching, protagonist, reading, rewrite, screenwriting, scriptshadow, situations, spec, story, thrillers, title, tropes, writing, writing group

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 especially significant for writers ready to pitch their material, as it features an interview with ScriptFest/Pitchfest co-founder Signe Olynyk.

Signe Olynyk is a writer/producer, as well as the co-founder of ScriptFest and www.pitchfest.com, which includes the Great American PitchFest, the Great British PitchFest, and the Great Canadian PitchFest. She is also the co-founder of the Ultimate Logline Contest, and Your Career In A Day industry workshops. She lives in Canada, and runs the highly regarded Sooke Writers Retreat from a secluded, oceanfront home, where dozens of select writers join her each year for their personal writing retreats. In addition, Signe has written and produced a number of television pilots, series, documentaries, and feature films, and works in the industry. She has professional credits on more than 120 productions, including her two latest feature films, Below Zero and Breakdown Lane. Her work has been seen around the world on the CBC, Discovery Channel, Scream Channel, Fox, the BBC, and various others.

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

Great first question. There are so many. The ‘smartest’ movies I can think of right now include Christopher Nolan’s The Prestige, and The Disappearance of Alice Creed, which was incredibly smart and well written. These two films were dramatic thrillers, but I actually feel that comedy is some of the most difficult to write – it has to be smart and well-written, and generally, a brilliant mind must be behind a comedy to successfully pull it off. Creating original characters, situations, and dialogue that makes us laugh, and that we haven’t seen before, is an incredible feat.

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

I got my start reading scripts by writing scripts. For years, I was writing and sharing my work with others in my writing groups. At the time, I didn’t understand the value in reading, but the group I joined took turns reading a screenplay each week for a film that had been recently produced. Reluctantly, I started to read other screenplays. I just wanted to create new material and share script notes by reading each other’s screenplays, not spend my time reading the screenplays for movies that had already been produced. I thought it was going to be a waste of time when I could just watch the films. But that was when my world changed.

When you read scripts, you learn a rhythm and start to see the style in which a writer puts their words on the page. You see how evocative language and onomatopoetic words like ‘sizzle’ and ‘slap’, make your script come alive visually on the page, and in your mind’s eye. When you read other scripts, you discover and absorb lessons that you automatically start applying to your own work. And you are a better writer because of it, thanks to the work of other writers. It’s invaluable to your own development as a writer.

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

Physical limitations are an interesting thing. I love to play soccer, but I know I’m not the best player on the field. My coach can make me run drills, and practice for hours, but my skill level is only going to get me so far compared to others, because there are others who are simply more skilled and talented than I am.

Writing is the same way. Same with math, with physics, with music, art, or sports, or anything really. Someone’s physical brain or body has developed in such a way that they are stronger at a certain skill than someone else.

What really matters is attitude and perseverance. Good writing can be taught or learned, but there has to be a certain level of natural ability and talent in the first place. And then there has to be a passion behind whatever skill you have to really drive success at anything.

As an aside, I have been very frustrated by some of the ramblings of some who like to criticize consultants and say that ‘those who can’t, teach’. What a hugely unfair, offensive and dismissive thing to say. I am the founder of the annual screenwriting conference ScriptFest, which is held each year in Los Angeles. We have had hundreds of speakers teach at the conference, and they are educated, brilliant, and generous people who give back to the community and help writers become better at what they do. Since when did we decide it was okay to criticize teachers? It is not an easy task, and great teachers are a huge gift to those of us who are still learning – which is all of us, isn’t it?

Yes, teaching can be taught. I’m incredibly grateful to all of those who have mentored me in my life. It is the moral obligation of each and every single one of us to share what we have learned with others, so that we can all learn from one another.

4. What are the components of a good script?

I want to see characters I care about in situations I haven’t seen before overcoming outrageous obstacles in the singular pursuit of their goals. I want to feel something, and root for them to achieve their goals. I want to go on a ride with them, and experience an emotional journey as they give everything they have towards reaching their goals, being beaten down and nearly defeated as they pursue an eventual triumph. That doesn’t mean a character must always reach their goal – and by triumph, I mean they’ve learned something meaningful that has changed them forever, for better or worse.

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

Many writers write characters and stories they think people want to see, hear, or read. They cling to stereotypes, which does nothing to create originality or anything of interest to an audience. Finding your own voice as a writer is something that develops the more you write, because your confidence grows as you do.

I also see many writers fall in love with their first script or book, then spend years and years rewriting and tweaking it, and doing rewrite after rewrite. If you want to be a professional writer, you must generate new work. This is important not only because you are creating a body of work, but because you get better with everything you write.

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

Cats leaping out at people in horror stories. The guy who develops a cough, dying part-way through the story. Girlfriends who go after the girl their boyfriend cheated on them with – how stupid is that? Go after the ass who cheated on you! I want to see characters pushed as far as they can in directions and towards goals I haven’t seen before, and making decisions that are real for that character and that people can relate to. I want to see characters overcome their obstacles by making choices that only they would make. Story comes from your characters. Make your character’s reactions realistic for who they are, and have them respond in ways that only they would. Just as each of us has our own backstories, and these experiences shape who we are, our characters need to be developed the same way. Then you create characters and situations that are as real as each of us.

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

-First, don’t miss out on your life because you feel a need to be writing or working all of the time to create success. You must have a life in order to be a great writer. Every experience you have helps to shape you, and you need those experiences to shape your characters and their worlds.

-Second, take care of your health. Watch your posture and get a good chair to support your back. Go on long walks so your characters can speak to you, and you’ll be amazed how ideas will come to you when you’re least expecting it.

-Third, go to every event you can and constantly educate yourself on your craft. You never know who you will meet, or what you will learn that will inspire you, enlighten your work, and help you to create your best work.

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

I’m still seeking that script. I find lots of screenplays that are ‘recommends’, sure. But even then, rarely do you find any script that doesn’t need work, or still has tweaking or ideas, characters, or dialogue that need to be finessed a bit more. There are tons of loglines I read that make me smile and that I get super excited about, and keep visualizing the various scenes, and putting my producer hat on to think about logistics. Although I can’t give a logline exactly, what I can tell you is that they all have certain things in common:

*TITLE: The title of the script captures the full essence of the story. We know what it is about, just from the title, and the theme of the story is also hinted at. JAWS. UNBROKEN. WILD. UP.

*CHARACTER: They have a protagonist who is interesting to me, relatable, but who is someone I haven’t seen before. They pursue goals in a way that only they can do, and their backstories make their actions real and believable.

*PURSUIT OF A CLEAR, IMPOSSIBLE GOAL: They have a goal that seems impossible, and the journey of following this character as they pursue that goal becomes irresistible to me. I must watch them pursue their goal.

*OBSTACLES: They overcome increasingly serious obstacles in pursuit of their goal. The stakes get more serious as the story progresses.

*NEMESIS: they have a formidable foe. A Goliath for every David. Goliath keeps putting obstacles in David’s way

*LESSON LEARNED: the character is different by the end of the story than who they were at the beginning. By going on this journey with them, I am also changed in some way. It is the magical, emotional moment in a movie when your character becomes who they were meant to be, regardless of whether their goal is achieved or not.

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

Anytime you have an opportunity to get your work in front of someone who can make a difference to your career is worthwhile. It’s always a bit of a crapshoot whether your work will resonate with a particular judge. However, a lot of industry people find scripts by judging contests, and really, it’s a matter of the right script finding the right producer at the right time. If that’s the situation, then it behooves any writer – especially without an agent – to get their work out there and in front of as many eyeballs as possible.

Writers may also want to really examine the prizes. What is the real opportunity? Is it just to win a cash prize? Or is it industry exposure? What is more meaningful?

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

I would encourage writers to check out ScriptFest and the Great American PitchFest. It’s an annual, 3-day conference with more than 40 classes, panels, and workshops offered. Writers who’ve written a book or screenplay can pitch it to more than 120 agents, managers and production companies. Visit www.scriptfest.com to learn more.

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

That’s like asking my favorite ice cream! So many kinds, so many flavors! Lemon meringue, pumpkin, butter pecan, coconut cream, banana cream, apple with cheddar…If I have to choose only one kind, I would probably say blueberry-rhubarb. I like the sweet with the tart (kind of like my favorite movies).

Ask a Chock-full-of-Moxie-and-Gumption Script Consultant!

March 31, 2015 Maximum Z agent, antagonist, anti-hero, characters, conflict, consultant, creativity, description, development, Disney, emotion, ideas, outlines, pie, production company, protagonist, Raiders of the Lost Ark, resolution, rewrite, rules, screenwriting, script, story, storytelling, television, tropes, 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 Amanda Nelligan, aka Scriptgal.

Amanda was born and raised in Western Massachusetts. She attended Brown University and received a Bachelor of Science degree in biochemistry. While at Brown, Amanda became involved with the Brown film society and its weekly comedic film magazine – The Film Bulletin – which cemented her life-long love of movies. After working briefly at a medical research lab, Amanda moved to Los Angeles and embarked on her film career. Her first job was as an assistant to a literary agent. From there, she worked at Disney, then ran development for a number of production companies. Amanda went back to grad school in psychology and worked as a therapist and as a research project manager at UCLA before launching ScriptGal. Amanda enjoys baking, hiking and scuba diving and lives with her husband in Sherman Oaks, CA.

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

I can’t pick just one – different movies are great for different reasons. I really enjoyed NIGHTCRAWLER – whip-smart dialogue and a character I’ve never seen before. It also had a resolution that defied convention. EDGE OF TOMORROW is a meticulously plotted, fun, time-bending action film, which is so hard to do right. And WHIPLASH didn’t miss a beat (pardon the pun.) In terms of television, TRANSPARENT was terrific. JUSTIFIED and THE AMERICANS are two incredibly well-written series I never miss.

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

I moved to Los Angeles shortly after college. My first industry job was for a boutique literary agent who had an A-list roster, so my introduction to Hollywood was through writers. After that, I worked as a development exec – meaning my job was to find scripts and to work with the writers to develop those projects into viable features and television shows. I worked as a creative executive at Disney, then ran development for two production companies. I didn’t like all the politics/crap in the movie business, so I left and went to grad school and worked in another field for a while. But movies are my passion and I love working with writers, so ScriptGal started as an experiment, in a way, and three plus years later. here I am.

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

I think recognizing good writing is a matter of natural instinct, which not everyone has, plus a lot of practice – a.k.a. reading. And reading everything – not just screenplays. Novels, essays, short stories, etc. As a script reader, you need to understand what makes a good story. I think a rule of thumb is that when you forget you’re reading, you know the writing is good – good writing transports you.

4. What are the components of a good script?

A compelling protagonist or anti-hero and a worthy antagonist. We should be able to relate to the protagonist in some way. The antagonist can be a classic villain, a disease, a monster or even the weather. But no matter what the story is, it’s essential that we care what happens. Also, a good script needs to make you feel something. Joy, sadness, fear… Bottom line, the script needs to tell a good story. It can be written in crayon and have a million typos, but if the story is compelling it will shine through.

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

Too much description. It’s a real skill to write just enough to give you sense of what the audience will be seeing and hearing on screen. If the color of someone’s dress isn’t essential to the story, don’t include it. Another related mistake is describing things that would be impossible for an audience to know. Stuff like a character’s face shows the pain of the loss of his wife two years earlier. That’s cheating – essential information needs to be revealed the way the audience would discover it on screen. Another mistake is not having enough conflict – which results in the story not being as dramatic as it needs to be.

A lot of people are hung up on so-called screenwriting “rules” — don’t use “we see” or any camera directions, etc. I think a) those rules aren’t true – good produced scripts do use them and b) no one working in the industry today cares about those rules one bit. Or even thinks about them. Bottom line – people want good stories.

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

I just read a script where a guy gets fired and comes home early to find his wife cheating on him. I’ve seen that a million times – so to me it signals a lack of imagination. I think a trope is fine if it is the best thing for your story – but you should always try to put some sort of fresh spin on it. Also, audiences love when a trope is turned on its ear – the best example is the fight scene in RAIDERS OF THE LOST ARK – when instead of getting into the expected hand-to-hand battle, Harrison Ford shoots the bad guy. So when writers find themselves contemplating a trope, they should always ask themselves whether or not they can surprise the audience instead.

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

-Writers write. You have to be in this for the long haul. If a script doesn’t work or sell, move on to the next. No successful writer I know parachuted in with the coolest script ever and then sailed on to fame and fortune. The best of the best have a lot of failed scripts in their filing cabinets. Or, these days, in the cloud. This business is a grind.

-Writers rewrite. You need to be able to make changes to your initial drafts and ideas – you need to be able to “kill your darlings,” meaning abandoning things you may love in furtherance of the story. Also, this is a collaborative business – everyone who reads your script will have notes. That doesn’t mean every note will be a good note, but it’s your job to recognize the good ones when they come along and manage the bad ones.

-“Take Fountain.” – Bette Davis. Okay, the real rule is outline. Outline like crazy – especially right after the idea comes to you. A lot of newer writers seem to get bored with their own ideas after awhile and make changes that are destructive. You need to lock in the story that got you excited in the first place and don’t doubt that it will excite readers/viewers as well.

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

No. To me “Recommend” means go shoot it, as is, tomorrow. I never say never, but I could probably write notes on every successful movie out there. The rewriting stops after the scene is shot. Actually, that’s not even true. A lot of rewriting happens in the editing room. For people who love the show THE AMERICANS, and even those who don’t, I highly recommend the Slate-produced TV Insider podcast about the show. It’s a conversation between the story editor and various writers on the show, often including the showrunners. They are rewriting until the last second.

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

I think a select few are meaningful to industry execs – The Nicholl Fellowship, Austin Film Festival, and UCLA’s Samuel Goldwyn. I think the others may help a writer’s self-esteem, but I’m not sure how many actual doors they open in Hollywood.

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

They can email me at Amanda@ScriptGal.com and check out my website www.scriptgal.com.

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

I love ALL pie – much better than cake, in my book – but if I have to pick one it’s strawberry rhubarb. The contrast between sweet and sour – that’s drama.

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September 9, 2014May 30, 2021 Maximum Z agent, analysis, antagonist, assistant, characters, cliches, contest, coverage, creativity, dialogue, exposition, feedback, filmmaking, goals, grammar, Guardians of the Galaxy, guidelines, loglines, manager, motivation, movies, opportunity, originality, payoff, pie, pitching, plot, podcasts, productivity, protagonist, query letter, reading, representation, rewrite, rules, scenes, screenwriting, script, sequence, setup, social media, spec, spelling, story, storytelling, structure, studio, synopsis, television, theme, tropes, writing Danny Manus, scripts

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 Danny Manus of No Bullscript Consulting.

Danny Manus is the former Director of Development for Sandstorm Films (The Covenant, 8MM2) and Clifford Werber Productions (Cinderella Story, Just Add Water), where he sold “To Oz” to United Artists. He’s the author of “No B.S. for Screenwriters: Advice from the Executive Perspective” and was ranked one of the Top 15 “Cream of the Crop” script consultants in CS Magazine. He was also named one of Screencraft’s “25 People Screenwriters Should Follow on Twitter.”

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

The best written things I’ve watched lately have been on TV. There are movies I’ve really enjoyed – Chef, Planet of the Apes, Guardians of the Galaxy, Fault in our Stars, Bad Words, etc. – but none this year yet that I thought were OMG fantastic writing. To be fair, I haven’t seen Boyhood yet. But for me, TV is where the best material is these days. My favorite new comedy is You’re the Worst on FXX. I also really enjoyed The Last Ship on TNT and Masters of Sex on Showtime this summer. I’m sure there are wonderfully written books out there, but I don’t get to read them.

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

My first start was as an intern about 13 years ago at Columbia Tri-Star in TV Development and 20^THCentury Fox Feature Casting. I was charged with reading everything that came in and doing coverage on them. But I used to go through their archive library and just read as many as I could, especially at Tri-Star. My coverage was liked by the VPs I worked under so much that they loaned me out to the SVP (Sarah Timberman at the time, who would not remember me if you paid her) and then the President at the time. Those gigs gave me enough coverage samples to land my first assistant job after I graduated.

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

Recognizing bad writing is something anyone can do. Recognizing great writing is something that can be taught and learned with time and experience. As a first year assistant and intern, I could tell you what was written poorly. But it took a few years of reading hundreds and hundreds of scripts to TRULY understand good writing. And many thousands of scripts later, I’m still learning.

You can’t read a book on screenwriting and think you’re suddenly able to be a professional consultant or reader or writer. There is no checklist given to new readers, it’s learned on the job – that’s why it’s SO important for writers to READ. Though I actually did develop a checklist I used to give to my interns. It was 110 items long. But if you’re a great reader, they are all just in your head and you notice them naturally.

4. What are the components of a good script?

There are basic elements everyone agrees on – a concept and hook that sparks a reaction and has potential to lead somewhere intriguing; compelling, three-dimensional characters who make you want to follow them; dialogue that feels sharp and precise yet natural and flows; enough growing conflict and high enough stakes to keep ones interest; and a plot that progresses throughout the script in interesting ways. Every script should have strong setups, executions and payoffs. But to make it go from good to great, it’s about the X-factor. Some of that is voice, but some of it is just the right writer writing the right story in the right way at the right time. That’s when true brilliance strikes. And it doesn’t happen often.

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

I see them all. I mean, the biggest mistakes are that writers are writing stories that aren’t MOVIES. They’re just not strong enough ideas or hooks to be movies in the current studio or indie marketplace. Or that the writer doesn’t know the hook of their idea. Or that the writer uses too many COINCIDENCES or serendipitous moments to create plot.

Actually, you know what the #1 mistake I see is? The use of YOU’RE and YOUR! I mean, WTF people – it’s not that hard to know the difference. Thinking that typos and grammar and format don’t matter – they do!

The biggest non-craft mistakes writers make is not doing their research and not knowing ANYTHING about the actual business. And secondly, submitting projects LONG before they’re ready to be submitted. Querying and pitching on a first draft or before a script is even written, entering contests with a first draft, posting their second drafts on websites. The biggest mistake I see is desperation and impatience outweighing common sense and good judgment.

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

I could go the rest of my life without seeing another Geek to Chic Teen story. Or the Christmas tale of someone losing their Xmas spirit until X happens. Or the story of the struggling writer trying to break into Hollywood and X happens. The Screenwriter protagonist CAN work – but 98% of the time it doesn’t and I like to play the odds. In terms of character, if I never have to read about another female rape victim or domestic abuse victim, I’d be okay with that too. Those are so common in scripts it’s lost its meaning. But in the end, what I always say is – Don’t run from the cliché, just make it seem NOT cliché. That’s a writer’s job.

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

-It’s not called the artist colony, it’s called the Film Business. So treat it like one. And if you want this to be a career, treat it like one.

-Writing is rewriting and if you can’t take notes and really truly rewrite, you’ll never have a lasting career.

-Your first draft and first script is SUPPOSED to suck. If you think your first script is going to sell and make you rich, you’re living in a dream world. Just. Keep. Writing.

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

Absolutely. But most were already projects in development written by top notch writers. I have had a number of clients whose projects were Recommends – but none were like that on the first draft. I can’t really divulge the loglines though.

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

There are about 15 contests out there that are completely worth it that I highly recommend, and about 250 contests out there that aren’t. If you win a major, prestigious contest it can definitely start your career and get you noticed. But if you’re continuously a quarterfinalist or not even making the quarters, then you’re not ready yet. Or your script isn’t. Contests are absolutely worthwhile IF your script and writing is at a level where you can be in the top 100 writers out of 8,000. If you can’t say that, then you’re probably wasting $40. Keep in mind – the Top 10 contests get about 45,000 submissions total. And they give out about 150 prizes to finalists and winners. So, those are your chances. Your script has to be REALLY fucking good. But as someone who has had multiple major contest winners and finalists as clients, that’s what I’m here for.

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

You can always check out my website and services at www.nobullscript.net and follow me on Twitter @Dannymanus (I was named one of Screencraft’s 25 People Screenwriters Should Follow on Twitter).

And if interested, I’m running a 4-week online course “Creating More Compelling, Castable Characters” which starts Sept 26^th and it’s going to be a great class. So, I encourage everyone to check out details at www.compellingcharacters.eventbrite.com

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

I’m an apple pie guy, though a good chocolate cream pie with the chocolate mousse and whipped cream…nom nom nom.

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