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Q & A with Lisa Gomez

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Lisa Gomez is a Los Angeles-based screenwriter, novelist, songwriter and a professional story analyst for The Black List. They write screenplays, songs and novels with their twin sister. Together, the twin siblings have placed in the Top 50 of the Academy Nicholl Fellowships in Screenwriting and are represented by Empirical Evidence.

The twins are working on 3 original pilots; a 30-minute dark comedy involving an asexual lead character, a biopic drama pilot in the vein of THE QUEEN’S GAMBIT and a female-driven SHERLOCKian-inspired pilot. Lisa is currently obsessed with Marvel, Disneyland, matcha, and reading as many books and comic books as they possibly can.

What was the last thing you read/watched you considered to be extremely well-written (any medium)?

The pilot of BARRY. It has everything that makes a story compelling and unique. Professional screenwriters have always given aspiring screenwriters these three bits of advice when setting up a character and a world: 1) Start the story with your main character doing something interesting.  2) Show the main character’s day to day, show the audience what a typical day in the life of this main character looks like. 3) Show the audience the main character’s problem. Well, in a whopping 30 minutes, this show delivers all of this and sets up the promise for more.

[Spoilers for the pilot of Barry ahead]. The very first moment of the show shows Barry walk into a hotel room, holding a gun while the camera mostly focuses on the dead body that’s lying on a bed with a bullet through his head. Immediately, this sets up the main character doing something interesting… okay, so, he’s a killer. Possibly a hitman. Whoa, that’s interesting. Then, it shows Barry’s day-to-day. We see him fly home on an airplane, get annoyed at a fellow passenger that opens a window to let the light in (a subtle but effective metaphor), then he plays video games, alone, and takes a shower, alone. Immediately, we get it. This is one lonely and depressed dude that gets no fulfillment from killing.

So, within the first five minutes (and theoretically the first five pages of a screenplay), Barry sets up the main character doing something interesting (killing someone), shows the main character’s typical day to day (he flies home after a hit, he’s alone, bored and does nothing substantial besides killing) and sets up what his problem is (that he’s depressed and gets no fulfillment from his job). It’s a pitch-perfect setup to a show. One could argue that the set-up is traditional and therefore cliché. But because this is a unique character and the premise is so bizarre, Bill Hader and Alec Berg made this setup interesting and makes the audience clamoring for more. And this is all just the first five minutes… if you haven’t seen this show, please do. It’s a masterclass in writing.

One of your job titles is story analyst. What does that job entail, and what are your responsibilities?

A story analyst is essentially someone who gives script coverage for studios, production companies and agencies. In other words, someone who receives a script and has to write notes on that script, on what’s working and what’s not working with the script, if I would pass, consider or recommend the script for the agency/studio/company. I have to read the script in its entirety, write a synopsis of the script, write a logline, describe the main characters and then write comments on why I would pass or recommend the script. Occasionally, in my notes, I offer solutions to story problems.

How’d you get your start doing that?

This is a fun story. My sister actually found an internship listing for a script coverage reader for a literary agency on entertainmentcareers.net. I applied and got the job. I did that for about a year. Then, as luck would have it, a Nicholl fellow walked into my retail job and I recognized him because he spoke at one of the classes that I took at UCLA Extension. We got to talking and he said he could refer me to a low-paying but highly regarded script coverage job. I applied, had to do test notes on a script and then got that job.

Once I started getting more and more experience, I had screenwriting friends I’d met in various networking events in LA refer me to different script coverage jobs. Every friend I met through networking was an aspiring screenwriter that eventually got a job in the entertainment industry and either reached out to me about the script coverage job or I would ask if they knew about any script coverage jobs. This is truthfully the first time I finally understood the importance of networking in this city.

When you’re reading a script, what about it indicates to you that “this writer really gets it (or doesn’t get it)”?

First and foremost, the grammar. I know, that seems like such an obvious answer but it’s true. You would not believe how many scripts I read that have beyond atrocious spelling and grammar. Sometimes the ends of sentences don’t have periods. I wish I was joking.

Secondly, clarity. What do I mean by that? Clarity is probably the easiest and the hardest aspect of writing a great screenplay. Easy because once you put on the page exactly what you want the reader to know, you’re done. Hard because putting exactly what you mean on the page is very very difficult. This is why script coverage or having someone read your script is helpful. It can point out the areas that the writer thinks makes sense but in reality, it doesn’t and it only makes sense to the writer.

Clarity, for me, means a few things. One, that the writing makes sense. For example, if you’re writing an action scene, please write description that is easy to follow and easy to read. The worst thing you can do for a script reader is make them read lines of description a few times in order to understand what’s going on. We get bored and frustrated.

Secondly, that the character’s arcs, story and plot is clear. It sounds simple, but again, most scripts don’t have this. I think it’s because the writer knows the story so well that the writer forgets to put in important and obvious things. For example, I was doing coverage on this script where the main character was queer. It was a very interesting main character, but I didn’t understand why this character’s queerness affected their journey because every character that interacted with this character loved and relished their identity. The writer then told me “Oh, because this story takes place in 2010.” BAM! I now understand the context of the story. But that date was nowhere in the script. It could be little details like that that can make a script clear or unclear.

What do you consider the components of a good script?

Clarity/conciseness. No one wants to read a script that doesn’t make sense, or rambles on too long. Make it sweet and to the point. And make it fun and interesting to read.

An interesting main character that has an interesting and relatable problem. So many scripts I read don’t have this in its entirety. Especially the relatable part. The main character might have an interesting problem, but it’s something that literally no one on this earth can relate to.

When the main character has a goal that’s actually attainable, but also difficult. This is something I don’t see all the time. What’s really important is that your main character has the skills to defeat their problem/the antagonist but it’s still difficult. A great example of this not happening is Star Wars: The Rise of Skywalker. Sure, you know that Rey is strong, but you don’t know specifically how Rey will be able to defeat Palpatine. This makes the story boring because the audience can’t participate in her journey in how she can do that. She just defeats Palpatine. It’s not set up how she can. It just happens. This is story suicide.

The script is great if it has something to say. What is your theme? What is your unique point of view on the world? Not only that, but what is your unique point of view on a specific theme? For example, everyone writes about redemption, but what are you trying to specifically say about redemption? Are you saying it’s not possible (Barry), that it is possible, but a very hard road (Bojack Horseman), or are you saying that it is possible (Star Wars: Return of the Jedi)?

Interesting situations/scenes. If you have a scene where two people argue, that can be boring. If you have a scene with two people arguing in the middle of a mall, that instantly makes it more interesting.

Great dialogue. If you have dialogue I’ve heard before, that makes me cringe. If you have dialogue specific to the character and only that character can say it, it makes me happy.

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

The way screenwriters describe women as beautiful, sexy, or simply defined by their looks. It’s disgusting, objectifying and just plain terrible. It’s 2020. Women have always been complex. It’s time to write us as such.

Too much description. Description writing is very hard, but please don’t have paragraphs and paragraphs of description. Try to write what only needs to be in the script but as simply and concisely as possible.

Cliché dialogue. A lot of the scripts I read have the following lines: “It’s too late!” “You really don’t get it, do you?” “Hi, my name is [blank].” “So, are you new around here?” It’s exhausting. We get it. You’ve seen a lot of movies. Please prove it by not giving us these lines that we’ve all heard a million times. Sometimes it’s inevitable. You have to. But please try to the least you possibly can.

What story tropes are you just tired of seeing?

One-dimensional women. I promise you, women are human beings that have ambitions and feelings that don’t revolve around men.

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

Write from the heart.

Write with something to say.

Get your first draft out as quickly as possible.

Even if you don’t like outlining, do it.

Read screenplays. They’ll help you write screenplays.

Live life.

Enjoy the process of writing.

Show your writing to people who will give you honest feedback.

Have a clear structure in your story.

Pitch your show/movie idea to your friends. If they don’t like it, either fix what’s wrong with the premise or think of another idea.

Screenwriting contests. Worth it or not?

Yes. Contests are great for deadlines and keeping yourself accountable. Because, if you’re paying that submission fee, you want to submit the best work that you have. However, don’t make your entire screenwriting identity about contests. I did and that got me nowhere. Use them for deadlines and don’t think about them after you submit. Just write the next script.

Follow-up: You’ve placed in the top 50 of the Nicholl. What was the script about, and what happened for you and/or the script as a result?

The Academy Nicholl Fellowships in Screenwriting are amazing. I’ve had friends become Nicholl Fellows and I’ve had friends in the top 50. We all have similar experiences.

That script was co-written with my writing partner, my twin sister. It’s a biopic about the nine weeks that Vincent van Gogh spent with fellow artist and rival Paul Gauguin. What started off as a friendly rivalry between them ended with Vincent cutting his ear off. It was my sister’s and I’s first screenplay… and it was the first draft. When we were announced in the top 50, we got about a dozen e-mails from huge agencies… I’m talking, CAA, WME, Anonymous Content, you name it… we sent them our script and then… crickets. I believe this script wasn’t ready and I also don’t think we sent them out to the agents and managers that would respond to our type of script anyway.

Here’s my biggest piece of advice if you place highly in a reputable script contest: contact the managers and agents you want to or agents that represent writers that write similar scripts to you. If my sister and I did that, I think we would have been represented by now.

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

Due to an ever-expanding list of projects, I’ve had to suspend my script consulting services.

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

Aye, there’s the rub. Unfortunately, I have a gluten and lactose intolerance, so I can’t have pie unless it’s gluten-free and dairy-free. I know, it’s a sad existence. However, if I could have any pie, I personally love apple pie. Maybe because when my stomach could handle those pesky ingredients, I would always love getting apple pies from McDonald’s during my youth and that taste just brings back good, happy childhood memories.

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Bubble wrap. As far as the eye can see…

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Last few days before Maximum Z HQ relocates to its new space, so not much writing going on.

Well, no actual writing, that is. Which isn’t to say I haven’t been busy with items of a writing-adjacent nature, which included:

-tinkering with some outline revision for previous projects. Got some great notes from very reliable writing associates, so really looking forward to jumping back in to each one once all the dust settles.

-plenty of reading of scripts, ranging from notes on friends’ specs and just reading for the hell of it. One of the latter was an earlier draft of CRAWL, which was one of the fastest and leanest reads I can recall. Can’t wait to see the actual movie.

-set up the NorCal Screenwriters Winter Networking Shindig for 8 December in San Francisco, so if you’re a screenwriter, filmmaker, or are affiliated with either in any capacity in the Bay Area/northern California region, and want to meet other folks just like you, take a look. I hope to see you there. Plus – great sandwiches.

Hope you have a great weekend, and make sure you write something.

My two cents on giving my two cents

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Plus an extra cent to cover expenses

After a brief hiatus, I’ve started giving notes again. It’s always helpful to step away from your own material and dive into somebody else’s. More often than not, it’s a win-win situation.

Sometimes there are exceptions to that rule, but more on that in a minute.

The quality of the writing has ranged from just-starting-out to seasoned professional, so my notes and comments are provided with the level of feedback most suitable to the writer’s level of expertise. One writer might still be learning about proper formatting, while another might want to consider strengthening up that second subplot.

One of my cardinal rules of giving notes is to not be mean about it. I never talk down to the writer, because I’ve been in their shoes. I do what I can to be supportive and offer some possible solutions, or at least hopefully guide them towards coming up with a new approach to what they’ve already got.

One writer responded by saying they were really upset about what I’d said, but then they went and re-read my notes, and couldn’t argue or disagree with any of them.

I’ve always been fascinated by the expression “This is a reflection on the script, not you (the writer).” In some ways, the script IS a reflection of the writer; it’s their skill, their storytelling, their grasp of what should and shouldn’t be on the page, that are all being analyzed. After spending so much time and effort on a script, of course a writer wants to hear “it’s great!”, but as we all know, that doesn’t always happen.

Sometimes I worry my comments are too harsh, but just about every writer has responded with “These are SO helpful!”

About a year ago, a writer I was connected to via social media asked to do a script swap. Some quick research showed they seemed to be experienced with writing and filmmaking, so it seemed like a good idea.

I read their script, and didn’t like it. I said so in my notes, and offered up what I considered valid reasons why, along with questions raised over the course of the story, along with some suggestions for potential fixes.

What I was most surprised about was that this person presented themselves as a professional, and maybe I was naive in taking all of that at face value and believing the quality of their writing would reflect that and meet my expectations.

It didn’t.

It also didn’t help that they opted to not give me any notes on my script. At all. Just some snarky retorts. Guess my lack of effusive gushing hurt their feelings, and this was their method of retribution.

Oh well.

Interesting follow-up to that: I later saw them refer to my notes in a quite negative way, along with “this script has even gotten a few RECOMMENDS”, which is always a great defense.

Follow-up #2: we’re no longer connected on social media.

Could I have phrased my comments in a more supportive way? I suppose, but I figured this person wanted honesty, not praise. And like I said, I assumed they had a thick skin from having done this for a while.

Guess I was mistaken.

And I’ve been on the receiving end of it as well. A filmmaker friend read one of my scripts and started with “Sorry, but I just didn’t like it,” and explained why. Did I pound my fists in rage and curse them for all eternity? Of course not. Their reasons were perfectly valid.

Or the time a writing colleague could barely muster some tepid words of support for one of my comedies. I was a little disappointed, but after having read some of their scripts,  realized that our senses of humor (sense of humors?) were very different, so something I considered funny they probably wouldn’t, and vice versa.

I’ve no intention of changing how I give notes. If I like something, I’ll say so. If I don’t, I’ll say so. You may not like what I have to say, but please understand that it’s all done with the best of intentions. My notes are there for the sole purpose of helping you make your script better.

Isn’t that why we seek out notes in the first place?

May I be of some assistance?

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“Be with you folks in a minute.”

For the most part, working towards making it as a screenwriter is a solitary effort. You’re the one who has to write the script and get it out there. It’s a tough journey, but you don’t have to go it alone.

Hence – networking.

Making that initial contact is great, but you should also strive to make it worth the other person’s while as much as you are for yourself.

Once you start to build up your own personal community of Other Writers, and those relationships gradually develop beyond the “Hi. Nice to meet you” stage, you’ll naturally seek out some help in the form of feedback – your latest draft, a query, a logline, what have you.

And that’s all well and good, but it’s equally important, if not more so, for you to return the favor. Rather than just popping up and saying “Hey, would you read my script?”, try “Hey, we’ve known each other a while, and you seem to know what you’re talking about, so would you be open to reading my script? And I’d be more than happy to reading one of yours.”

Helpful tip #1 – don’t be the person who asks for notes but isn’t willing to give them.

Helpful tip #2 – even if you don’t like what their notes say, you still need to hold up your end of the bargain and give them notes – especially if you’re the one who asked in the first place.

Sometimes the best kind of help is when it’s unexpected – either from you or from somebody you know.

A few years ago, a producer friend of a friend was looking for a certain kind of project. I didn’t have anything that met their criteria, but offered to post the listing on a few social media platforms. At least 20 writers responded. I sent their info to the producer, who then contacted a few of them (as far as I know).

What did I get out of it? Just being happy to help and the appreciation from all the writers – even the ones the producer didn’t follow up with.

I’ve also been fortunate to be on the receiving end, with friends sending me emails and messages about listings seeking scripts like mine.

A little effort really does go a long way – anything from forwarding a script or job listing to a few words of encouragement, or even offering congratulations for somebody achieving some kind of accomplishment. Don’t you like when somebody does that sort of thing for you?

As much as we’re all working towards our own individual success, we’re also part of a community; one where each member should help support the others in whatever way they can.

-Speaking of helping out… Veteran screenwriter Carole A. Parker is offering a reduced rate of $250 for her 4-week screenwriting course. This includes a script evaluation, weekly writing exercises (for newer writers) or friendly-but-detailed notes on your script (for more experienced writers), career guidance, and if she thinks your script is commercially viable, some help in getting it in front of the right people. Here’s a great article she wrote about staying determined. For more details, contact her at parker.carole@gmail.com.

Q & A with Jeff Buitenveld of ScriptArsenal

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Jeff Buitenveld of ScriptArsenal is an independent producer and former development executive with over 15 years of experience on some of Hollywood’s biggest films. He is currently a producer on the upcoming thriller The Kimberlite Process. After graduating with an MFA from UCLA’s Producers Program, Jeff worked in various capacities on numerous productions for Tom Cruise and Paula Wagner including The Last Samurai, Mission Impossible 3, Jack Reacher, Valkyrie, Lions for Lambs starring Robert Redford and Meryl Streep, Ask the Dust starring Colin Farrell and Salma Hayek, Death Race starring Jason Statham, The Eye starring Jessica Alba, Suspect Zero starring Aaron Eckhart and Ben Kingsley and many more.

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

Spider-Man: Into the Spider-Verse was a blast. HBO’s Barry is a funny and oddly haunting series. I recently re-watched/re-read Hell or High Water, which is a deceptively simple, sad, and suspenseful story with rich, complicated characters. Netflix’s The Haunting of Hill House delivered the goods on scares and family dysfunction for me. Issa Rae (“Insecure,”) Jill Soloway (“Transparent,”) Amy Sherman-Palladino (“The Marvelous Mrs. Maisel,”) and Andrea Savage (“I’m Sorry,”) all have unique, exciting, and powerful voices.

How’d you get your start in the industry?

I didn’t know anyone in LA when I first moved here but developed a sci-fi project that was quickly optioned by an Academy Award-winning producer (and never made). During that time, I was also accepted into UCLA’s Producers Program where I took Meg Le Fauve’s (“Inside Out” “Captain Marvel”) Development class, which was instrumental to my growth and understanding of cinematic storytelling and how to work effectively with screenwriters. I started cold-calling various companies for internships and was lucky enough to land positions at both Artisan Entertainment and Mike Medavoy’s Phoenix Pictures. Back then, Artisan had a deal with Marvel and I was immediately thrown into pitch meetings with various notable writers/directors on properties like Thor, Hulk, The Punisher, Black Widow, and Iron Fist, etc. I was also taking pitches at Phoenix – it was an incredible learning experience. I eventually became an assistant briefly to a Hong Kong action director and then used those experiences to land a job with Tom Cruise and Paula Wagner once I graduated from UCLA.

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

Though having an eye for quality material can be a natural instinct, it needs to be honed. I ultimately feel that recognizing good writing can be learned and taught.

What do you consider the components of a good script?

Generally speaking, a good script maintains a captivating concept, and a flawed but likeable hero with a concrete objective attached to grave stakes (whether intimate or epic). The hero’s emotional flaw is often rectified as a result of him/her achieving their practical goal (he/she should also be active, resourceful, and exhibit a range of change). It’s helpful if the hero’s goal is time-sensitive and somehow socially relevant. Lastly, if the script is a feature, it should adhere to a three-act structure.

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

Too much description, on-the-nose dialogue, flimsy structure, and the lack of a flawed hero with a concrete objective, attached to grave stakes.

What story tropes are you just tired of seeing?

I’m not at all opposed to writers using things like “one last job,” “a reluctant hero who can save the world,” “a family in peril,” or “a fish out of water,” etc. The familiar can be very accessible and., if used effectively, can lure a reader into the story. The trick, however, is to infuse that story with other unique and complex qualities so that it unfolds in fresh and unexpected ways. What can make your story different or set it apart? I always urge writers to challenge the reader’s expectations or preconceived notions as to what type of story they’re entering!

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

-Use Final Draft.

-Study the most notable screenwriting books and authors.

-Read every script you can get your hands on whether good, bad, or mediocre.

-Have conviction but be open to ideas – ultimately this is a collaborative industry.

-Don’t be afraid of genre and don’t be afraid to push the boundaries on the tenets of said genre (but know what those tenets are).

-Actively seek feedback and don’t be precious.

-Strive to be both clear and complex in your writing and understand the difference between the two.

-Don’t be a hater – watch all kinds of movies and TV shows, and be mindful of those that are both commercially and critically successful as well as those that aren’t.

-Read the trades to better understand the marketplace.

-Don’t chase trends – write from the heart.

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

“Recommends” are a rare breed. Those that do qualify show a master of the craft, are usually somewhat familiar but also somehow unique, tend to maintain complex characters, rich themes, and have an easily identifiable position in the marketplace (you can visualize the poster, trailer, audience, etc.) That being said, most of the scripts I’ve read, even from the most notable A-list writers in the industry, still needed some further development.

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

I think it can be incredibly important and worthwhile, particularly for young writers, to enter screenwriting contests. However, I would also encourage writers to do some homework on which ones are notable and relevant so as to not waste too much money and time.

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

Go to www.scriptarsenal.com and follow us on FaceBook and Twitter to get updates on upcoming sales and weekly helpful screenwriting tips.

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

Given my mid-section I generally try to stay away from sweets, but a few years ago, I had some homemade pecan pie (numerous pieces actually) for Thanksgiving and it was an absolutely transformative experience…a chemical portal to another dimension that somehow transcended the time-space continuum…okay, maybe I’m being a bit dramatic but damn, it was good!

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