Some classic hits from days gone by…

After a busy week of interacting with other writers, both directly and indirectly, all through social media, this seemed like an opportune time to offer up some older posts that discuss that sort of thing, a few related issues, and some words of encouragement.

Enjoy!

Don’t be that person

Two shoulders, no waiting

May I be of some assistance?

I (and others) will not hesitate to help

Try the direct approach

Iron fists, meet velvet gloves

Hope this helps

Words that need to be heard

It takes a lot of determination and persistence to make it as a screenwriter.

A LOT.

And since so many other people are trying to accomplish the same things (more or less) as you and I, the difference between good days and bad days is a vast one indeed.

We learn to take the hits and the disappointments to the point that we chalk it up to “them’s the breaks”, and move on to the next thing. It is vital that we toughen up our skin to help us survive the journey.

But let’s go back to the good days thing.

When something positive happens for us, we do not hesitate to trumpet it from the rooftops – a rooftop in the form of some kind of social media platform.

And when that happens, our network of peers and associates is just as quick to join in the celebrating. We’re practically deluged with “congrats!”, “that’s awesome!”, “well deserved!”, and the like. Speaking for myself, I really appreciate it, and make a point of returning the sentiment when appropriate.

As writers, we live and breathe using words as our craft. We write something and hope it has the desired effect. Sometimes it does, sometimes it doesn’t, and sometimes it makes a much bigger impact than you could have ever expected. (Those are particularly pleasing.)

Don’t underestimate the power of what you write. Not just for your latest script, but also when it comes to how you present yourself to the rest of the writing community.

Are you always there with a positive message? Do you think “telling ’em like it is” is the way it should be?

Sure, somebody who does well in the Nicholl or Austin is going to get all sorts of congratulatory messages, but what about somebody who came in second or made the quarterfinals in that small contest you’ve never heard of? Are you just as enthusiastic for them? Do you let them know that?

When I was just starting out, I naturally had the novice’s daydreams of “they’re going to love it!”, which of course didn’t happen. Just about every response from my queries would be along the lines of “thanks, but no thanks” (if there was a response at all), and the contest updates that most of the time start with “Unfortunately…” It’s just the way the business is. You take your lumps, move on, and try to be a better writer so you do better next time.

Anybody who’s reading this knows exactly what I’m talking about. We’ve ALL been there.

I’ve recently read the lamentations of a novice writer who hasn’t had much luck in their efforts. They’re convinced that this can only mean that they’re a terrible writer, their family isn’t supportive of them even trying, and are thereby doomed to fail no matter what, so why even try? With as much sympathy and understanding I can put into text on a screen, I (and others) have tried to explain to them that everything they mentioned, from not placing in a contest to getting a pass from a query to them feeling completely alone in this, is not unique to them. Making any kind of progress on any of those fronts won’t happen overnight.

If ever there was a time that words could make a difference for the better, this was one of them. Hopefully my comments had at least the start of the desired effect.

We’re all busting our asses trying to make it however we can in this crazy business, and any outside offering of hope or encouragement is always welcome.

So as you skim your way across the turbulent waves in the vast ocean of social media and see someone’s comment, good or bad, about how they or their writing are doing, take a second to respond.

Let them know you’re rooting for them and hoping for continued success.

You’ve been where they are and hope things get better.

You’re thrilled for them.

You’re sorry.

You’d be amazed at how effective words, especially yours, can be.

Incoming message for you: scripts wanted

Have you been productive, writing-wise, during lockdown? Got a script you’ve rewritten, tweaked, and polished? And now you’re just bursting at the seams to show the world, but don’t know where to put it on display?

Well, fret no more because your chance to do exactly that has arrived!

As done twice on this blog last year with thrilling results, it’s time once again for the Maximum Z Script Showcase!

Here’s how it works.

Email the following info here under the subject “Maximum Z Script Showcase”:

Title

Author

Film or TV

Genre(s)

Logline

Awards (if applicable)

Your email (in case somebody would like to contact you about reading your script)

That’s it. Simple, no?

Two very important details to keep in mind:

ONE SCRIPT PER PERSON. No exceptions.

and

DO NOT SEND THE SCRIPT!

The post will go up on Friday, 4 June, so you have until Wednesday, 2 June to send in your details. Anything after that will NOT be included.

So don’t delay, and send it today! Or at least reasonably soon.

A few people have asked/wondered why I’m doing this. Do I get anything out of it? Am I picking the one I like best and giving that writer an award? Is there some kind of sinister secret agenda at play?

Nope. I just like helping out other writers, and giving them the chance to put their wares on display, so to speak. You never know who’s going to be looking at the list, so why not offer up your strongest script?

And for those visiting here for the first time – welcome! Feel free to take a look around, as well as like any posts that tickle your fancy, and subscribe because you think it’s such a gosh-darned amazing source of information.

-And speaking of deadlines, the fine folks at the Page Turner Awards have asked me to pass along that the deadline to enter their competition is 31 May. They’re offering some amazing publishing prizes, ranging from mentorship to audiobook production, film rights options, and film producers looking for adapted and original material. All the details at https://pageturnerawards.com/

Incoming message for you: scripts wanted

Have you been productive, writing-wise, during lockdown? Got a script you’ve rewritten, tweaked, and polished? And now you’re just bursting at the seams to show the world, but don’t know where to put it on display?

Well, fret no more because your chance to do exactly that has arrived!

As done twice on this blog last year with thrilling results, it’s time once again for the Maximum Z Script Showcase!

Here’s how it works.

Email the following info here under the subject “Maximum Z Script Showcase”:

Title

Author

Film or TV

Genre(s)

Logline

Awards (if applicable)

Your email (in case somebody would like to contact you about reading your script)

That’s it. Simple, no?

Two very important details to keep in mind:

ONE SCRIPT PER PERSON. No exceptions.

and

DO NOT SEND THE SCRIPT!

The post will go up on Friday, 4 June, so you have until Wednesday, 2 June to send in your details. Anything after that will NOT be included.

So don’t delay, and send it today! Or at least reasonably soon.

A few people have asked/wondered why I’m doing this. Do I get anything out of it? Am I picking the one I like best and giving that writer an award? Is there some kind of sinister secret agenda at play?

Nope. I just like helping out other writers, and giving them the chance to put their wares on display, so to speak. You never know who’s going to be looking at the list, so why not offer up your strongest script?

And for those visiting here for the first time – welcome! Feel free to take a look around, as well as like any posts that tickle your fancy, and subscribe because you think it’s such a gosh-darned amazing source of information.

-And speaking of deadlines, the fine folks at the Page Turner Awards have asked me to pass along that the deadline to enter their competition is 31 May. They’re offering some amazing publishing prizes, ranging from mentorship to audiobook production, film rights options, and film producers looking for adapted and original material. All the details at https://pageturnerawards.com/

Q & A with Anat Wenick of The Write Script

Anat Golan-Wenick started her career in the entertainment business working as a production assistant and researcher in a team that produced series for a large educational channel, while also pursuing a bachelor’s degree in Film/Television and English Literature. After graduation, Anat moved to Los Angeles to dip her hands into the screenwriting pool. Her screenplays have won or placed in contests like Sundance Table Read My Screenplay, StoryPros, Scriptapalooza and others, with one getting optioned by the producer of THE LAST WORD with Shirley MacLaine and Amanda Seyfried.

After taking a script analysis class, Anat discovered her true passion in the entertainment business: reading and improving other writers’ scripts. She became a reader for companies like Amazon Studios, Crispy Twig Productions, The Radmin Company, the Atlanta Film Festival and others, while developing connections with creative voices she aspires to bring to the big and small screens. In her spare time, Anat volunteers as the Secretary on the Board of the San Fernando Valley Writers’ Club (a chapter of the California Writers’ Club).

What’s the last thing you read/watched you considered to be exceptionally well-written?

Not really “the last thing”, but KIDDING on Showtime is a great example of how dialogue, visuals and story come together perfectly. Also on Showtime is I’M DYING UP HERE, which very skillfully weaves many plotlines together. Netflix’s SHTISEL is an example of how a story about a seemingly insignificant part of the world’s population can be made relatable. And for those catering to the younger audience, I recommend studying BOY MEETS WORLD. In terms of reading, THE CARTOONIST’S MASK by Ranan Lurie is a book I’d love to see adapted to screen.

How’d you get your start in the industry?

I always thought I would be a screenwriter. But an internship (followed by a full time position) at a TV station, working on a youth drama, set me on another course. I was a rookie intern when I was allowed to join my first script meeting. I sat quietly, just hoping to learn as much as possible, when the director, an amazing woman by the name of Yael Graf, turned to me and asked for my opinion. Without thinking, I said the solution won’t work. A second later, I was mourning the loss of the best (and only) internship I ever had, when much to my surprise, the director actually wanted to know why I reached such a conclusion. Based on my explanation, the script was revised.

A few years later, I took a script reading class. Based on my analysis, the instructor encouraged me to pursue this career. My hope is to move from script reading to creative executive so I can work with undiscovered writers to help bring their stories to the screen.

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

Akiva Goldsman once said: “Writing is both a pleasure and a struggle. There are times when it’s really aversive and unpleasant, and there are times when it’s wonderful and fun and magical, but that’s not the point. Writing is my job. I’m not a believer of waiting for the muse. You don’t put yourself in the mood to go to your nine-to-five job, you just go. I start in the morning and write all day. Successful writers don’t wait for the muse to fill themselves unless they’re geniuses. I’m not a genius. I’m smart, I have some talent, and I have a lot of stubbornness. I persevere. I was by no means the best writer in my class in college. I’m just the one still writing.”

You can absolutely become a better writer. But just like any other job – if you want to be good at it, you have to study it, stay on top of new trends, and practice, practice, practice.

What do you consider the components of a good script?

Visual over telling. Don’t say “he walks into a room,” say “he skips, dashes, stumble, falls, dances, shuffles into a room,” etc.

Know the genre you’re writing. Nothing wrong with a horror rom-com, but make sure characteristics of all genres are present in the script.

A well-executed “wait for it” moment. Scripts that constantly challenge me to wonder what will come next, even in based-on-true-event movies. Sure, we all know the Titanic is going to sink, but we wonder what will happen to the protagonists.

If you spent time developing your characters’ external and internal conflicts, make sure to address them during the climactic moment. In CASABLANCA, Rick must get Ilsa and Victor safely to the airplane (external), while saying goodbye and convincing the love of his life to exit his (internal).

Good balance between dialogue and action sequences. Allowing the two to play off of one another, rather than feeding viewer/reader with a spoon.

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

Excessive usage of voiceover for no reason. Personally, I’m not one of those “never voiceover” believers, but use it with caution.

Unimaginative character description (i.e. JANE DOE, 26, pretty).

Unnecessary camera and other directorial instructions as well as endless parentheticals in dialogue sequences.

Undeveloped subplots.

Usage of “Starts to,” “Begins to,” “Commences to,” etc. as well as “beat.” These phrases can kill the flow of a screenplay, especially when writing an action-adventure movie. Instead of using “beat”, state what causes it (i.e. biting lip, looking away, cracking knuckles, etc.). Instead of “starts to walk but rethinks it,” consider “marches off. Halts.

What story tropes are you just tired of seeing?

I would read anything, but if you’re going to write about vampires or zombies, make sure you put a fresh spin or angle on the genre. WARM BODIES and INTERVIEW WITH THE VAMPIRE are two good examples. If writing a romcom, love doesn’t have to be the ultimate goal. In WORKING GIRL, the protagonist wanted a career, and along the way she found love.

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

Read, watch, internalize, and execute in your own writing, repeat.

Connect with other professionals. You never know when an early connection will lead to a later opportunity.

When receiving comments, always thank the person even if you don’t agree with them.

Your work may get rejected not because it’s not great, but because it’s not what the company is looking for. Do your research before sending.

Entertainment attorneys are a lot more approachable than agents and managers, and often can get your screenplay to the right hands.

People will have a more favorable view of you if when boasting about your achievements, you take a moment to acknowledge others. So when posting “my screenplay just advanced to quarterfinals/semi-finals/finals in “this and this” contest, add “congrats to all others who advanced” or “thank you for this opportunity, etc.

Even if making the slightest change to your script, make sure to save it as a new version. You never know when you may want to refer to an older version.

Always email yourself the latest version of your script, not just in PDF format, but in the writing-program-of-your-choice format, so you can restore the file if the software fails to open.

Ever in a slump and can’t come up with an idea? Public domain is your friend. Either adapt a project, or use it as the base for your own interpretation (e.g. how EASY A was inspired by THE SCARLET LETTER).

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

The number of scripts I recommended can be counted on one hand. However, I have yet to encounter a project that was not salvageable, even those I scored extremely low. I encourage all writers to watch Toy Story 3: Mistakes Made, Lessons Learned to realize we all struggle to “really get it.”

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

Winning a contest can do wonders to boast the spirit, but winning alone will do nothing to advance a writing career, unless you build on the momentum. I recommend listening to Craig James, Founder of International Screenwriters’ Association (ISA) advice on Screenplay Contest Strategy.

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

I mostly read for agencies, studios and contests. Screenwriters often don’t want to hear the truth about their screenplays, they just want someone to say they’re great, as Josh Olson wrote in his article “I Will Not Read Your F*%!ing Script”. However, I have done quite a few free readings for aspiring screenwriters. They can find me through my website The Write Script, social media like LinkedIn and Twitter, or through the San Fernando Valley Writers’ Club, where I volunteer as a Board Member. Writers don’t have to pay big bucks for a quality reading. Join a writing group or a writing community like Talentville that tells it like it is, and swap screenplays.

Do your research if you plan to pay for someone to read your script, especially if they boast about recommending your material to their contacts within the industry. I once encountered a person advertising his reading services on known screenwriting platforms, stating he was a final-round reader/judge for the Austin Film Festival and an Emmy Award Winner. Since the prices he charged were low for someone with such experience, I researched his claims and found out they were far from true. This is not to say the person didn’t give good feedback, but writers can receive the same type of professionalism for much less, or even for free.

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

I have yet to find a pie I haven’t liked, and not for lack of trying. I volunteer as a tribute to boldly go where no pie lover has gone before to try new flavors. Has hazelnut chocolate cheesecake pie been invented? (Editor’s note: it has.)