The last batches of notes are coming in for the animated fantasy-comedy spec, and believe you me it is SO MUCH better for all of them.
I had faith and confidence in the story and the writing when the initial drafts were done, but it was the as-always-invaluable feedback I got that really helped fine-tune and polish to what it is now.
Bonus – everybody really liked the story and had fun reading it
Bigger bonus – the jokes worked, including more than a few “I actually laughed out at this”. This was a very important issue for me, and I’m elated that this was the result.
I’ve completed a quick tweak/polish and will probably do one more read-through just to be sure before I start sending it out to the big contests next week.
(Reminder for those who enjoy working under pressure – Nicholl early bird deadline is Mar 1 – next Wednesday)
In years past, I’d seek out notes from just about anybody and everybody. When you get numerous sets of notes, and many have conflicting opinions, it does no favors for you or your script.
Lesson learned. Now after each draft, I reach out to 2-3 readers with the same level of experience as me, or more, when possible. It might take a few rounds of doing this, but each draft gets the script to where it needs to be.
With my western, I thought my writing was as good as it was going to get. But working on this script has shown me that I wasn’t done yet. I’m the last one to toot my own horn, but this one seems more solid and put-together on several fronts.
They say you should be able to hear the writer’s “voice” when you read their script; that it sounds like something they would have written. I think that’s always been the case with each of mine, but for this one, you can hear me loud and clear.
Progress has been slow, steady, and in all honesty, somewhat faster than expected regarding the ongoing development of the animated fantasy-comedy spec.
Having learned my lesson from getting too many sets of notes per draft in the past, this time I limited myself to 2-3 writers per draft. All of the notes, as expected, were extremely helpful.
Not at the FINAL final draft yet, but gosh is it a lot closer than it was a few months ago. Pages have been cut, characters and subplots tossed, scenes revised or combined, lots of lines and pages trimmed down to what is hopefully succinct and to-the-point writing.
Currently clocking in at a respectable 102 pages. Nice. Especially considering an earlier draft was 119(!). Better to overwrite and cut than to pad and add.
(Big shoutout to Richard Walter for his invaluable advice of “Write as if ink costs $1000 an ounce.”)
While I did achieve one goal of having a workable rewrite done by the end of 2022 – at 10pm on New Year’s Eve, I was hoping to have it contest-ready soon after that.
Not the case, but that’s okay.
I’ve since received a few more sets of notes, including some helpful and encouraging comments from somebody who does coverage for the studios. Two more rounds of polishing have been completed since then. No major or drastic changes; more like a lot of effective and beneficial editing.
At this point, I’d guess there’s probably one more polish, possibly two, to go before I start warming up the credit card and check out contest deadlines.
Well worth the wait, I’d say.
Despite the still-growing number of drafts, it’s been quite satisfying to see the script slowly come together, and the next (but not the last) finish line is in sight.
Some exciting news today out of the literary department at Maximum Z HQ:
My new book GO AHEAD AND ASK! INTERVIEWS ABOUT SCREENWRITING (AND PIE) VOLUME 3 is officially released – in both paperback and e-book.
Putting all three volumes together has been quite an effort, and definitely a long time in coming, but they’re all set and ready for purchase here or here.
It was always my intent to have these books be about more than just writing a script; it’s about providing the writer with the tools to help them improve. This is why each volume is chock-full of helpful information, tips, and guidance from a wide variety of writing professionals to not only guide you in developing your craft, but how to potentially make your script better. Definitely a win-win scenario.
Not only that, but if you like what somebody has to say and are interested in asking them about helping you with your material, their contact information (email and/or website, and the occasional social media handle) is right there on the page for you.
Plus, numerous types of pie, along with a few other assorted desserts, being mentioned, which is always a good thing.
For those who’ve already purchased volumes 1 and 2, I offer a heartfelt thank you, while also hoping you feel the need to complete the set and get volume 3. Or if there’s a special screenwriter in your life who you think might benefit from, or at least enjoy these books, I’ll just casually mention that the holidays will be here before you know it, and that books always make for an excellent gift.
Paula Sheridan is an award-winning entrepreneur and the award-winning author of The People’s Book Prize for her debut novel, The Grotto’s Secret, written under her pen name Paula Wynne. Harbouring a near-obsessive love of learning the craft of writing, Paula has been scribbling down the stuff in her head ever since she can remember.
Paula came up with the idea for the Page Turner Awards when she won The People’s Book Prize in 2017 and received her award from Sir Frederick Forsyth at a glittering awards ceremony in London.
When she’s not day-dreaming up plots for new historical thrillers while walking her Springer Spaniel in the Andalusian countryside, she’s helping Indie Authors to achieve their dream of seeing the novels in a reader’s hands, through her reading community on Book Luver. Paula also blogs about writing techniques and reviews writing books on Writing Goals.
What’s the last thing you read/watched you considered to be exceptionally well-written?
Last night I watched The Book Thief and the book has been on my reading list for ages so after watching the excellent film adaptation of the novel, I will definitely get the book and read it. I’ve also recently watched some cultural films from Australia and India with heart-warming stories and it brings back my mission on Page Turner Awards, which is to reach out to writers across all cultures, religions and interests, simply because they will have amazing stories to tell.
How’d you get your start in the industry?
My first book was published by Wiley. It was a non-fiction book called Pimp My Site. After that I published fiction novels and since then I’ve been learning more about screenwriting. I was also very lucky to win a Director’s Course through Screen South, which inspired me to continue my quest for learning more about writing screenplays. My debut novel, The Grotto’s Secret, won The People’s Book Prize which inspired me to set up Page Turner Awards.
Is recognizing good writing something you think can be taught or learned?
Yes, absolutely! For many years I’ve had an obsession with learning writing techniques and I’ve read hundreds of excellent writing guides, so many that I eventually started WritingGoals.com to showcase all the great writing guides which help writers to improve their craft of writing.
What do you consider the components of a good story?
Lots of elements make up a good story. For the first few pages, the character must hook the reader so they are compelled to continue reading. Beautiful prose is another good element and good writing is easy to spot. It shows the reader, or in the case of a judge on Page Turner Awards, that the writer has honed their craft. At the same time, it takes them deeper into the story. So, compelling characters with a great hook get readers and judges of a screenplay contest to want to know more about the story.
What are some of the most common writing mistakes you see?
Lots of grammatical errors, which are really easy to fix. For example, a writer can use a self-editing software, such as ProWritingAid, to help them spot these pesky gremlins which creep so easily into a piece of writing. You can take a free trial here.
What story tropes are you just tired of seeing?
Zombies! There was a stage where everyone and their aunt wanted to write a zombie story, but soon that will morph into writing about viruses and pandemics, if that hasn’t already happened!
What are some key rules/guidelines every writer should know?
-We only accept the first ten pages.
-Film producers and readers in a film production company normally would know by the first ten pages if they want to read further and if they are engaged with the story up to that point.
-The same goes for literary agent and publishers. They also know very quickly if the story will make the grade. They can also tell if the writer has just thrown something together or if they have put precious time into the story’s first pages.
-Writers should know their premise or logline, and hone and tone it. This is to give the judges a good idea of what the story is all about and how it shows conflict and growth for the character in the story.
-We’re not concerned with spacing and formatting because our judges are looking for story and character and the words they read. Spacing and formatting comes when the agent or publisher asks to see more of the work.
-Screenplay entries, on the other hand, are very different. They need to be submitted in the industry standard format for the film producers to see the story as a screenplay script.
Have you ever read a script or manuscript where you thought “This writer gets it”? If so, what were the reasons why?
We had lots of entries last year where our editor, who was doing feedback, came back to us telling us that one writer in particular was very good and could write exceptionally well. Other judges had similar experiences and as a result, three writers won a literary agent to represent them, five writers won a publishing contract, six writers won a writing mentorship and thirteen independent authors won an audiobook production. We are thrilled with these fantastic successes from our inaugural awards.
Seeing as how you run a writing contest, what are the benefits for writers and screenwriters to enter the Page Turner Awards competition?
The benefits to screenwriters is that they will have the opportunity to put their scripts in front of our judging panel, who are all actively looking for scripts to option and produce. Thus, screenwriters will have the opportunity to get their work optioned for film if any of the judges like the writing. The same goes for the Writing Awards, where literary agents and publishers may want to publish the work if they like it. Success stories from 2020 include three writers won literary representation, six writers won a writing mentorship, five writers won a publishing contract, and thirteen independent authors won an audiobook production.
How can people find out more about you and the services you provide?
They need to go to https://pageturnerawards.com and follow the steps under our menu – Enter. It’s all done online so they will be asked to register an account, which will then send you an email to verify it. Then you can log in and follow the steps to submit your writing.
The early bird discount for Page Turner Awards ends this Sunday (28 Feb), so you can register now, and then have until the end of May to submit your script.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
If you mean a baked pie, I can’t resist a pecan nut pie. Just thinking of it now makes my mouth water and I want to stop typing and go and bake one!
Aiko Hilkinger is an award-winning, queer, German-Japanese screenwriter from Colombia. She primarily works in fantasy and animation, and her pilot “Kate and Ava” placed her in Network ISA’s “Top 25 Screenwriters to Watch in 2021”. Hilkinger creates magical worlds filled with diverse characters that children and teenagers can relate to and see themselves represented in. Not only does she strive for diversity and inclusion in her stories, but most importantly, she believes that through her animation work she can connect with kids and help teach healthy communication and to own up to their mistakes.
When she’s not writing, Hilkinger works as a script analyst for big screenwriting contests and has recently started her own script consulting business.
What was the last thing you read or watched you considered exceptionally well-written?
I feel like I’ve said this to the point where the people who know me have gotten tired of hearing it, but Kipo and the Age of Wonderbeasts on Netflix has to be my pick. I honestly think the show made my 2020 much more bearable while also blowing my mind with their imaginative storytelling. The show was planned as a three-season arc and you can tell when watching it that it was meticulously planned as the story is just so tight and has a clear message all the way throughout.
How’d you get your start in the industry?
I actually don’t feel like I’ve “made it” into the industry yet. I joke that I graduated from “baby writer” to “toddler writer” in 2020 since it was a learning year for me. After I graduated from film school, one of my teachers helped me get an internship with an agency where I perfected my coverage skills. After that I applied to work as a script analyst for a contest site while entering some contests here and there for the first time.
I won some pretty cool awards this year and was named one of the Top 25 Screenwriters to Watch in 2021 by Network ISA. I’m looking forward to new opportunities this year, like getting signed and hopefully selling my first script or getting staffed in a room.
Is recognizing good writing something you think can be taught or learned?
I think you can teach someone what to look out for (structure, format, clear goals, etc.) in a script but after a while it becomes a feeling. It sounds strange, and it definitely is, but after reading as many scripts as I have, you start to very easily pick up on things that make a script good or bad. At times it has everything to do with those “rules” we’re taught in film school, and it’s easy to technically say why something isn’t working, but it’s only through practice of your own craft and opening yourself up to criticism that you really learn what works or doesn’t for you, and how to break those rules.
What do you consider the components of a good script?
A good script has something to say. I’m a sucker for a good theme, and I always suggest looking at it as a “thematic statement” or “the lesson the protagonist or antagonist will learn”. When a writer knows what they want to say with their piece, it gives the story direction, and it is much more enjoyable to see them get there.
Oftentimes when a script doesn’t know where it’s going, you can feel it, it’s like you’re wandering around aimlessly through a world, surrounded by characters who don’t know what they want and thus you don’t know what they need. Definitely start your writing journey by knowing your why (why do you want to tell this story and why does it need to be told now?).
What are some of the most common screenwriting mistakes you see?
One of the most common mistakes I see is characters not having a clear goal. A goal is the driving force behind the protagonist accomplishing something by the end of the script and without it, the story can drag on and become repetitive. We don’t want to see someone live their life day to day because it’s not dramatic; not every action pushes the story forward. That’s why it’s important that not only the protagonist has a clear goal, but the antagonist does as well, since they’re the ones who will get in the way of the protagonist.
I also recommend giving other characters goals of their own so that they can be more rounded and have something going on that gives them more depth other than doing whatever the protagonist needs them to do.
What story tropes are you just tired of seeing?
I’m exhausted of seeing every queer story be about “coming out” and dealing with homophobic families, friends, etc. It’s the same annoyance I have about POC films, especially Asian-American stories, only being about the struggle of immigration. There are so many other beautiful stories that can be told outside of the constant struggle to be accepted by a straight, white society that need to be told in order to showcase the beauty of our cultures and communities.
I want to watch a film about queer love that has nothing to do with strife or struggle, and I’m so happy that we’re slowly starting to get there with shows like Schitt’s Creek and She-Ra. And I would love to take my family to watch a film with characters that look like us where they’re just living their lives unapologetically, like Crazy Rich Asians and One Day at a Time.
What are some key rules/guidelines every writer should know?
Write with a purpose. Know your why. Why are you writing this story? And why is it important to tell it now?
Fill out a bullet point list of your main structure in order to know your main emotional turns before you start writing.
Always outline, even if you don’t like it. Look at your outline as your first draft.
Make sure your characters have clear goals (wants) and clear needs (areas for growth).
Sneak exposition through conflict.
Make sure your characters are emotionally motivated.
Antagonists should have a clear driving force behind them.
Read as much as you can and make it a variety (both produced and peer scripts) in order to figure out what works for you in terms of storytelling, and to practice pinpointing why they don’t work for you.
You don’t have to take every note you get. Take the ones that resonate and throw away the ones that don’t.
Have you ever read a script where you thought “This writer gets it”? If so, what were the reasons why?
The main reason is that it’s clear the writer has something they want to say. I know I’ve mentioned this a lot, but it truly is the most important thing you can do. The second I get your voice and understand your point of view, I’m in. It’s our job to make that as clear as possible because our voice is what will set us aside from other writers. It’s what we bring to the table, what we’ll get hired based on, so it’s the most important thing to develop. And through a lot of practice, giving and receiving notes, you’ll get there.
How do you feel about screenwriting contests? Worth it or not?
Contests can be worth it if you have money to splurge. I know a lot of people who haven’t had a lot of success from them and it can definitely be frustrating. I’ve had a very 50/50 experience. I didn’t make it into a few contests that I was excited about, but then I made it into one that really, really worked for me.
You have to be very clear with yourself about what you want out of these contests (exposure, management, etc.) and make sure you know they’re not your only chance to get into the industry. Also, be sure to ask fellow writers about their experiences in order to find out which contests are the best for you and your goals.
How can people find out more about you and the services you provide?
I am super active on Twitter – @aikohwrites. That’s where you can find me saying things I probably shouldn’t. And if you’re interested in my coverage services, you can go to aikohilkinger.com/script-coverage to find more information.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
This is such a good question! My favorite is apple. My mom has always had her own recipe and her apples for some reason always taste amazing. But if we’re being more specific, I love a good, warm and buttery strudel (maybe with some ice cream and caramel).
Maximum Z 