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.
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 Scott Parisien, a mentor, analyst and writer with Script Reader Pro. He wrote the feature FOXTER & MAX in 2019, and his script INCISION was a Bronze Prize Winner in the 2013 Page International Screenwriting Competition.
1. What’s the last thing you read/watched that you thought was incredibly well-written?
There have been many movies this year I felt were actually quite well written. Sadly, most fell outside of the studio system or did not come to the big screen, and if they did, it was barely a blip on the radar. Movies like The Way Way Back, The Spectacular Now, Out Of The Furnace… these really focused on the characters and their journeys, and were filled with touching moments and emotional beats I really identified with. They had characters that were rounded and dimensional and deeply layered. This is what we don’t really get in the studio system any more. But two films that really hit that nerve in the system were The Fault In Our Stars and If I Stay, which were both adaptations, which explains why the characters were more able to be identified with. For me, it’s all about connecting with the characters on a deeper field. As far as the blockbusters, the only one I felt was well written, due to the intelligence of the script and the overall theme of the story, was Dawn Of The Planet Of The Apes. It had such heart, such an identifiable father/son struggle, and themes that worked on both the human and ape sides of the story. I found it quite powerful because of this, and the effects and action really did accent it rather than overwhelm it for me. I wish more blockbuster studio films managed to achieve the same.
2. How’d you get your start reading scripts?
Many years ago, I received a grade of Recommend on two scripts through what was then Script PIMP (now Script Pipeline). I began a great relationship with the guys who ran it and when they had a spot come open they gave me a chance to show what I could do, as I was working on my own consultant service on the side and had experience with this. I then went on to work quite successfully with them and was a senior story analyst, being there for over 5 years. I’ve been running my own service all along as well, and now work with ScriptReaderPro.
3. Is recognizing good writing something you think can be taught or learned?
I’m not sure it can be taught, or even learned. I believe certain people have an inert skill for identifying good stories and good writing, much like Simon Cowell has a knack for recognizing talent and potential in a singer’s voice. Certain people can see that special spark on the page, within that voice and writer. I don’t think just anybody can be a screenwriter. Not only does it have certain areas of craft that must be mastered and manipulated to a person’s style and form, but there’s also a very special art to it. Some people don’t believe there’s an art to screenwriting, that it’s just a blueprint for a movie, but the great writers truly do put together a masterful piece of art in their screenplays. Not everyone can do it, and that’s why 99% of screenwriters tend to fall short of becoming that professional writer we all strive to become.
4. What are the components of a good script?
This is tough because there are so many things that need to be in a script to make it really stand out and resonate above the piles of not so great stuff. Writers tend to focus so much on their “rules” like format and saving the cat: exact page beats and such. But the greats, they worry about layers and nuance and emotional connection. Things like character development, flaws, obstacles. For me, it’s all about the flow of the story, the pace at which it pulls me through the basic structure all screenplays have. That will really make me sit up and take notice. The best screenplays are the ones you never stop to see what page they’re on, or what act you may be in, because it has seamlessly pulled you deep into that world. And that happens very, very rarely.
5. What are some of the most common mistakes you see?
For me it’s not about spelling or grammar, or whether something should have been in CAPS or not. The biggest mistake I see is screenwriters not doing all they can to suck every last drop out of a scene. They are too soft, or too vague, or talking heads with no real substance. These screenwriters lay down the surface and don’t seem to take the time to really dig in and crack the surface to see what is really happening underneath.
6. What story tropes are you just tired of seeing?
I’m actually sick and tired of the main character’s motivation being a dead wife. So many scripts these days and pitches rely on the protagonist being driven toward his goal by the death of the woman he loved. Of course this creates a strong emotional connection as we’ve all lost a loved one in some way or another, but it’s now so cliché it just comes off flat and not interesting in any way.
7. What are the 3 most important rules every writer should know?
1) Take your time. If you’re writing a spec, you have all the time in the world, as well as only one chance to impress. Too many writers rush and don’t let a script really simmer and breathe before they stamp it complete.
2) Find your voice. Don’t write in every single genre because you have an idea you think is good. Choose your style and your voice. It’s hard to make your mark as a horror writer if you submit and they want more, and all you have is a children’s Christmas movie, a western and an emotional drama.
3) Choose your concepts and stories carefully. It’s hard to get read in this business as it is, but even harder if the idea you have isn’t something that will get people excited. The best way to think of it before you write your story is if you can see a movie poster. If the concept you can pitch will elicit a movie poster in our minds, we can see it as a movie. If it doesn’t, you may want to see what other ideas you plan to put 6-12 months into.
8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?
I’ve only read one script I wish was my own. It was so good, so layered, so character-rich, and it was a heist movie as well about two bank robbers on their last run who steal a getaway car with a pregnant woman asleep in the back, so it had commercial appeal. But it had a deeper theme about human connection that ran through the entire story. The writer had a very special voice that was undeniable.
9. How do you feel about screenwriting contests? Worth it or not?
It all depends on the contest. Everything is so subjective. I won a midlevel contest and didn’t get a single request. I was a winner in one of the top 3 and the requests flooded in. It all depends on how a writer capitalizes on those wins or placements. Using them to pump up your credibility in a query can help it get noticed.
10. How can people get in touch with you to find out more about the services you provide?
11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
Saskatoon Berry Pie. These little dark blue berries, like a blueberry but totally different, grow in central Canada and into Montana and North Dakota. These are little gems if you can ever get your taste buds on them, in a crust with a gratuitous pile of whipped cream on top.
“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.
(L-R) Miranda, Sandra & budgeter/scheduler extraordinaire Hosam, who is not part of this interview
*And considering this doesn’t cost you anything to begin with, that’s the best deal you’ll get today.
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 Miranda Sajdak and Sandra Leviton of Script Chix.
1. What’s the last thing you read/watched that you thought was incredibly well-written?
WINTER’S BONE
BUTCHER HOLLER by Daniel Shea
2. How’d you get your start reading scripts?
M – Started off as an intern in Hollywood doing the typical script-reading duties. Moved on to being an assistant and continued to do coverage there. Eventually found myself reading for friends and family on the side, and realized (around the same time as Sandra did) that it was a good idea to monetize some of this so as not to just be doing it in my free time. Ended up simultaneously being asked to read for various studios/companies, and turned all that experience around into Script Chix!
S – I believe I read my first script in college, though as a kid, I liked to watch movies and transcribe them. It took hours, but I loved it. The internet wasn’t really a thing yet, so there was no easy access to them. However, professionally, I started reading as an intern doing short coverages for executives during staffing season. My subsequent jobs at an agency and a cable network had me reading all of the time – for potential clients, development, and show staffing. Giving notes to clients, friends, and others who needed feedback was part of my daily life. When I decided to leave my network gig and go out on my own, doing it professionally seemed like a natural transition. As soon as friends at another cable network heard my news, they offered me a spot as one of their book readers. Around the same time, Miranda and I teamed up, and the rest is Script Chix history.
3. Is recognizing good writing something you think can be taught or learned?
M – Somewhat. The biggest thing here is to read as much as possible. We see scripts from writers who clearly don’t read screenplays regularly. The more you read, the more you’re able to recognize. Some of it is likely innate – and it should start early, before you get to Hollywood and decide you want to make movies – but, sure, recognizing what works just comes from reading more.
S – Reading is both objective and subjective. When we give notes, we try to focus on the objective. Even if we personally don’t like a character, a plotline, or concept, we can recognize that it written well, and it’s just not our personal taste. So yes, being able to recognize good writing can be taught; some things are obvious like formatting. However, it takes years of learning and practice to be able to both identify what is good and to be able to separate your own opinions/ taste from it.
4. What are the components of a good script?
S & M – There’s a number of things, but most importantly, a compelling story with multi-dimensional characters. Believable moments that still feel fresh. Strong narrative voice. Imagination and marketability. We would also include formatting in this list. It’s not a sexy component, but it is an important one. The story can be amazing, but if the formatting is off, it’s distracting, and most readers won’t be able to pay attention to greatness of the script.
5. What are some of the most common mistakes you see?
S & M – The biggest one we see, by far, is lack of formatting and proofreading. Bad character introductions. Lazy concept. Writing from experience, but instead of dramatizing the “true story that really happened” to the writer, it’s a regurgitation. Not understanding the difference between edgy and outright offensive or mean. One-dimensional or non-existent women and minorities. Some of these are not necessarily mistakes, but they’re all definitely problems we encounter often.
6. What story tropes are you just tired of seeing?
M – Refrigerator women. Lack of women and minorities. One-dimensional women.
S – Stories about Hollywood, writers, and nights out with the boys. Every writer at some point writes a script about being a struggling writer in Hollywood or their lead male protagonist is a sensitive writer that gets their heart broken. Also behind the scenes of reality TV – this is starting to become a thing. People tend to write what they know and unfortunately, all they know is trying to make it in Hollywood. Unfortunately for them, no executive wants to read this and no audience wants to see it. So if a writer must write this story, do it, get it out of your system, and move on to something more original. Draw from life experience – get out there and enjoy the world, feel heartbreak, and get into trouble (but not too much). The “night out/ retail job with the boys picking up women” is also the most common one we see in fledgling comedy writers. It’s another case of writing what you know. These stories don’t work because they are usually re-tellings of actual experiences that are not particularly dramatic or funny to anyone outside of the people who experienced it. Additionally, the humor only comes from insulting women. Just because making fun of a woman was hysterical to you and your boys in the moment doesn’t make it funny or appealing to anyone else.
7. What are the 3 most important rules every writer should know?
M – Write. Read. Revise.
S – Persistence, practice, and patience.
8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?
M – Yes! And it just finished shooting! “A teenage con artist tricks a desperate mother into hiring her as a live-in companion for her autistic daughter.”
S – I agree with M. That script is amazing. Honestly, it’s tough to give a blanket “recommend” because each company and client we work with has their own specific mandates of what they are looking for, so it needs to be tailored to their needs. A script that I loved recently, like goosebump-inducing loved is “With the help of a crotchety old neighbor and his garden, a young woman’s world comes alive.” It sounds a bit generic, but it was beautifully written and full of magic with a hint of surrealism.
9. How do you feel about screenwriting contests? Worth it or not?
S & M – Absolutely worth it, but not all of them. Do your research. See which contests have a track record of success for the writers who’ve won. Look at what the prizes are. If the only prize is that you won the contest, it’s probably not that worthwhile (unless it’s a big name like Nicholl or Page). And look at things like fellowships, as well. If they want you to pay but aren’t giving you anything WORTHWHILE in return, it’s not worth it.
That said… if you’re starting out and still sending out queries and you haven’t won anything or been published or produced – enter contests. Get some prestige next to your name, even if it is just “winner of miscellaneous contest.” It helps in general, but it mostly helps if the contest is considered reputable.
10. How can people can get in touch with you to find out more about the services you provide?
Details about the low-budget comedy have been kept under wraps because I wanted to develop the story some more before pitching it to my final-say editor. If she liked it, then it’s good to go.
She did. Quite enthusiastically.
So now it’s all about coming up with potential scenes and sequences, then reorganizing them to tell the story in the best and funniest ways possible.
I’ve gone back and forth about how much information to disclose, but realize it would be better to at least offer up some minimal details.
So here it is.
Working title: An Angel Walks Into A Bar…
“After literally dying onstage, a caustic comedian’s only shot at afterlife redemption is to fix three of the many lives he’s ruined.”
This stems from the “What if…?” question of “What if a Don Rickles-like comedian was your guardian angel?”
I like the concept, think it’s pretty original and see lots of potential within the story. I’ve got a primary storyline and three subplots, all of which are inter-connected. It’s a bit of a challenge to put together, but that’s part of the appeal.
Just to test the waters, I posted the logline on a few online forums. Comments ranged from “Sounds fantastic!” to “Who are these three people? Why them?” Some read like they’re ticking items off a Screenwriting 101 checklist (“You don’t have ____, so it’s no good.”)
The one that really threw me was the claim that you could replace “comedian” with another occupation and it would still be the same story. Everyone’s entitled to their opinion, but I heartily disagree. A proctologist, maybe, but not much else.
It all comes down to either you like the logline and it makes you want to see the movie, or you don’t and it doesn’t.
Honestly, I really need to stop posting on these forums. I’ve got a pretty solid network of trusted writer colleagues with more experience and whose opinions I put more value in than the anonymous members of the internet community.
So it looks like I’ll be keeping busy for the time being with this and the rewrites of the western and the mystery-comedy.
Maximum Z 