loglines

Q & A with Geoffrey Calhoun

Maximum Z books, career, characters, development, format, guidelines, loglines, perseverance, persistence, pie, query letter, research, scenes, screenplay, screenwriting, script, subplot, talent, time management, writing, writing gigs , , , , , , , , ,

Screenwriter/script consultant Geoffrey Calhoun of WeFixYourScript.com has been previously featured on this site. This time around, he’s answering some questions about his new book The Guide For Every Screenwriter.

What was the inspiration/motivation for this book?

It was inspired from a class I designed when I was asked to teach screenwriting to film students in Ghana, Africa. Unfortunately that class fell through so I took the materials and broke them into seminars, then hit the road teaching at Film Festivals. Eventually, people attending the classes asked if I’d put this in book form. That’s when I realized I needed to create The Guide For Every Screenwriter.

There are a lot of screenwriting books out there. What about this one makes it unique?

Books on screenwriting tend to be one of two things: overly wordy textbooks or focus on a specific area of screenwriting. What I wanted to do was create a book that’s easy to read and comprises all aspects of screenwriting. Thus, The Guide For Every Screenwriter was born. It covers everything from concepts, character design, formatting, branding yourself as a writer, and beyond. All of it done in an easy to access reference guide which gets straight to the point. I wanted to break down the mysteries of our craft into something that anyone can pick up and understand. This is the book you keep on the shelf next to your desk as you’re writing. After reading this book you’ll be able to confidently write a screenplay, even if you’ve never done it before.

Some screenwriting books are geared more towards covering the basics, while others “go beyond (or way beyond) the basics”. How is this a book that both new and experienced writers could use?

I wanted to write a book that even veteran screenwriters could read and walk away with something new or feel refreshed. The Guide covers some really interesting aspects about screenwriting which isn’t really covered in other books. Such as subplots, loglines, how to collaborate with other writers/producers, or even busting myths about queries.

Continuing on that theme – part of the book discusses the basics of formatting. Is this more of an issue than we’d normally expect?

Yes! As a professional screenwriter and consultant, I’m brought in to fix a lot of scripts through my website WeFixYourScript.com. One of the biggest problems I see is a lack of properly using format. Some writers believe it’s optional. Unfortunately, it’s not. So, adding format to the book was a must. I also wanted to delineate between a few of the finer aspects of format, such as montage vs. series of shots. Many writers think they’re interchangeable. The Guide explains exactly how and why they’re used and what makes them different, all with fun examples.

Early on in the book you mention how time, talent and tenacity all play a key role for both the writer and the act of writing. Could you elaborate on that?

The three T’s are my own personal mantra. The funny thing is, I never strung them together until I wrote the book. When it felt like I’d never get a script made I would tell myself I needed more time. Screenwriting is about the long game. Talent was a given. I knew I needed to be the best I could be, which is why I became a lifelong student of this craft. Tenacity is who I am as a person. I don’t quit. I don’t give up. I’m not built that way. I have to see things through. When I sat down to write the Guide, I wanted to create a section that was my own personal truth but also filled with hope and the three T’s were born.

A lot of writing guidelines say “write what you know”, but you’re of a somewhat differing opinion. How so, and how come?

That’s a great question and observation! I break the myth of “write what you know” in The Guide For Every Screenwriter. My hope was to introduce a different perspective to my peers. I believe we as writers need to be two things: experts on what we write about, and chameleons. In order to write about a particular topic or genre we need to master what it is first. Writing is one of the only fields in the world which encourages you to explore all facets of life in order to grow at your craft. The Guide provides a fun way to do that.

We also need to be chameleons. I know many writers scared to work outside of their comfort zones. That’s stifling creatively and also can make it difficult to find work as an indie screenwriter. I love working outside of my comfort zone. It makes me be better at what I do. It pushes me in directions I never expected and thus my skills improve.

I really liked your concept of what you call the “mind map”. Could you explain what that is, and how a writer would use it?

The mind map is a great little trick to get your brain thinking outside of the box. You can do it anywhere. I’ve seen a screenwriter do it at breakfast on a napkin and create their entire concept in ten minutes and it was good! You simply place what you want to develop in the middle of a paper and then branch off wild ideas around it. This isn’t just limited to concept; you can use it on anything including a character or even a story beat. I believe mind mapping in a busy public space can help as well because you’ll find inspiration from the surrounding environment.

There’s a section of the book that deals with a seldom-discussed part of a script: subplots. Why is the subplot important, and how can a writer get the most out of them?

When properly developed, a subplot can add a surprising amount of depth to your story. Subplots also fill out your script. Many writers tend to get lost in the main character’s struggle and end up underutilizing the supporting characters and underdeveloping the antagonist. This can lead to scripts struggling with anything from page count to a meandering script which can’t find its footing. A well developed subplot’s job is to reinforce and prop up the main plot. That’s one of the great keys to creating a killer script. In The Guide For Every Screenwriter, I explain what subplots to use and where they land in the script.

The final section of the book is appropriately called “What Comes Next”, in which you discuss what do after the script’s written – everything from getting feedback to queries. What prompted you to include these topics?

Screenwriting is about more than just writing scripts. If you really want to get out there and start landing writing gigs, then you need a road map of how to do that. I wanted to make sure the Guide can you lead you in the right direction. That’s why it covers topics such as properly protecting your script, a synopsis template, branding, networking, etc…

Last time around, you said your favorite kind of pie was pumpkin with a big dollop of whipped cream. Still the same, or something new?

I don’t know why, but pecan pie has been calling to me.

pecan 3

A little logline help

Maximum Z blog, genre, loglines, screenplay, screenwriting, script, writing , , , , , ,
lumberjacks
In retrospect, we should have clarified to the art department what a logline actually is

As part of my latest effort to get organized regarding self-marketing, I went through my loglines and tweaked them accordingly. Compared to their predecessors, they now seem to pack a bit more of a punch, which was my intent.

You never know the difference it makes when you add a word, take one out, or switch it out with a word you didn’t realize was stronger until after the actual switching.

The logline is what makes the first true impression on a reader. Does yours do the job you need it to?

Does the logline for your comedy offer up a funny premise?

Got a thriller or horror? Then that logline should jumpstart the goosebumps.

Do we eagerly anticipiate the pending rollercoaster ride for your action-adventure?

To utilize a somewhat clunky food metaphor, the logline gives us a sample taste for the exquisite meal we expect from the script.

That’s if the logline works. But what if you think it’s lacking the necessary ‘oomph’ it needs?

Worry no more. Friend-of-the-blog Angela Bourassa of LA Screenwriter has written 10 Steps to a Compelling Logline, which offers up some exceptionally helpful advice and guidelines. And if you’re still feeling stuck, here’s a link to her high-quality logline service.

Script? Boomerang? Bad penny? All of the above?

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boomerang

I was recently reading a column that was about something like “what makes a writer a WRITER.”

It involved a lot of questions to ask yourself, like “are you somebody who just talks about writing, or somebody who actually writes?” or “do you write only when you feel like it, or do you write no matter how you’re feeling?” That sort of thing.

Another was “Are you a writer who keeps working on the same project over and over again, or are you constantly working on something new?”

That one really stuck out for me. I couldn’t help but wonder if I fell into that category – from both perspectives, with a somewhat concerned eye towards the first part.

In case you weren’t aware, I have a script I’ve been working on for the past few years. It’s gone through several significant rewrites, and garnered some moderate recognition along the way.

But here’s the thing. Every time I complete a draft of it, I say “Okay. That’s it. No more.”

And of course, a few months later, I get some notes on it from some very savvy writers and industry folks, and then go about figuring out which of those notes might work best in the next draft.

Full disclosure – I seek out notes because I want to improve the script’s chances as both a calling card and in the big contests. Placing higher than I have in the past would hopefully improve my chances of making some industry connections.

I could legitimately say the script is finished, but on the other hand, it could also stand a little more work. Just a little.

This is the basis for my line of thinking. Have I spent too much time on it? Sometimes it feels that way, but there are also the times I think “Just a few more little tweaks would really work.”

A possible counter-argument to this is the fact that this most definitely has not been the only script I’ve been working on this entire time. I’ve written four others, along with outlines for another two, not to mention the half dozen or so individual pages that consist mostly of loglines and a handful of ideas for scenes and sequences.

So although a lot of attention has been given to the original script, I’ve gotten in the habit of finishing a draft, and then working on one to two others before I come back to it.

“But why don’t you just stop working on that script entirely? Too much tinkering usually has the opposite effect,” some might say, and some have. I won’t argue that, but I can honestly say that by being very, very selective about which notes to use from each new batch, each new draft of the script has been noticeably better than the previous one. Problem is, it’s a slow and gradual process of improvement.

After this most recent batch of notes, there are a few spots in the script I plan on working on, but that won’t happen anytime soon. Current focus is fleshing out and fine-tuning the horror-comedy outline, followed by a rewrite of a sci-fi spec, and maybe then I’ll consider diving back into this one.

But the inevitable rewrite or two is still going to happen.

And hopefully that’ll be it – emphasis on hopefully.

Results may vary

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crystal ball

Over the past few weeks, I’ve been involved in a few online discussions about posting and pitching one’s material via script-hosting and pitching sites (The Black List, InkTip, Virtual PitchFest, etc). I even featured a Q&A about it last year with a trusted colleague who also happens to be a very savvy writer (and had some moderate success in this area).

The primary question: are any of them worth it?

As you’d expect, there’s no easy answer, and everybody’s experience is going to be different. I can only speak for what’s happened to me.

A few years ago, I posted my fantasy-swashbuckler on The Black List, and paid for a review. Based on their comments, I was convinced the reader got to around page 22 or so, had no interest in reading any further, and then skipped to the last page. Biggest clue – no mention at all about anything that happened in the second act.

I griped about it on Twitter, which somebody at the Black List then responded with “You can’t make those kinds of accusations without any evidence to back it up!” (I love the idea that it was Franklin Leonard himself, but doubt he would have been spending his Sunday morning checking the Black List Twitter feed). Skittish newb I was, I backed down.

However, it wasn’t all bad. Through a series of interesting events, the script did get some positive reviews, which actually got me a manager. That was nice, but it didn’t work out, and the relationship soon ended. Since the script wasn’t getting much traction (read: any) on the Black List anymore, that subscription also came to a close.

I’ve also heard from other writers who got a 2 on one review and a 9 on another, or who’ve paid for reviews and heard nothing back. Then after asking about it, managed to get a refund; sometimes they’ll also throw in a credit for a free review as a form of apology. Are these commonplace or rare occurrences? Beats me.

I also signed up for the batch of pitches from Virtual PitchFest, and have so far only pitched to two production companies. While I felt my script was a solid match for the criteria they were seeking, each yielded the same response – “Nothing personal. It just didn’t grab us.” No doubt this is the generic rejection everybody gets.

I still have something like 10 or 11 pitches remaining, and if I opt to actually use them, will probably still be very selective about it. But I also suspect I’ll get the same boilerplate response.

I’ve written before about my experiences with pitching to Stage 32, so I’ll just leave this link here. I believe a lot of the points I make still apply. And at the time, I wouldn’t mention them by name. Things change.

Finally, there’s InkTip. I signed up and posted three scripts. Each subscription period is four months, and I did it two consecutive times. During those eight months, the loglines got constant views, which really doesn’t mean much, one script got downloaded once, and another had the synopsis downloaded twice – amazingly, on the same day, which was also two days before the hosting would expire.

*Interesting side note – If your synopsis or script gets downloaded, InkTip doesn’t want you to follow up with the company until at least three weeks later, and then ONLY by regular mail. I’ve always found that a bit odd, but I guess it’s to discourage bombarding them with constant emails. A follow-up to the prodco that downloaded the script yielded no response at all. A little disheartening at the time, but I got over it pretty quickly.

I also subscribe to the InkTip newsletter because a lot of the time there’s at least one or two listings on it that I can send to. That’s yielded a few read requests, but each of those has ended with “Thanks, but it’s just not for us.”

Between the two, I think the newsletter is the better choice. More options, more possibilities; especially compareed to the extremely low return for just having your scripts hosted on the site. I’ve since let those expire, with no immediate plans to return.

I’m sure there are those who think posting or pitching this way is their way in, and for some it probably is, but it can get a bit exhausting to keep shelling out bucks on a monthly basis and getting nothing in return. I’ve had better results with contests and query letters, and you know what longshots those can be.

What if you did this for a few years and still got nothing? Would you still think it was worth it? Sometimes on the InkTip newsletter, they’ll list “success stories”, which mention how long the writer has been a member. Some of them go back 10 to 12 years. That’s A LOT of money invested.

There’s spending money to make money, and there’s reaching the conclusion you’re just throwing money away. Despite the controversy surrounding the practice, I’d rather spend that money on quality notes, which in the end helps me become a better writer.

Like I said, all of this is stuff that’s happened to me. Your experience might be the total opposite. For all I know, you’re one of those “WRITER SELLS SCRIPT THANKS TO OUR SERVICES!” people. If so, great. You beat the odds and I’m glad it worked out for you.

But for the rest of us, how’s it been for you? Good? Bad? Somewhere in that nebulous middle? Have you had similar experiences with any of these companies, or any who aren’t listed? Did you get a read request? A writing assignment? Connect with a filmmaker or production company? Get representation? Can you point to an actual completed film and say “I wrote that!”?

Like I said way back at the beginning, it’s different for everybody. Is subscribing to any of these sites something you’d recommend, or would you deliberately steer people away from them?

Inquiring minds want to know.

Much ado about…you know

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angry writer
Nope. Not that either. How about…?
That’s it. I’m stumped. I honestly have no idea what to write about today.

It’s not necessarily writer’s block; more of a “want to try something new, but not sure what.”

Sure, I could once again bore you to tears with the latest update on how the pulp spec is going, but that implies a lack of originality (along with feeling stuck in a bit of a rut), and I definitely don’t want that.

Or I could regale you with a written account of my latest encounter, virtual or face-to-face, and the events that transpired, followed by the lessons learned. But my social calendar on both fronts has been on the quiet side lately, which subsequently has given me more time to write, so there is that.

Yet another alternative is to share the latest developments for that ongoing goal/dream of “someday I’m gonna be a working writer”. Not exactly a tired old chestnut, but there’s no denying it’s provided me with a lot of material over the years. One might even go so far as to say it’s inspired others to forge their own path. But then again, that’s not for me to say. I’m too busy trying to come up with an interesting topic.

I’ve been working on this blog for quite a while now, so thinking of new material can occasionally be a challenge. There are admittedly times I feel like I’ve covered as much as I can, and I don’t want to bore anybody with a dip into the pool of well-trod screenwriting topics. Seriously, how many times can you read me extolling the values of networking, analyzing the elements of a logline, or discussing what should and shouldn’t go in a query letter?

But counter to all of that, there are days where inspiration comes in and whacks me upside the head, resulting in a few paragraphs of pleasing prose/advice/assorted folderol about something affiliated with screenwriting, or at least how I stumbled onto the point I’m trying to make. That’s when the words flow like you wouldn’t believe. Before I know it, I’ve cranked out a post that could inexplicably be helpful to somebody. Without sounding too egotistical, even I’m impressed when I can pull that off.

While there are numerous other bloggers with significantly more experience than me, it’s rather surprising to see so many readers take a look at my latest offering, possibly make a comment or send me an email, and then keep coming back for more. I can’t possibly imagine what it is about me and/or my writing that would motivate anybody to read something here and then, of their own free will, return for more. Especially on a regular basis.

And then to take it one step further, they enjoy a particular post or two to the point of being so motivated as to then dig through the years of archived material in the hopes of finding anything else I’ve written that they’d consider worth reading.

Dare I even suggest that coming up with new material for this blog is in itself comparable to screenwriting? The ability to create some original material that would be considered professional, informative, and entertaining using nothing but the thoughts in my head and a moderately decent typing speed?

I don’t know if I’d go that far. But since you’re here, you can probably relate to my frustration of trying to write something when you can’t think of what to write.

That can be tough when it happens, but somehow we find it within ourselves to rise to the challenge we’ve given ourselves and actually figure out a way to come up with something and put some words down on the page.

Give me time. I’m sure I’ll think of something.