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.
“You’d have turned down Gone With The Wind.” “No, that was me. I said, “Who wants to see a Civil War picture?””
It’s still an uphill climb with a few gaps here and there, but the overall story for the low-budget comedy is coming together.
I’m making a point of not rushing through it and being extra careful – almost to the point of meticulous – about how all the pieces interconnect. The more I work on it, the more the phrase “French farce” comes to mind, so lots of interweaving storylines, the intersecting of character paths, and the ramifications of each character’s actions on the others. At least that’s my interpretation.
A challenge, to say the least, but it’s been a fun ride so far.
A last-minute surprise factor was this response to the logline on an online forum: “It’s so straightforward now it’s hard to believe you could sustain interest through 100 pages.”
I’d like to thank that person for throwing down the gauntlet in making me work even harder than I already was. Never underestimate the motivational power of “Oh yeah? Just you wait and see what I can do.”
But back to the bigger issue. Statements like these always make me wonder about the person who says/writes them.
I never cared for the “I don’t see how this could be a story” line of reasoning. That tells me you lack vision and creativity. Just because you think it won’t work doesn’t mean it won’t. Nobody thought GUARDIANS OF THE GALAXY would do well and look what happened.
Side note – My western received a handful of reader responses along the lines of “This isn’t factually or historically accurate, so I just couldn’t get into it.” They’re entitled to their opinions, but I feel bad about their inability to just sit back and enjoy an old-fashioned ripping yarn. Although one person was gracious enough to admit at the end of their comments “It would be better if you just ignore everything I’ve just said.” Consider it done.
Always remember the sage advice of William Goldman: Nobody knows anything.
I’m all for encouraging other writers. If your idea interests or excites me, I’ll tell you. If it doesn’t, I’ll explain why not and make suggestions of potential fixes. The last thing I want to do is discourage you or give you a lecture, and you sure as hell don’t want to hear one.
My criteria is pretty simple: If I read somebody’s logline or hear their story pitch and can instantly imagine the potential within that story, and more importantly, if it sounds like something I would want to see, then they’ve succeeded and gotten over the first hurdle.
Of course, having the actual script live up to or possibly even surpass expectations is another thing.
*Seriously. The guy’s, like, everywhere. Podcasts, social media, online articles, you name it.
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 Danny Manus of No Bullscript Consulting.
Danny Manus is the former Director of Development for Sandstorm Films (The Covenant, 8MM2) and Clifford Werber Productions (Cinderella Story, Just Add Water), where he sold “To Oz” to United Artists. He’s the author of “No B.S. for Screenwriters: Advice from the Executive Perspective” and was ranked one of the Top 15 “Cream of the Crop” script consultants in CS Magazine. He was also named one of Screencraft’s “25 People Screenwriters Should Follow on Twitter.”
1. What’s the last thing you read/watched that you thought was incredibly well-written?
The best written things I’ve watched lately have been on TV. There are movies I’ve really enjoyed – Chef, Planet of the Apes, Guardians of the Galaxy, Fault in our Stars, Bad Words, etc. – but none this year yet that I thought were OMG fantastic writing. To be fair, I haven’t seen Boyhood yet. But for me, TV is where the best material is these days. My favorite new comedy is You’re the Worst on FXX. I also really enjoyed The Last Ship on TNT and Masters of Sex on Showtime this summer. I’m sure there are wonderfully written books out there, but I don’t get to read them.
2. How’d you get your start reading scripts?
My first start was as an intern about 13 years ago at Columbia Tri-Star in TV Development and 20TH Century Fox Feature Casting. I was charged with reading everything that came in and doing coverage on them. But I used to go through their archive library and just read as many as I could, especially at Tri-Star. My coverage was liked by the VPs I worked under so much that they loaned me out to the SVP (Sarah Timberman at the time, who would not remember me if you paid her) and then the President at the time. Those gigs gave me enough coverage samples to land my first assistant job after I graduated.
3. Is recognizing good writing something you think can be taught or learned?
Recognizing bad writing is something anyone can do. Recognizing great writing is something that can be taught and learned with time and experience. As a first year assistant and intern, I could tell you what was written poorly. But it took a few years of reading hundreds and hundreds of scripts to TRULY understand good writing. And many thousands of scripts later, I’m still learning.
You can’t read a book on screenwriting and think you’re suddenly able to be a professional consultant or reader or writer. There is no checklist given to new readers, it’s learned on the job – that’s why it’s SO important for writers to READ. Though I actually did develop a checklist I used to give to my interns. It was 110 items long. But if you’re a great reader, they are all just in your head and you notice them naturally.
4. What are the components of a good script?
There are basic elements everyone agrees on – a concept and hook that sparks a reaction and has potential to lead somewhere intriguing; compelling, three-dimensional characters who make you want to follow them; dialogue that feels sharp and precise yet natural and flows; enough growing conflict and high enough stakes to keep ones interest; and a plot that progresses throughout the script in interesting ways. Every script should have strong setups, executions and payoffs. But to make it go from good to great, it’s about the X-factor. Some of that is voice, but some of it is just the right writer writing the right story in the right way at the right time. That’s when true brilliance strikes. And it doesn’t happen often.
5. What are some of the most common mistakes you see?
I see them all. I mean, the biggest mistakes are that writers are writing stories that aren’t MOVIES. They’re just not strong enough ideas or hooks to be movies in the current studio or indie marketplace. Or that the writer doesn’t know the hook of their idea. Or that the writer uses too many COINCIDENCES or serendipitous moments to create plot.
Actually, you know what the #1 mistake I see is? The use of YOU’RE and YOUR! I mean, WTF people – it’s not that hard to know the difference. Thinking that typos and grammar and format don’t matter – they do!
The biggest non-craft mistakes writers make is not doing their research and not knowing ANYTHING about the actual business. And secondly, submitting projects LONG before they’re ready to be submitted. Querying and pitching on a first draft or before a script is even written, entering contests with a first draft, posting their second drafts on websites. The biggest mistake I see is desperation and impatience outweighing common sense and good judgment.
6. What story tropes are you just tired of seeing?
I could go the rest of my life without seeing another Geek to Chic Teen story. Or the Christmas tale of someone losing their Xmas spirit until X happens. Or the story of the struggling writer trying to break into Hollywood and X happens. The Screenwriter protagonist CAN work – but 98% of the time it doesn’t and I like to play the odds. In terms of character, if I never have to read about another female rape victim or domestic abuse victim, I’d be okay with that too. Those are so common in scripts it’s lost its meaning. But in the end, what I always say is – Don’t run from the cliché, just make it seem NOT cliché. That’s a writer’s job.
7. What are the 3 most important rules every writer should know?
-It’s not called the artist colony, it’s called the Film Business. So treat it like one. And if you want this to be a career, treat it like one.
-Writing is rewriting and if you can’t take notes and really truly rewrite, you’ll never have a lasting career.
-Your first draft and first script is SUPPOSED to suck. If you think your first script is going to sell and make you rich, you’re living in a dream world. Just. Keep. Writing.
8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?
Absolutely. But most were already projects in development written by top notch writers. I have had a number of clients whose projects were Recommends – but none were like that on the first draft. I can’t really divulge the loglines though.
9. How do you feel about screenwriting contests? Worth it or not?
There are about 15 contests out there that are completely worth it that I highly recommend, and about 250 contests out there that aren’t. If you win a major, prestigious contest it can definitely start your career and get you noticed. But if you’re continuously a quarterfinalist or not even making the quarters, then you’re not ready yet. Or your script isn’t. Contests are absolutely worthwhile IF your script and writing is at a level where you can be in the top 100 writers out of 8,000. If you can’t say that, then you’re probably wasting $40. Keep in mind – the Top 10 contests get about 45,000 submissions total. And they give out about 150 prizes to finalists and winners. So, those are your chances. Your script has to be REALLY fucking good. But as someone who has had multiple major contest winners and finalists as clients, that’s what I’m here for.
10. How can people get in touch with you to find out more about the services you provide?
You can always check out my website and services at www.nobullscript.net and follow me on Twitter @Dannymanus (I was named one of Screencraft’s 25 People Screenwriters Should Follow on Twitter).
And if interested, I’m running a 4-week online course “Creating More Compelling, Castable Characters” which starts Sept 26th and it’s going to be a great class. So, I encourage everyone to check out details at www.compellingcharacters.eventbrite.com
11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
I’m an apple pie guy, though a good chocolate cream pie with the chocolate mousse and whipped cream…nom nom nom.
Hmm. If I could only think of something that rhymes with ‘Nantucket’…
Development of the outline for the low-budget comedy is progressing smoothly. Plot points are in place, so now it moves to the filling-in of the gaps between them.
Although I may jot down ideas for assorted scenes or sequences, I tend to work in a more linear fashion. Start at the beginning, figure out what happens next or how scene A leads to scene B, that sort of thing.
I have to keep reminding myself that especially in this early, early, stage, it’s more important to get the story right first, then worry about the jokes and little details. While developing all those setup scenes for the first ten pages, I still caught myself asking “Is that the funniest you can come up with?”
Trying to stop yourself from self-editing? Not easy.
Additionally, since the emphasis here is on the “low-budget” aspect, another self-imposed challenge is to keep things simple. No special effects, no elaborate sets or costumes, a (hopefully) minimal number of locations. Something that could definitely be made on the cheap.
Again, a lot of this could be handled or fixed in a later draft, but I figure why not at least start out with that in mind?
The first in a series of interviews with some script readers who would be worth your while to work with if you want to get your script in shape.
Today’s spotlight on: Doug Davidson!
Not only is Doug Davidson a Nicholl Fellow, but his script LETTER QUEST has the distinction of being the only animation script to ever achieve that honor.
1. What’s the last thing you read/watched that you thought was incredibly well-written?
DAWN OF THE PLANET OF THE APES. The most compelling character to hit the movies in a while is an ape. Caesar is a textbook protagonist. An extraordinary individual doing extraordinary things under extraordinary pressure. When you can end a movie by zooming in on the lead character’s face, and not have it feel cheesy, you know you’ve done something right.
2. How’d you get your start reading scripts?
I started in a screenwriting group, a large group that lasted several years. Early on, we agreed on always giving each other formal written feedback, because if you don’t have to write your feedback down, then you don’t think nearly as hard about it. When you put your feedback in paragraph form, you realize you have to make sense, you have to be consistent and you have to justify what you say. It gave me the discipline to write constructive, reasoned feedback instead of just tossing out opinions.
3. Is recognizing good writing something you think can be taught or learned?
Recognizing perfect writing is easy and intuitive. Anyone can do it. Recognizing the potential in a promising script that isn’t quite working yet, that takes more experience. And it takes a writer’s mentality. You need to study the craft for years. There are rules that are easy to memorize, but how to apply them, that’s much more difficult. Blindly applying the rules doesn’t lead to good writing, or good feedback.
4. What are the components of a good script?
The craft has to be there, and then there has to something else, a plus one. It could be funny comedy. It could be insight. It could be a new idea. That’s the “talent” part. You might think it’s this “plus one” that’s missing from most scripts, but I find the opposite to be true a lot of the time. Often a script has this amazing unique element, but the nuts and bolts of the story just aren’t in place yet. That’s when making the extra effort to put all the craft elements together really pays off.
5. What are some of the most common mistakes you see?
One of the most common mistakes I see is writers thinking a plot point (or character trait or thematic element) is clear on the page when in actuality it’s really not. At least not clear enough. It happens all the time, even to seasoned writers. That’s why feedback is so important. It’s not about saying your vision is wrong. It’s about saying your vision isn’t quite visible. Yet. The trick is to make sure everyone can see it.
6. What story tropes are you just tired of seeing?
Just about any story idea could work with the right execution. That said, I’ve come across a surprising number of scripts about screenwriters writing screenplays. Autobiography finds its way into most scripts, but it really helps to disguise it just a little.
7. What are the 3 most important rules every writer should know?
(1) Don’t (2) Give (3) Up.
8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?
Nothing is absolute, but I’ve read more than a dozen really excellent unproduced scripts that I would recommend. I won’t go into the loglines here, but they’ve spanned just about every genre. I love to stay in the loop with the scripts I’ve read, especially the great ones. Several are optioned, several have placed very well in major contests and two have well known actors attached. Many of the writers of these scripts have secured representation as well. It requires some grit, but first-rate work will eventually get you places in this industry.
9. How do you feel about screenwriting contests? Worth it or not?
Screenwriting contests are absolutely worth it. It’s not the only path to success or a guarantee of success, but I know a fair amount of writers who have benefited greatly from contest placements. If you get an opportunity to read for a contest, I recommend that too. I’ve done it and learned a lot from the experience.
10. How can people get in touch with you to find out more about the services you provide?
My website is www.fourstarfeedback.com. I have a screenwriting blog there based on my experiences in the industry (and the numerous mistakes I’ve made). I’m also happy to answer specific questions via the email listed on my site.
11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
I love pie too! I like to bake my own key lime pies. They’re pretty easy to do. I also love coconut custard, blueberry and anything with peanut butter. But my favorite would have to be . . . pecan. A great pecan pie has a sludgy quality – an intensely sweet sludge – balanced by a nutty crunch. Thanks for thinking of me, Paul! We’ll have to get together sometime for some coffee, and pie.
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