coverage

Three and a half scripts. No waiting.

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Keep your pants on. These things can't be rushed.
Everybody else, though, will have to wait. These things can’t be rushed.

Despite a few weeks to go, it’s safe to say that 2014 didn’t work out the way I’d hoped. I didn’t do that well on the contest front, and I no longer have a manager.

I’ve gotten over the thankfully-brief “woe is me” phase, and am now firmly planted in “How can I make this better?”

Like any smart and savvy writer, I’m thinking ahead and making plans.

-As much as I love my western, it still needs work. Beaucoup thanks to the legion of note-givers who offered up a lot of insight that really helped me out.

There’s a hill near where I went to elementary school. At the time, it felt like taking on Everest. Now, not so much. The idea of rewriting this script feels incredibly daunting right now, but as is usually the case, probably won’t be a problem.

A few ideas for changes have already popped up, with the hard part now to let go of what’s already in there, but that’s another blogpost.

-Another group of notegivers had some fantastic things to say about my mystery-comedy, and provided similarly helpful feedback. They liked the concept, pointed out what in the story needed work and had some great suggestions for potential fixes.

This one is going to be especially tricky (due to that whole mystery angle), but again, I’ll work my way through it.

Can’t explain why, but for some reason, listening to 50’s jazz and drinking a glass of quality red feel like they would be extremely conducive to working on the outline. I’ll let you know how that goes.

-As for the low-budget comedy, the story’s being kept under wraps until the first draft is finished. The big hurdle here is to just keep writing and not obsess over each joke. Darn my perfectionist nature.

-It’s been a while since it’s been mentioned, or even thought of, for that matter, but I don’t want to ignore my pulpy adventure. I managed to crank out a workable outline, but it definitely needs more fine-tuning. It’s more of a “whenever I get to it”, rather than a “I have to finish this!”.

So there you have it. My projects for the coming year. How many will actually be completed? Hard to say right now, but 3 seems like a reasonable number.

At this point, I’m not even entertaining the notion of contests. It’s really all about writing, editing, rewriting and polishing. Any money I would have spent on contest fees will go towards professional feedback.

I’ll admit I was hoping to have made some significant progress this year in terms of establishing a career, and in some ways I have, but you know what I mean.

If continuing to improve as a writer and honing my skills means a slight delay in getting representation, making a sale, and getting assignment work, then so be it.

I’m a patient guy.

Trying times, indeed

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an apt metaphor if ever there was one
An apt metaphor if ever there was one

You know how they say you’ve got to endure a whole lot of ‘no’s until you get that single magical ‘yes’?

Well, another ‘no’ was added to the pile this week in the form of a “Pass” rating from an industry professional regarding my western spec. And to make it that much better, the “Pass” was applied to both script and writer. Apparently my skills didn’t pass muster, either.

They didn’t have many positive things to say, and I’m not going to say their comments were right or wrong. There may be a lot of helpful info in their coverage, but in the end it’s just their opinion.

A few people offered up a similar reaction:  This is ONE PERSON’s opinion. People will always find fault with your work. The next person may think it’s great. Keep trying. Don’t give up.

Point is: you never become completely immune to criticism.

Was I being a little delusional in my hopes that they’d really like it? I knew they wouldn’t claim it was the best script ever, but even a “Hey, this has potential” would have been nice.

Was I laboring under some false sense of optimism? Was I letting my excitement and enthusiasm get in the way of being totally objective?

Even more so, despite reassurances from friends and trusted colleagues, have I been fooling myself all this time in thinking I actually have talent?

How could anyone in this situation not think along these lines?

Let’s consider my confidence shaken and definitely weakened, but not totally gone. It still stings a bit, but I’ll survive.

And almost as if exactly on cue, later in the day came these two totally unsolicited comments from online connections:

“With the credibility you have with contest wins and that fabulous blog, I’m astonished you’re unproduced.”

“I wanted to say a big fat THANK YOU for your comments on my script! I couldn’t have done it without you. THANKS AGAIN!”

Maybe there’s hope for me yet.

Ask a Thoroughly Meticulous Script Consultant!

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Jim Mercurio

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 Jim Mercurio of A-List Screenwriting.

Jim Mercurio is a filmmaker, writer and teacher. The high-concept horror-thriller he directed, Last Girl, won best feature in the 2012 DOA Bloodbath Film Festival (as #12). The Washington Post called his Making Hard Scrambled Movies (production tutorials) “a must for would-be filmmakers.” His workshops and instructional DVDs, including his recent 10-hour set Complete Screenwriting: From A to Z to A-List, have inspired tens of thousands of screenwriters. One of the country’s top story analysts, Jim works with Oscar-nominated and A-List writers. He is finishing up the first screenwriting book that focuses solely on scene writing, The Craft of Scene Writing, for Linden Publishing. To find out about working with Jim, visit his website at http://www.jamespmercurio.com.

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

I used to try to see almost every film that was released in a year. Lately, for better or worse, I have had less time to be a viewer. Although I only watch 3-4 TV series at any given time, I really liked True Detective. I like Girls. Lena has a great voice and the show, as well as You’re the Worst, for me, fills in for the quirky little indies that seem to be on the decline. I thought Her was exciting because it was high-concept but indie in spirit. And it could have been made for almost any price. It was one of those films where I can say, “I wish I had made it,” or “I could have or should have written that.” I also look for gems of craft in surprising places. Who can’t love – capital L-O-V-E — the moment in The Avengers when Bruce Banner reveals the secret to the Hulk: “I’m always angry”?

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

After grad school, I wanted to figure out screenwriting inside-and-out because I loved screenwriting but I also thought it would be a means to be able to direct. I read probably every screenwriting book and resource available in the 90s. I worked as a development exec for an indie company owned by one of the producers of Gas-Food-Lodging. And then I attended 120 hours of classes from the so-called “gurus” including, McKee, Hauge, Truby, etc. for a review article in Creative Screenwriting. That experience expanded my perspective and spurred my ability to be able to identify and clearly articulate issues in a script. I would do notes for friends and, by word of mouth, I eventually got more people who wanted feedback, so that’s how I started working as a story analyst. With my development background, my private story analysis and contests I have run, I have read more than 5,000 feature screenplays.

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

For the most part, yes, assuming that a reader has some affinity for screenwriting and storytelling. Recognizing a good or very good script that is a good read is a common developable skill. A rarer skill is when a reader can accurately determine whether a script will play as a film. Some scripts deliver a smooth and emotionally satisfying read but would not translate as well to film as would some scripts that may be a less satisfying read.

4. What are the components of a good script?

I like to see solid execution: great dialogue, exploiting concept, unity of theme… all the craft elements that I preach. No longer in the acquisition side of development, I have a more solipsistic approach to material. I want to find scripts I can direct or produce: High-concept scripts with modest budget a la Her or Buried. Or a script with such awesome characters and dialogue that it is imminently castable or packageable. In general, with shrinking or nonexistent development budgets, I encourage all writers to nail the execution, so their scripts are as ready as possible to being shot.

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

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

My development for outside companies consists of intensive feedback on a few scripts or rough cuts per year. I no longer read 20 scripts per week, so that’s why I combined these two questions. And I will deal with craft issues below.

Impatience. Writers want to rush material to market that isn’t ready. In general, scripts usually aren’t done. The execution isn’t there. It’s several drafts away from being ready to be a movie. For my clients who aren’t already successful writers, the best thing they can do for their career is to go from good to great and write an amazing script.

Clarity. Writers often don’t have a clear picture of how their material relates to the marketplace. I have made several low-concept feature films, so you can learn from my, ah, pain and experience. If you are writing low-concept dramas, unless the script is a masterpiece or can be cast with name actors, you have to accept that the script will only be valuable as a writing sample. If your goal is to sell your next script, you are going to have to say “no” to a lot of your story ideas based solely on their concepts.

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

There are no rules and break them at your peril.

I spent a few years and tens of thousands of dollars creating a 10-hour DVD set where I tried to cover the dozens of craft elements writers need to know including story structure, theme, character orchestration, dialogue, writing cinematically, concept, handling exposition and scene writing. I am not sure I can narrow it down to just three from a craft perspective.

I work with Oscar-nominated and Emmy-winning talent whose material is always good, yet they aren’t satisfied. If successful professionals are still fighting to make their scripts better and improve their craft, so should beginners. Regardless of your genre, aim to transcend it. Rewrite it until it sings. Along with concept, one of the most important factors in giving your script a chance is nailing the execution.

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

If you are giving a recommend that means you are reading for someone else and evaluating the material relative to their tastes. There have been scripts that I have loved that weren’t right for the company I was reading for. I get more excited about writers who are a recommend. I want to know what else they have or what they are considering working on next.

There were writers I championed while running the Screenwriting Expo Competition whose scripts would be almost impossible to produce – a $200-million biopic of Michelangelo; a magical realist masterpiece for which there is literally not a young actress in the world whose box office value could carry the movie; a chamber-play western; a devastatingly bleak low-concept drama. But more than a decade later, I keep in touch with those writers: Bill, Nathan, Naida and Lorelei.

I have even helped a few of them to get some non-guild writing work. Not life-changing money but the chance for valuable experience. A reminder that a great writing sample, even if it doesn’t sell, has tremendous value.

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

See above.

Of course, they are worth it. But be practical about what you hope to achieve from them. Only a miniscule percentage of writers should look at contests as a money-making endeavor.

But contests can pay off in other ways. They can inspire you creatively, encourage you to make your deadlines and help to promote your work. There is also a social aspect. They can lead to you meeting other people.

They can also be a tool to evaluate your writing. There is always subjectivity in reading scripts, but if your script hasn’t advanced in 9 out of 10 (appropriate) contests, then I would suggest not spending more money on contests. Work on making the script better and maybe even consider spending your contest budget on feedback.

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

They can look in to working with me at my story analysis site, www.jamespmercurio.com, or check out my DVD set Complete Screenwriting: From A to Z to A-List at www.a-listscreenwriting.com. My coaching and mentoring approach creates a relationship with clients where I can push and challenge them throughout several drafts of a script until it’s where we want it to be.

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

I have gross points in my last film, so if it ever makes money, that will be my favorite piece of the pie.

Ask an Extraordinarily Insightful Script Consultant!

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Andrew Hilton

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 Andrew Hilton, aka the Screenplay Mechanic.

Andrew Hilton grew up in the U.K. and studied film in England and New York, before working in motion picture development at almost every major studio. Having read more than 13,000 scripts, he is one of the most highly-regarded independent screenplay analysts in the film industry.

Andrew’s first produced credit as a screenwriter was the psychological thriller FATAL TRUST.  He also rewrote and Co-Produced the indie thriller BRAKE, and served as a Co-Executive Producer on the feature documentary WHY WE RIDE.  Andrew also has several feature projects in active development, including his own big-budget action picture BULLET RUN and the Dickens-inspired action thriller THE GUNS OF CHRISTMAS PAST.

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

While I’m more of a feature guy, I love that NEWSROOM is back on TV. At least in terms of dialogue, there are very few screenwriters on Aaron Sorkin’s level. He has the ability to craft dialogue exchanges that are as mesmerizing as any action sequence. Some criticize the heightened reality of his rapid-fire, snappy dialogue, arguing that it’s contrived and inauthentic. Personally, I’m going to savor every episode of this final season.

How’d you get your start reading scripts?

I attended film school in the UK and New York, then finished my final year of university in Los Angeles so I could start interning at the studios. My first gig was working for a producer at Universal and I spent six months reading scripts for him. I then moved to Warner Bros. and worked in the story department of one of my favorite producers, Joel Silver (DIE HARD, LETHAL WEAPON, etc.). After six months there, I landed my first paying job at Paramount, as a Story Editor for Mario Kassar (FIRST BLOOD, TERMINATOR, etc.). It was there I began teaching others to write coverage and really honed my story skills.

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

The ability to recognize good writing can be learned, but recognizing a good movie is a skill far fewer people possess because it’s partly instinctual. Consequently, there are many agents, producers and actors in the industry who struggle to recognize a good script. That’s one of multiple reasons why so many sub-par projects get off the ground. Often, producers and studio execs are throwing stories against the wall (or into theaters) to see what sticks. On the flipside, there are people in the industry – from readers to top producers – who consistently find that diamond in the rough. 

What are the components of a good script?

It really all comes down to two things: Can this story entertain an audience for a couple of hours? Is that audience going to be big enough to turn a profit? It’s that Goldilocks balance of art and business, and reconciling that reality is one of the first goals every new writer should work towards. You could argue that there are good scripts which won’t be profitable at the box office, but who is that script “good” for? It might make a solid writing sample, but a genuinely good script is one that’s well-written and will make some serious coin in the marketplace once it’s produced.

So what specific components in a script will ensure the audience is entertained? An interesting protagonist is essential. We don’t necessarily have to like the hero, but it’s crucial we find them interesting. Ideally, the screenplay will also feature compelling conflict, engrossing dialogue, and a brisk pace which holds our attention. The end game is to ensure the audience leaves the cinema feeling completely satisfied. Nobody likes leaving a restaurant hungry, and nobody enjoys leaving the multiplex feeling as if they just wasted $15 on a crappy film.

What are some of the most common mistakes you see?

Overwriting the narrative to the point where clarity suffers is very common. Screenwriting is somewhat unique in that one of the best traits a scribe can have is efficiency of language. Don’t use twenty words to describe something when ten will do. Don’t try and impress anyone with your vocabulary or your grasp of metaphors and similes. Just write the most compelling and vivid movie using the fewest words.

What story tropes are you just tired of seeing?

Anything post-apocalyptic is becoming tiresome. MAD MAX was released in 1979 and the spec marketplace is still saturated with clones.

Ditto for “man on the run” stories. Whether the hero is in possession of a flash-drive, witnessed a crime, or underwent some kind of experiment, these screenplays always follow the same structure and climax. There’s often a foot chase in a subway and the protagonist almost always ends up sleeping with the love interest in a hotel. I read one or two of these most weeks.

I’m happy to read big expensive sci-fi epics, but 99.99% of the time the author needs to realize they’re writing it for themselves because it’s not going anywhere. If nobody in this town knows you and the story isn’t based on an existing IP, where’s the $200m budget going to come from?

Another common formula is the comedy about the dishonest hero. Often, these are romantic comedies which feature the protagonist misleading or lying to the love interest. The charade has to be maintained throughout Act II, at which point the love interest learns the truth and shuns the hero, leading to a climatic reconciliation (often a race to an airport).

All that said, if you have a unique conceptual twist, or craft one of these stories in a genuinely fresh and commercial way, there are still plenty of potential buyers out there. Clichés often become clichés because they work repeatedly. It’s also worth pointing out that this is where an experienced story analyst can be most useful. Some people rail against spending money on coverage, but I’ve read well over 7000 screenplays so I might be able to tell you how often I’ve seen a specific idea before and can give you suggestions on how to make your work differ from past fare.

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

Not “rules” per se, but…

Know your audience.

Don’t bore anyone.

Always remember a complete stranger will eventually have to write a huge check to make your story come to life. They’ll want that money back.

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

I used to read approximately 70% of major theatrical releases when they were still at the script stage, either for production companies or foreign distributors. Hence, I’ve done coverage on everything from THE SIXTH SENSE to THE LORD OF THE RINGS. Many of my clients have written great projects too, most recently Jesse Chatham with LAND and Bao Tran with THE PAPER TIGERS.

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

Some are worthwhile, e.g. the Nicholl, but most are akin to entering the lottery. If you’ve written a genuinely brilliant piece of work, it may still go unnoticed because most contest judges are inexperienced and all of them are underpaid. However, there are enough lightning strikes to keep the contest industry alive, and if a writer can afford it I see no harm in rolling the dice. More often than not, it’s akin to a farm program where a small-time manager or agent may discover you. If you’re considering the contest world, target the established ones which have a good reputation.

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

My website www.screenplaymechanic.com, my Mechanic Facebook page, or simply email me at screenplaymechanic@gmail.com.

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

I’m going savory on this one. Steak and ale (with a pint, of course).

You’d be tired, too.

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Allowing myself the luxury of a 5-minute nap between projects
Allowing myself the luxury of a 5-minute nap between projects

What an exhausting week this has been.

-My “Ask a Script Reader/Consultant” series is going strong, with no signs of letting up. What I originally planned as a handful of interviews is now poised to run until at least the end of the year, possibly into January. There are a lot of quality readers and consultants to choose from out there, all of whom really know their stuff. If you think your script is good enough as it is right now, you should seriously consider getting some professional feedback from any of these folks to help make it even better.

-Had a great face-to-face meeting with another writer in which we talked shop, exchanged feedback on each other’s scripts and just had a nice time. It’s one thing to connect with somebody on social media or an online forum, but when you factor in the human element, it just makes it that much more a pleasurable experience.

-The feedback this writer gave me was about my western. He used to do coverage, so his notes were significantly better than mine. He had some very nice things to say about the script, and some great suggestions about how to improve it. Luckily for me, a lot of them were relatively easy fixes.

Working with these notes, I just completed a major edit, which resulted in shortening it by 4 pages to 122. That’s 4 pages less than the previous draft, and 10 pages less than the draft that went out to all those contests earlier this year. There will be at least 1-2 more edits, in which I’m hoping to cut even more.

-Because of all this other stuff, progress on the low-budget comedy has slowed a bit. The latest obstacle is the fleshing out of some of the subplots. While the main storyline is kinda/sorta solid, it’s those supporting ones that still need some work.

The next step may be focusing on developing each one subplot individually, then work out how it connects/relates to the others. This puzzle keeps getting more complicated all the time. I was hoping to have a first draft done by the end of the year, which is still possible, but it’s more important to me to have a nice, solid outline first.

-Got some great notes from a few people about the mystery-comedy. Still needs work, but just about everybody raved about its potential and how much they like the concept, which is always nice to hear.

-Looking for help with loglines? Check out this book from Doug King.

-A friend gave K some Meyer lemons, which naturally resulted in making a lemon meringue pie. I considered sharing some with my co-workers, but decided it was just too tasty to leave the house. When your child asks if the last piece can be saved so it can be part of her breakfast the next day, you must be doing something right.

-I haven’t been able to do any half-marathons since last year, but we got a dog a few months ago, so 2-3 times a week, I run the 3 miles to pick her up, then both of us do the run back. Doing these along with my occasional longer weekend runs has resulted in about 10 pounds dropped since Labor Day. Hoping to get back into doing some races next year, but the dog stays home.

-Oh, and there was this. 5 years in the making and no sign of letting up. Thanks for all the support, and I hope you’ve enjoyed the ride as much as I have.

If you’re new around here, welcome! Feel free to take a look around, ask questions, comment on something, what have you.

Can’t wait to see what happens next week.