Incoming message for you: scripts wanted

Have you been productive, writing-wise, during lockdown? Got a script you’ve rewritten, tweaked, and polished? And now you’re just bursting at the seams to show the world, but don’t know where to put it on display?

Well, fret no more because your chance to do exactly that has arrived!

As done twice on this blog last year with thrilling results, it’s time once again for the Maximum Z Script Showcase!

Here’s how it works.

Email the following info here under the subject “Maximum Z Script Showcase”:

Title

Author

Film or TV

Genre(s)

Logline

Awards (if applicable)

Your email (in case somebody would like to contact you about reading your script)

That’s it. Simple, no?

Two very important details to keep in mind:

ONE SCRIPT PER PERSON. No exceptions.

and

DO NOT SEND THE SCRIPT!

The post will go up on Friday, 4 June, so you have until Wednesday, 2 June to send in your details. Anything after that will NOT be included.

So don’t delay, and send it today! Or at least reasonably soon.

A few people have asked/wondered why I’m doing this. Do I get anything out of it? Am I picking the one I like best and giving that writer an award? Is there some kind of sinister secret agenda at play?

Nope. I just like helping out other writers, and giving them the chance to put their wares on display, so to speak. You never know who’s going to be looking at the list, so why not offer up your strongest script?

And for those visiting here for the first time – welcome! Feel free to take a look around, as well as like any posts that tickle your fancy, and subscribe because you think it’s such a gosh-darned amazing source of information.

-And speaking of deadlines, the fine folks at the Page Turner Awards have asked me to pass along that the deadline to enter their competition is 31 May. They’re offering some amazing publishing prizes, ranging from mentorship to audiobook production, film rights options, and film producers looking for adapted and original material. All the details at https://pageturnerawards.com/

Clock’s ticking…

Just a few days left to submit your script – either film or TV – for the Maximum Z Script Showcase coming up on Friday 4 June.

The deadline is Wed 2 June. Anything that comes in after that WILL NOT BE INCLUDED.

There are over 100 listings so far, with plenty of room still available to add yours.

Send the following info here with the subject Maximum Z Script Showcase:

Title

Author

Film or TV

Genre

Logline

Awards (if any)

Your email (in case somebody wants to read your script)

Only 1 script per person. (No problem if you’ve sent it to previous Showcases. It’s totally up to you.)

DO NOT SEND THE SCRIPT!

I’ve been thrilled with the responses, along with the wide variety of material that’s been sent in.

So don’t put off what will take you all of a minute or two to put together and send.

You’ll be glad you did.

Just missing one component

Over the past few years, as my network of writing associates and contacts has grown, along with my interaction with a lot of these people, more than a few have commented that they consider me a professional screenwriter.

My initial reaction – that’s flattering, and very kind of them to say, but I don’t necessarily consider it true. Like a lot of you, I write scripts, but I don’t get paid to do it. The ongoing plan is to keep at it until that last part changes.

But I was intrigued. What would make somebody say such a thing?

Is it how I present myself? I try to be professional, which includes being polite, respectful, and patient, whether it’s in person or online. But that’s just common sense and good manners.

Side note – do those two things diminish the more a writer works? Most of the pros I’ve met and know have been quite decent folks, but I’ve also heard more than a few anecdotes about a pro writer being a total jerk, but they could also be the exceptions. 

Is it about the scripts? How they’re written and how they look on the page? I’ll be the first to say my writing’s not the shining example everybody else should follow, but I try to present a well-crafted story that paints a picture in your head while also being easy on the eyes while you read it.

But that’s what we’re all striving for, right?

Is it because I keep trying? I love putting my stories together, and want to do it for a living. Why wouldn’t I or anybody else constantly work on anything and everything to help improve the chances of making that happen?

There’s no definitive path. Each writer finds success their own way. For me, it involves entering contests (temporarily on hiatus), sending out queries, networking online (and returning to it in person when that comes back), and what have you. Maybe somebody else films their own script and enters it into a few festivals, or decides to turn it into a book, or a webseries, or serialized chapters on a blog, or a graphic novel. So many options!

Trust me, there are days where I’ll see something great happen for another writer (who’s probably also been working at this just as much as me), and while I’m happy for them, it still feels like fate is twisting the knife in my gut just a little bit more, as if to say “Not a chance, sucker.”

My confidence plummets below sea level and all I can think is “That it. I’m done. D-U-N-N. Done.” It’s SO tempting to give up and walk away, but any and all chances of success immediately drop to zero if I do, and then I get angry at myself for even considering such a thing, so I get back to work.

The only way to make this happen is to keep trying, so no matter what kind of day it’s been, or whatever kind of new obstacle’s been thrown into my path, that’s what I do.

I keep pushing forward.

A really interesting thing I’ve been told is that “I deserve” success. I don’t necessarily agree with that one. Would it be nice to see the results I seek for all the work I’ve done? Of course, but I prefer the idea that I’ve earned it, rather than “I put in all this work, so the universe owes me.” I’ve seen/read a few writers state words very similar to that effect. It’s not attractive – on several levels.

Kids, the universe doesn’t owe me, you, or anybody, shit. This is all on us making that one connection where the other person says “Yes,”, which gets the ball rolling.

Naturally, there’s no guarantee it’ll ever happen for me, but I remain confident and hopeful.  Every day is a new opportunity to try. According to my trusted readers, my skills and my scripts have improved over time, so hopefully something positive will happen, preferably sooner rather than later.

Many years ago, I saw Shane Black on a panel at a writing conference. He told the crowd “Don’t call yourself an aspiring screenwriter. That just means you want to be a screenwriter. You write a script, no matter how it turns out, good or bad, you are a screenwriter.”

I really took that to heart. When I tell people I’m a screenwriter, most of the time the first follow-up question is “Have I seen something you’ve written?” To which I say “Not yet, but I’m working on it.”

-Want to have your TV or feature spec script included in the Maximum Z Script Showcase on 4 June? Click here for all the details.

Incoming message for you: scripts wanted

Have you been productive, writing-wise, during lockdown? Got a script you’ve rewritten, tweaked, and polished? And now you’re just bursting at the seams to show the world, but don’t know where to put it on display?

Well, fret no more because your chance to do exactly that has arrived!

As done twice on this blog last year with thrilling results, it’s time once again for the Maximum Z Script Showcase!

Here’s how it works.

Email the following info here under the subject “Maximum Z Script Showcase”:

Title

Author

Film or TV

Genre(s)

Logline

Awards (if applicable)

Your email (in case somebody would like to contact you about reading your script)

That’s it. Simple, no?

Two very important details to keep in mind:

ONE SCRIPT PER PERSON. No exceptions.

and

DO NOT SEND THE SCRIPT!

The post will go up on Friday, 4 June, so you have until Wednesday, 2 June to send in your details. Anything after that will NOT be included.

So don’t delay, and send it today! Or at least reasonably soon.

A few people have asked/wondered why I’m doing this. Do I get anything out of it? Am I picking the one I like best and giving that writer an award? Is there some kind of sinister secret agenda at play?

Nope. I just like helping out other writers, and giving them the chance to put their wares on display, so to speak. You never know who’s going to be looking at the list, so why not offer up your strongest script?

And for those visiting here for the first time – welcome! Feel free to take a look around, as well as like any posts that tickle your fancy, and subscribe because you think it’s such a gosh-darned amazing source of information.

-And speaking of deadlines, the fine folks at the Page Turner Awards have asked me to pass along that the deadline to enter their competition is 31 May. They’re offering some amazing publishing prizes, ranging from mentorship to audiobook production, film rights options, and film producers looking for adapted and original material. All the details at https://pageturnerawards.com/

Q & A with Anat Wenick of The Write Script

Anat Golan-Wenick started her career in the entertainment business working as a production assistant and researcher in a team that produced series for a large educational channel, while also pursuing a bachelor’s degree in Film/Television and English Literature. After graduation, Anat moved to Los Angeles to dip her hands into the screenwriting pool. Her screenplays have won or placed in contests like Sundance Table Read My Screenplay, StoryPros, Scriptapalooza and others, with one getting optioned by the producer of THE LAST WORD with Shirley MacLaine and Amanda Seyfried.

After taking a script analysis class, Anat discovered her true passion in the entertainment business: reading and improving other writers’ scripts. She became a reader for companies like Amazon Studios, Crispy Twig Productions, The Radmin Company, the Atlanta Film Festival and others, while developing connections with creative voices she aspires to bring to the big and small screens. In her spare time, Anat volunteers as the Secretary on the Board of the San Fernando Valley Writers’ Club (a chapter of the California Writers’ Club).

What’s the last thing you read/watched you considered to be exceptionally well-written?

Not really “the last thing”, but KIDDING on Showtime is a great example of how dialogue, visuals and story come together perfectly. Also on Showtime is I’M DYING UP HERE, which very skillfully weaves many plotlines together. Netflix’s SHTISEL is an example of how a story about a seemingly insignificant part of the world’s population can be made relatable. And for those catering to the younger audience, I recommend studying BOY MEETS WORLD. In terms of reading, THE CARTOONIST’S MASK by Ranan Lurie is a book I’d love to see adapted to screen.

How’d you get your start in the industry?

I always thought I would be a screenwriter. But an internship (followed by a full time position) at a TV station, working on a youth drama, set me on another course. I was a rookie intern when I was allowed to join my first script meeting. I sat quietly, just hoping to learn as much as possible, when the director, an amazing woman by the name of Yael Graf, turned to me and asked for my opinion. Without thinking, I said the solution won’t work. A second later, I was mourning the loss of the best (and only) internship I ever had, when much to my surprise, the director actually wanted to know why I reached such a conclusion. Based on my explanation, the script was revised.

A few years later, I took a script reading class. Based on my analysis, the instructor encouraged me to pursue this career. My hope is to move from script reading to creative executive so I can work with undiscovered writers to help bring their stories to the screen.

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

Akiva Goldsman once said: “Writing is both a pleasure and a struggle. There are times when it’s really aversive and unpleasant, and there are times when it’s wonderful and fun and magical, but that’s not the point. Writing is my job. I’m not a believer of waiting for the muse. You don’t put yourself in the mood to go to your nine-to-five job, you just go. I start in the morning and write all day. Successful writers don’t wait for the muse to fill themselves unless they’re geniuses. I’m not a genius. I’m smart, I have some talent, and I have a lot of stubbornness. I persevere. I was by no means the best writer in my class in college. I’m just the one still writing.”

You can absolutely become a better writer. But just like any other job – if you want to be good at it, you have to study it, stay on top of new trends, and practice, practice, practice.

What do you consider the components of a good script?

Visual over telling. Don’t say “he walks into a room,” say “he skips, dashes, stumble, falls, dances, shuffles into a room,” etc.

Know the genre you’re writing. Nothing wrong with a horror rom-com, but make sure characteristics of all genres are present in the script.

A well-executed “wait for it” moment. Scripts that constantly challenge me to wonder what will come next, even in based-on-true-event movies. Sure, we all know the Titanic is going to sink, but we wonder what will happen to the protagonists.

If you spent time developing your characters’ external and internal conflicts, make sure to address them during the climactic moment. In CASABLANCA, Rick must get Ilsa and Victor safely to the airplane (external), while saying goodbye and convincing the love of his life to exit his (internal).

Good balance between dialogue and action sequences. Allowing the two to play off of one another, rather than feeding viewer/reader with a spoon.

What are some of the most common screenwriting mistakes you see?

Excessive usage of voiceover for no reason. Personally, I’m not one of those “never voiceover” believers, but use it with caution.

Unimaginative character description (i.e. JANE DOE, 26, pretty).

Unnecessary camera and other directorial instructions as well as endless parentheticals in dialogue sequences.

Undeveloped subplots.

Usage of “Starts to,” “Begins to,” “Commences to,” etc. as well as “beat.” These phrases can kill the flow of a screenplay, especially when writing an action-adventure movie. Instead of using “beat”, state what causes it (i.e. biting lip, looking away, cracking knuckles, etc.). Instead of “starts to walk but rethinks it,” consider “marches off. Halts.

What story tropes are you just tired of seeing?

I would read anything, but if you’re going to write about vampires or zombies, make sure you put a fresh spin or angle on the genre. WARM BODIES and INTERVIEW WITH THE VAMPIRE are two good examples. If writing a romcom, love doesn’t have to be the ultimate goal. In WORKING GIRL, the protagonist wanted a career, and along the way she found love.

What are some key rules/guidelines every writer should know?

Read, watch, internalize, and execute in your own writing, repeat.

Connect with other professionals. You never know when an early connection will lead to a later opportunity.

When receiving comments, always thank the person even if you don’t agree with them.

Your work may get rejected not because it’s not great, but because it’s not what the company is looking for. Do your research before sending.

Entertainment attorneys are a lot more approachable than agents and managers, and often can get your screenplay to the right hands.

People will have a more favorable view of you if when boasting about your achievements, you take a moment to acknowledge others. So when posting “my screenplay just advanced to quarterfinals/semi-finals/finals in “this and this” contest, add “congrats to all others who advanced” or “thank you for this opportunity, etc.

Even if making the slightest change to your script, make sure to save it as a new version. You never know when you may want to refer to an older version.

Always email yourself the latest version of your script, not just in PDF format, but in the writing-program-of-your-choice format, so you can restore the file if the software fails to open.

Ever in a slump and can’t come up with an idea? Public domain is your friend. Either adapt a project, or use it as the base for your own interpretation (e.g. how EASY A was inspired by THE SCARLET LETTER).

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

The number of scripts I recommended can be counted on one hand. However, I have yet to encounter a project that was not salvageable, even those I scored extremely low. I encourage all writers to watch Toy Story 3: Mistakes Made, Lessons Learned to realize we all struggle to “really get it.”

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

Winning a contest can do wonders to boast the spirit, but winning alone will do nothing to advance a writing career, unless you build on the momentum. I recommend listening to Craig James, Founder of International Screenwriters’ Association (ISA) advice on Screenplay Contest Strategy.

How can people find out more about you and the services you provide?

I mostly read for agencies, studios and contests. Screenwriters often don’t want to hear the truth about their screenplays, they just want someone to say they’re great, as Josh Olson wrote in his article “I Will Not Read Your F*%!ing Script”. However, I have done quite a few free readings for aspiring screenwriters. They can find me through my website The Write Script, social media like LinkedIn and Twitter, or through the San Fernando Valley Writers’ Club, where I volunteer as a Board Member. Writers don’t have to pay big bucks for a quality reading. Join a writing group or a writing community like Talentville that tells it like it is, and swap screenplays.

Do your research if you plan to pay for someone to read your script, especially if they boast about recommending your material to their contacts within the industry. I once encountered a person advertising his reading services on known screenwriting platforms, stating he was a final-round reader/judge for the Austin Film Festival and an Emmy Award Winner. Since the prices he charged were low for someone with such experience, I researched his claims and found out they were far from true. This is not to say the person didn’t give good feedback, but writers can receive the same type of professionalism for much less, or even for free.

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

I have yet to find a pie I haven’t liked, and not for lack of trying. I volunteer as a tribute to boldly go where no pie lover has gone before to try new flavors. Has hazelnut chocolate cheesecake pie been invented? (Editor’s note: it has.)