characters

Q & A with Rick Ramage of The Screenplay Show

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Rick Ramage

Rick Ramage is a writer, director and producer with numerous credits on major motion pictures and television shows. During his 25-year career as a screenwriter, he has set up or sold over 40 scripts in Hollywood.

Rick’s latest project is The Screenplay Show, a new 10-part online series to educate about the art, craft and business of screenwriting and storytelling.

What is The Screenplay Show, and what inspired you to do it?

The Screenplay Show is an actual show about writing, presented in a fun, narrative style. It’s a ten-part webseries that will focus on the trade secrets I’ve developed (and learned) from Hollywood’s most talented writers, directors and producers during my 25-year career.

As to what inspired it, a few years ago, a buddy of mine started a writer/actor group called, “Write to Act” and he asked me to put on a seminar for his people in Denver. I was reluctant to say the least. For the last 25 years, my only job has been writing and producing film and television. Speaking in public? Not so much. He kept twisting my arm and after about a year of hounding me, I finally gave in and promised him I would do a one-day seminar. Then reality hit me: What could I possibly say for six hours that would interest other writers and actors? In an effort to alleviate the poor souls who would be stuck looking at my ugly mug all day, I pulled in my editor and we put together a long list of writing samples and clips covering every element of screenwriting so they could actually SEE what I was talking about – instead of listening to me pontificate as I clumsily tried to explain it.

For instance, using stills from The Shining, I put every moment of Jack’s character arc into a still photo sequence. You can actually visually track his descent into madness. I then put the page number from the script beside each expression. The audience literally gasped, because it was the first time they had actually seen a character arc moment by moment. I did the same thing for all the other elements of storytelling. As screenwriters, we have to write visually – so I figured it would work for seminars, too. But one thing really surprised me: the audience had as many questions about the writing experience as they did about the nuts and bolts. Personally, I’ve always been fascinated by the methods of actors, athletes, and other writers, so I guess it’s fair that they wanted to know about my method – and how a life and career in the film business actually works.

What sets The Screenplay Show apart from other online seminars?

One look at the teasers we’re putting out there will let people know this isn’t your father’s seminar. I can’t honestly say I had an epiphany and The Screenplay Show was suddenly born. But doing the seminars over the next year or two, it definitely evolved into a rolling narrative; my personal Hollywood experience merged into describing actual methods that have worked for me and many of my colleagues. So far, I’ve set up or sold over 40 scripts. But I have to give credit where credit is due: I didn’t learn how to survive the biz, or sell scripts from books. I learned from working closely with tremendously gracious agents, managers, producers, directors, executives and actors who were generous enough to share their knowledge with me for one purpose – to get the story right.

My goal with The Screenplay Show is to share what they’ve taught me with other writers and storytellers. And when I say storytellers, I mean anybody involved in the film and television business. Directors, actors, producers, cinematographers, and even executives. They are storytellers because they impact the script and help bring it to life.

Tell us a little about your writing background. How did you get started?

I didn’t finish my degree. Instead I went into business with my dad, selling tractors. But I wanted to be well-read and well-spoken, so I sat down with 100 of the great novels and voraciously read them back-to-back. In the process, I began to see how the authors worked the elements. The storytelling process fascinated me. So when I was out covering my sales territory, I began to daydream about becoming a writer. Eventually, I tried to write a novel. Long story short – it sucked. But the person who told me it wasn’t very good also told me I was a good writer. That seemed like a contradiction, but it wasn’t. He told me I had a very visual style, and suggested I write a screenplay. So I turned my bad novel into a bad screenplay! (But that process lit a fuse in me, and I’ve never looked back.)

What have you recently read or watched that you thought was incredibly well-written?

When I’m deep into writing one of my own scripts, I don’t usually watch or read much. By the end of the day, more words and plot lines are the last thing I need to relax. But two shows I try not to miss are Game of Thrones and House of Cards. From their production values, to the great characters, to the tight, well structured scripts, I admire them both a great deal. In fact that’s how I can tell when I’m in the hands of great storytellers – they make me forget I’m a writer. I become a fan.

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

Definitely. Recognizing good writing can and certainly should be taught and learned. I’ve known some executives who were by no means writers, yet they learned to identify good writing and write smart notes. Their jobs depend on it. I’ve learned to recognize good writing by the way it makes me disappear into it.

What do you consider the components of a good script?

For me, the single most important component of a good script is simply this: It must have soul. I need to feel what the writer is trying to say through his or her characters. If that happens, I know the other elements are working.

What are the three most important rules a writer should know?

-Dialogue:  When to shut up and let the subtext play.

-Action:  When not to overwrite. (more often than not, you’ll lose your reader.)

-Characters:  We write in search of ourselves. (makes them real.)

How can people find out more about The Screenplay Show?

We’re really encouraging people to go to their most comfortable social media site and follow us. Also, we’re really hoping they go to www.thescreenplayshow.com and sign our landing page. We won’t bombard you with trivial junk, but we do want to build a steady audience so we can let people know about events and new material.

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

My grandmother made the best pie I’ve ever had. Golden, flaky crust made from scratch, crisp green apples sliced thin, and lots of cinnamon! I do miss that woman.

Strong rope & solid knots required

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As long as it leads somewhere

I’m a big believer in tying story elements together whenever possible. While this should already apply to key details within the story, sometimes it’s simply a matter of a setup and payoff, even if it seems like a throwaway item. Bonus points if it ties in to your primary storyline. Which it should.

Case in point: in the opening scene of CHINATOWN, Gittes is showing his client photos of the man’s wife’s infidelity. The man, heartbroken, tells Gittes “if there’s anything you ever need, let me know.” The scene ends, and we figure that’s that. This is what kind of guy Gittes is and what he does, and then we transition into the main storyline. Events play out, and Gittes finds himself cornered in a tough spot.

So how does he get out of it? He leads his pursuers to a house he claims has the answers. But when he knocks on the front door, who answers it? The guy from the opening scene. We’d totally forgotten about him, but it’s a perfect choice. It ties things together, works within the context of the story, and anybody else would have not worked.

Everything in your story should serve a function in helping move the story forward, no matter how small or insignificant it might seem.

Do you have characters or events in your script that are strictly one-time-only? What purpose do they serve? If you took them out, would it make a difference?

And if you do keep them, is there any way to change them around so that you have a solid setup and payoff that tie into the overall story? It might not be as tough as you think.

In the outline of my current project, I had some smaller scenes in the first act that were totally unconnected. Going through it a second time, I’ve been finding ways to connect them. Sometimes it’s about using a character making a return appearance, or having some key scenes take place in the same location. Again, it’s all about what works within the context of the story.

(Admittedly, I’m also working on this from the mindset of keeping the budget low. If having the same character appear twice, rather than it being two separate characters, or being able to use a location more than once means less money that needs to be spent, than so be it. It’s an influence, not a rule. But this is me. You may choose to take a different approach.)

Another benefit of tying elements together is that it shows how much thought and effort you’ve put into crafting this story together. The evidence is right there on the page. You’re proving that you’re actually thinking this through and not just randomly throwing things in and hoping something sticks. You’d be surprised how many writers do that.

Don’t be one of them.

Take us along for the ride

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Hang on tight.

Here’s a two-part question for you. Pencils at the ready, please.

Up first – Are you enjoying the actual process of writing your script?

Sure, we all like “having written”, but what about getting there?

Do you get a thrill from figuring out your story? Mapping out the plot? Developing characters and crafting dialogue?

Do you get so engrossed and involved in your writing that when you check the time, you discover a lot more time has passed than you thought?

If you’re really excited and enthusiastic about your script, you’re going to feel that way even before you start writing it.

Now for the second part of the question:

Is all the aforementioned excitement and enthusiasm evident on the pages of your script? Could someone read it and think “Wow, they really like this stuff.”?

While it’s often said that you can gauge a writer’s grasp of the craft just by looking at the first page, you can also tell if they’re really into their story by how it reads.

Does it grab you from the get-go? Is the tone of the writing a solid match for the tone of the genre? This is not a case when “good enough” will cut it. What would you think if you read a horror that was “sort of” scary, or a comedy where all the jokes fall flat?

Exactly.

You want the reader to be as thoroughly entertained as you were in putting it together. You want them to be as compelled to keep turning the page as you’d be if you were reading it yourself.

A lot of the time you’ll hear a writer wrote something because “they had a story they had to tell”. That story was so strong and powerful inside them, they had no alternative but to write it out.

As creative types, that level of excitement and enthusiasm exists in all of us. We’re all eager to tap into it, but need to take the time to learn how to do it properly so it can be done in the most effective way possible.

Pencils down.

The silver lining of a bad movie

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A definitive shining example (AND a prime candidate for a remake)

Since the screenwriter’s education is ongoing, there’s always something for you to work with or study to get a better grasp and understanding of what constitutes good writing, which can then be applied to your own.

Read scripts. Attend or take part in a table read. Watch movies.

While there are countless examples of exemplary writing and filmmaking to see it done properly and effectively, there are even more examples of crappy writing and lousy filmmaking to see it done poorly and ineffectively.

Nobody starts out with the intention of making a bad movie. What starts out as a great script can easily be messed up along the way to the point that there’s no salvaging it. It happens.

Is watching one waste of time? Not necessarily.

As enjoyable, informative and educational as the good stuff is, the bad stuff is actually just as good, possibly even more so. Because from these cinematic travesties you can learn what not to do with your own scripts. Lessons abound with all the glorious misfires regarding story, characters, and dialogue.

Regrettably, bad acting is a category all by itself and there’s nothing that can be done about it. Do what you can to ignore it (which can border on the impossible, depending on the quality of badness) and focus on the non-tangibles.

It’s especially helpful to work with something from the same genre as your script. See how they did it, then compare it to your own. Can you see why theirs didn’t work? Is it riddled with plotholes you could drive a truck through? Is the dialogue pure on-the-nose? Do the characters come across as unrealistic caricatures?

Look at it as a whole. Does it respect the reader/audience’s intelligence? Is the structure solid? Do you care about what happens to these characters over the course of the story?

Now bring your script into the equation – and be objective! How much of a similarity or difference is there between that story and yours? Did that other material open your eyes to some previously unforeseen flaws and potential problems within your script, so much that it made you realize “this needs work”?

Once you identify these problems, your writer’s mind goes to work, figuring out how to make sure your script doesn’t repeat the mistakes you just read or watched.

It may not be easy to endure having to watch a bad movie just for the educational experience, so just keep reminding yourself “It’s to help me become a better writer”.

Good luck!

Question time! What’s your favorite bad movie? Feel free to list it in the comments.

Shakin’ things up so much it registers on the Richter Scale

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Brace yourself

I recently took part in a group conversation with some other writers, and naturally, the topic came around to “So what else are you working on?” I always enjoy this sort of thing. So many great ideas out there.

When it was my turn, I mentioned some of what’s been occupying my time, which included the Christmas-themed mystery-comedy.

“A Christmas mystery-comedy? What’s that about?”

I launched into my 30-second elevator pitch. “LA Confidential with an all-elf cast.” The seedy underbelly of the world of Santa’s workshop. Guns. Sassy dames. Tough-talking gangsters. Intrigue. Double-crossings. The whole gin-soaked ball of wax.

While most thought it sounded like a lot of fun, one person looked absolutely horrified.

“Oh no!” they exclaimed. “My kids and I love Christmas. It’s supposed to be sweet and wonderful! I can’t believe you’d want to write something like that.” (All that was missing was them sprawled on a fainting couch, claiming to have the vapors while frantically fanning themselves.)

How could I not want to write this? Sweet and wonderful doesn’t make for good storytelling. I love this kind of story, and think it would make a great script.

This person makes it sound like trying something new is a bad idea because it messes with the comfort of the familiar. Yet one of the most common tenets is “Familiar, but different.” A story you’ve seen before, but told in an entirely new way. It’s what we should all work towards.

Everybody’s looking for something truly original and unique. Why in the world would you want to write something that doesn’t offer up anything new?

Every script you write is a golden opportunity to push your creativity to the limit so you really catch ’em off-guard. You know the story you want to tell, but it’s on you to truly surprise your reader/audience. Take things in an entirely different direction. They may think they know what’s coming, but you know better and look forward to how they’re going to react.

No matter what genre your story falls into, there will be certain expectations that come with it. The challenge of every writer is to not just meet those expectations, but toss them out the window and offer up a totally new and unexpected way of telling that story. Some people may not like it, but it’s most likely they’re in the minority, and therefore not your target audience.

Think about it. What kind of script are you more likely to take notice of and remember? One that goes for new and original, or one that plays it safe with the tried, true and predictable?

I know which one I’d pick, and will be waiting over by the window for your answer.