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Pacing & page numbers

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Looks like there’s a lot going on up ahead

When you start reading a script, you tend to recognize pretty quickly whether or not the writer knows what they’re doing. Their mastery of the craft (or lack thereof) will become soon apparent.

Bad formatting. Misspelled words. Unfilmables. On-the-nose dialogue. Cliches as far as the eye can see. Quite a checklist.

Find one or more of these early on, let alone just on the first page (which does happen), and there’s not much hope of improvement. You’re left with no choice but to force yourself to push forward. Maybe once in a while, you glance up at the upper right corner of the page/screen.

Your shoulders sag. “I’m only up to page ____? This is taking forever!” you exclaim. Making it to the end has suddenly become a question of “if”, rather than “when”.

Now let’s examine the other side, where the writer is in total control.

You encounter writing so sharp and descriptive, you can easily “see” what’s happening. Dialogue that’s not just crisp, it practically crackles. Characters who feel and talk like real people. All of it taking place in original and entertaining situations.

You become so wrapped up that you can’t wait to get to the bottom of the page so you can move on to the next one. And maybe once in a while, you sneak a glance at the upper right corner.

Your eyebrows shoot up. “I’m already at page ____? Wow, this is just zooming by!” you exclaim. You eagerly dive back in, more than ready to continue because you simply can’t wait to see what happens next.

Now here’s the big question for you, the writer:

Of the two experiences listed above, which do you want the reader to have when they read your script?

Do you want them to be bored and see reading your script as a chore that ranks up there with cleaning out the cat’s litterbox or listening to a timeshare presentation?

Or do you want them to be so involved, their attention so riveted to the tale being told in your script, that nothing short of a major crisis or natural disaster could tear them away? (Not to diminish the intensity or significance of major crises or natural disasters, but you get the idea)

It’s tough to be that objective when it comes to reading your own material. You think it’s good (“How could anyone not like it?”), but every reader has their own criteria for what works and what doesn’t. The challenge is crafting together a script so rock-solid that not liking it is not an option. Not sure if yours is? Seek outside opinions. Rewrite with the mindset of “how can I make this better?”.

As screenwriters, our primary goal is to tell an entertaining story. The last thing we want is for someone to be easily distracted by something/anything else when they’re supposed to be reading (and in theory, enjoying) our scripts.

Q & A with Ashley Scott Meyers of Selling Your Screenplay

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Ashley Scott Meyers is a screenwriter and blogger/podcaster at SellingYourScreenplay.com. He has optioned and sold dozens of spec feature film screenplays, with many making it into production. All of Meyers’ screenwriting success has come through his own marketing efforts which he teaches on his blog and podcast.

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

The screenplay for SOURCE CODE is excellent; one of the best scripts I’ve ever read. I highly recommend it to anyone who is a screenwriter.

I have two young daughters, ages six and three, so I’m watching a lot of children’s movies these days. I just watched THE IRON GIANT for the first time, and thought it was very well-written.

In fact, I’d call MEGAMIND one of my favorite films. In terms of screenwriting, it’s excellent. There are very few films I watch that I think are perfect, but as a screenwriter, I’d consider it one of the few that could be called practically flawless.

My daughters and I recently watched the 80’s classic CLOAK & DAGGER, another very well-written movie. It keeps the action going and all comes together at the end. A very smart script. I saw it when I was a kid and didn’t think much of it at the time, but seeing it again, it’s a pretty solid piece of writing.

Tell us about your writing background, including your “big break”.

I’m not sure I’ve really had a “big break.” Every script I sell or option feels like a monumental effort and it hasn’t gotten any easier. In fact, I’d say it’s gotten harder as the DVD market has shrunk over the last decade or so.

But to answer your question… I really never had a background in writing. I just liked movies, and for some reason writing scripts appealed to me. So I decide to pursue screenwriting. I was a terrible student when it came to English, writing, spelling, and grammar. Pretty much every skill you need to be a writer, except one (maybe two)… persistence and determination. So I’ve just plugged away and sold a few scripts.

How did the Selling Your Screenplay blog and podcast come to be?

Believe it or not, I once saw Gary Vaynerchuck speak at a conference where he was talking about not putting your personality into your brands. At the time, I was running a whole bunch of websites, but nothing around screenwriting. So I decided then and there that I needed to do something that combined two of my skills and interests: screenwriting and web development. So I did.

As far as the podcast goes, I just started to listening to podcasts and I thought they were really powerful. So I launched my own.

You’ve had experience with short films. What do you consider the benefits of working on a short, both as a writer and filmmaker?

The biggest thing is that you get to see your work get completed, which is rare as a screenwriter. But if you write a halfway-decent short, it’s fairly easy (nothing is every easy in this business, but it is possible) to find someone who wants to shoot it. You also might get an IMDb credit, win an award at a film festival, and meet other filmmakers. Shorts are a great way to hone your craft. You’re not going to make any money doing them, but they can be a great learning experience.

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

Yes. The more screenplays you read, and the more you write, the more you’ll be able to recognize good writing.

One of the things that makes movies so vibrant is the fact that you can watch a movie or read a script and notice different things every time, depending on where you are in your own life and skill level.

But yes, everyone can get better at writing and recognizing good writing.

What are the components of a good script?

That’s a pretty broad question. If I had to boil it down, I’d say good writing evokes genuine emotion in the reader or watcher. If someone reads your screenplay, and it evokes emotion in them, you’re on the right track. Everything else, like structure, characterization, dialogue, the hook, theme, etc., is really secondary to being able to evoke emotions in people with your words.

What are some of the most common mistakes you see?

The biggest mistake is underestimating the amount of work it takes to be a professional writer. I hear from so many people who’ve written one script, entered it into a handful of contests, and then wonder why they haven’t made it as a professional writer. Nobody gets to pitch for the Yankees after spending one summer practicing. Being a professional screenwriter is probably as hard as, or at least harder than, being a professional athlete. It takes an enormous amount of luck, talent, and lots and lots and lots of hard work.

What story tropes are you just tired of seeing?

It’s often inevitable that you’ll write scenes that feel familiar. I often find myself doing it, so I step back and just mix things up a bit. Try anything that’ll give the tired tropes a new interesting spin, which often boils down to adding a quirky or interesting character to the scene who can mix things up.

I recently watched a short film where a little girl dropped an ice cream cone that fell to the ground in slow motion. It was so clichéd that I really wondered why the filmmaker didn’t try to do something more original.

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

There are really only two mandatory things to do to be a successful screenwriter: write a lot, and read a lot of screenplays. That’s it.

If you do those two things and really spend time analyzing your writing and the writing of others, you’ll get better and maximize whatever talent you have.

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

Contests are great. Screenwriters should be doing everything within their power to get their work out into the world, and contests can be a part of that plan. But understand that even winning the best contest still means you’re quite a ways away from being a professional screenwriter. And I certainly wouldn’t use contests as my only way to market my material.

How can people find out more about you and Selling Your Screenplay?

I blog and podcast over at SellingYourScreenplay.com. I release a new screenwriting podcast episode every week. In nearly every episode, I interview an experienced screenwriter. I also run a script consulting service.

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

Apple. Not very original, I know. But every once in a while someone will bring an apple pie to Thanksgiving dinner, and as I eat it I think, “Damn, that’s good pie.”

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.

Go for the hard turn

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I just finished reading a friend’s comedy script. It was okay. It needs work, but the one thing I couldn’t shake was how the story played out pretty close to how I expected it to. There weren’t any real surprises.

However, one of the things that really stood out about this story was that deep within it was the idea for the same kind of story, but from a totally different angle. Not only would this open up new and original ideas, but it also made me think that this new story would be one I don’t think I’d ever seen/heard of before.

How many times have you read a script and known what was coming? Don’t you love that feeling when you read something and get what you were totally not expecting? A story that keeps you eagerly wondering “what comes next?” is one to be thoroughly enjoyed. The more surprised we are, the better.

Cliches. Tropes. Clams. Old reliables. Whatever you want to call them, writers with less experience use them because they’ve worked before. It takes a lot of effort to NOT use them.

The challenge is to come up with a new way to present these old ideas. “Familiar yet different,” as the saying goes.

It can be a little intimidating to take those first steps into unfamiliar territory, but you want the journey the reader takes through the story to be memorable, right? So why not take that chance and head in a new direction?

Go through your latest draft. Are there elements to it that feel tired or overused? You’ll know them when you see them. Is there a different way to do or say the same thing?

You can even go so far as to imagine “What’s the least likely thing that could happen/be said here, but still takes the story in the right direction?”

Try it. You might be surprised. And if you’re surprised, chances are the reader will be too.

Ask a Truly Superlative Script Consultant!

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Terri Zinner

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.