Start putting those wishlists together!

storefront
The crowds are already forming, eager to get their mitts on some of the quality merchandise to be offered.

Busy times around Maximum Z HQ (including some details listed below), so another shorty today, but first:

Big announcement time!

Two weeks from today, the 2018 Maximum Z Screenwriter’s Gift Guide will go up. It’ll feature holiday deals on script consulting services (from many of the consultants profiled on these very pages), books about screenwriting written by screenwriters, along with books written by screenwriters, but aren’t about screenwriting, as well as all kinds of other fun stuff that any screenwriter would enjoy receiving.

If you have a product or service like these that you’d like to be included, or if you’re a filmmaker with a crowdfunding effort for your latest project, and you’d like more people to know about it, don’t hesitate to drop me a line. (Email’s on the About Me page)

Cutoff date is Tuesday 20 November, so don’t wait until the last minute!

Now about those aforementioned busy times…

-Slow but steady progress on the horror-comedy spec. So far, my outline-to-page ratio is a bit off – page count exceeding outline expectations – which means I’ll some major editing (i.e. cutting) to do once it’s complete. But I’m having fun writing it, which is really what it comes down to anyway.

-Also have a little touch-up work to do on the sci-fi spec, with the help of some recently-received great notes.

-Been busy with the occasional reading and giving-of-notes. Have I mentioned how great it is to know so many talented writers? Yes indeed.

-Speaking of crowdfunding, filmmaker Ben Eckstein is looking for more backers for his current project WINNING. They’re a portion of the way there, but every little bit helps. Donate if you can!

Cave scriptor, indeed*

vintage teacher
*Latin for “Writer, beware”. Ain’t that the truth?

Settle yourself into a comfy chair with your refreshing beverage of choice at the ready, because have I got quite a story for you. Hopefully one from which everybody can benefit.

I belong to a few screenwriting-oriented networking sites, and do what I can to engage with other members. I do what I can to be friendly, outgoing, and supportive with each connection.

Back in mid-July, I got an email from one such person. Their bio lists them as a “producer, screenwriter, and script consultant”. Would I be interested in a script swap? Despite having a few other reads already lined up, I’m always up for such a thing and agreed, telling them I’d try to get to it soon. Turns out they were in a similar situation.

They sent their script, and I sent mine. After a few days, I’d worked my way through the other projects and started in on their script.

Oh boy.

I won’t say it was awful, but I’d have to say in all honesty it simply wasn’t good. I’d also add that it made me seriously question their credentials.

Among the details:

-a passive protagonist I really didn’t care for, and who didn’t give me any reason to want to see them achieve their goal.

-a weak antagonist with a cartoonish goal

-underdeveloped story/bad structure, including several unresolved subplots and a big letdown of an ending

-unrealistic dialogue

-flat supporting characters

I pointed out what didn’t work for me and why, and offered suggestions of potential fixes. (I always make a point of never ever saying “this is how I’d do it”.) I’d estimate it was around 2 pages worth of notes, and they were free to use or ignore whatever they wanted.

I sent it out Friday afternoon.

Saturday morning, this was the email I got.

“Thanks, Paul.”

Seriously. That was it.

I came to two potential conclusions:

-I was an ignorant know-nothing boob to the nth degree with zero appreciation for their extraordinary skills (“How dare you not recognize my genius!”), and they were just saying “thanks” to be polite

-My notes were so cruel and inhuman, and if that was how we were going to play that game, then they’d be just as ruthless and grind my script into a bloody mess

Hyperbole on my part? Maybe, but check out their response again and think about what your reaction would be.

I figured it was one or the other, but all I could do now was wait (while working on other scripts, naturally).

Quick reminder – this was the end of July.

August passes. No response.

September. Still nothing. (but I did finish the outline of another script, so…yay)

Hmm. Several possibilities now.

-they still haven’t read it

-they read it, but haven’t gotten around to sending the notes

-they forgot. It happens.

-because of what I said about their script, they were deliberately not reading it OR sending the notes. To punish me, I guess?

September came to a close, and I figured I’d been patient enough.

I sent an email – “Know it’s been a while, and I’m sure you’ve been busy, but wanted to check in and see if you’ve had a chance to take a look at my script. Thanks.”

Five days later…

“Best script I ever read.”

Again, that was it.

I asked if they could elaborate. (note – this is my comedy)

Were there any parts you felt could use more work?
“Nope.  Perfect.”

What did you think of the characters?
“Outstanding.”

Your thoughts on the jokes?
“I was rolling on the floor laughing.”

Anybody else find this just a tad suspicious, and, oh, total and utter bullshit?

No apology. No remorse. No attempt to make amends. Just a handful of “ain’t I hilarious?” bare minimum answers.

I really wanted to say something in response. Call them out for it. Tell them what an incredibly brazen dick move that was. I even came up with several scenarios to trap them in their sinister web of lies and deceit.

But in the end, I was getting all worked up for nothing. And this person is most definitely NOT worth it. All I’d lost was two hours of reading and writing notes, as well as severing our connection on that networking site. No skin off my nose.

I can only surmise they didn’t like what I had to say, so for whatever reason, decided to not read my script, and after being asked (reminded?) to uphold their end of the deal, took it one step further and opted to not even bother.

I don’t really mind that they didn’t read the script – especially after seeing their writing “skills” in action – but if you’re going to claim you’re a “professional”, then you damned well better act like it. No matter what.

Bet they wouldn’t have done this if I’d been a paying client. Thank goodness it never came to that.

Present yourself as someone who supposedly knows what they’re doing, but then show that’s not the case, and you’re just screwing yourself. Sometimes all you’ve got going for you is your reputation, and once that’s tarnished, you might never be able to restore it.

And let me also add that YOU CAME TO ME.  You wanted MY help. And this is how you react because I didn’t like your script? Too fucking bad. Is this how you’re going to treat  others who make similar comments? I may not be the most talented or analytical of writers, but at least I treat everybody with respect, even when they don’t deserve it.

When we read another writer’s script, we don’t want it to just be good. We want it to be so phenomenal we can’t believe we had the privilege of being able to read it.

Notes are about the script, not the writer. Of course you’re going to take criticism personally. But you can’t. I have no idea how much work you put into it, but are you more interested in making your script better, or getting a pat on the head and told “Good job”?

I hope this little incident doesn’t deter other writers from taking part in a script swap, including with me. Schedule permitting, I’m always happy to do so. Fortunately, most of my other script-swapping experiences have been of a significantly more positive nature. This was just one of those rare negative exceptions.

Hopefully you have a strong sense of  what kind of writer/note-giver the other person is, and once those scripts are swapped, definitely make sure both of you hold up your respective ends of the bargain.

Because the last thing you want is to get on a writer’s bad side.

Be the word

quadruple threat
An early inspiration for my efforts (image by Hirschfeld)

Apologies for the lack of a post last week. We had to travel to a different time zone for a family function, and the jet lag really took its toll on me. It’s tough to compose something when you can barely stay awake.

But I’m back, rested, and ready to get back to work.

Among the items on the “list of stuff that needs attention”:

-continue working on the horror-comedy outline

-work with latest batch of notes on the comedy spec. Hoping to have that latest draft done sooner than expected.

-research potential representation firms to query

-look into setting up at least one networking event for SF/Bay Area writers. Previous ones were pretty successful, and are great for establishing connections.

-Among the comments that came in for the comedy spec was how it might benefit from a table read. Never did one before, so investigating setting one up. Anybody out there who’s done it?

There are a few other items going on, but those are the dominant ones for now. At first glance, it might seem like a lot, but it doesn’t feel that way to me. They’re all just parts of the machine that is me working on making a career out of this.

I think the biggest factor here is time management. I do what I can to allot a certain amount of time per task. Work on my own stuff for an hour or two. Spend some downtime at work researching reps and prodcos, then send out some queries. If an idea hits when I’m not actually writing, I jot it down immediately – mostly because I don’t trust myself to remember it a few hours later.

One caveat – If I have to do notes on a friend’s script, all attention is diverted to that. If they were reading mine, I’d want them to be just as focused on my script, so the least I can do is return the favor.

Now, I totally get that no two writers have the same schedule, so everybody will tackle things their own way and at their own pace. Maybe you can only spare an hour a day for anything writing-related, or you get up earlier than you need to because that’s your designated writing time. Any and all of it’s fine. You do what works for you.

The important thing is to be doing something. Anything that helps you along.

Also remember, and I can’t stress this enough – everybody’s path is different. What works for that other person might not work for you, and vice versa. Don’t stress out over feeling like you’re running behind. The only person you’re competing against is you.

Not sure where to start? Easy. Be a writer and write down what you’d like to accomplish. I suggest starting small – list three things you could do today to help yourself out. Write three scenes (or three pages). Send out five query emails. Contact the writer of that logline you liked in that online forum.

Get into the habit of giving yourself stuff to do, and there’s a good chance you’ll be pleasantly surprised at how much stuff is actually getting done.

By you.

My brain’s helping hands are ready to go

 

vintage handyman
No job too small! (schedule permitting)

Thanks to my ever-expanding network of savvy creative types, I get lots of chances to be on both the giving and receiving ends when it comes to reading scripts.

I consider myself extremely fortunate to be able to get exceptionally helpful notes from a lot of really talented folks. All this feedback has somehow managed to influence my writing for the better, and for that I am overflowing with gratitude.

So the least I can do when somebody asks me “Will you read my script?” or “Can I pick your brain about this idea?” is to say “Of course.”* Maybe I can offer up a few scraps of advice that might somehow work to their advantage. If anything, I can at least point out where a fix in spelling or punctuation is needed. For a script, anyway. That counts, right?

*caveat – it’s taken a lot of work spread over a long time for me to build up my network and establish connections, so I don’t mind if somebody I actually know drops me a note with such a request. If our only connection is being connected on social media and we’ve never interacted – at all, you’re little more than a total stranger to me. So heed that one word and be social. It makes a difference.

I had the pleasure of such an experience this week. I’d connected with another Bay Area creative, and we’d been trying for a while to arrange a face-to-face meeting. After much scheduling, cancelling and rescheduling, we finally made it happen.

This person had an idea for a project, wanted to talk about it, and see if I was interested in being involved. I stated at the outset that I had enough work on my own for now, but would be open to giving notes – time permitting.

After the initial introductions and our thumbnail backstories, we focused on their project. I won’t go into specifics or details about it, because those aren’t the important parts.

What was important was:

-this was a story they’d had inside them for a while, and even though they knew it needed A LOT of work, they were still happy with simply having written it all out

-they were totally open and willing to listen to my suggestions. Some they liked, some they didn’t. Totally fine.

But the more we talked, the more the seeds of ideas were planted in their head. Even though a lot of the details we came up with, including possible paths the story could take, ended up being totally different from their original incarnation, it was easy to see that spark of excitement reignite inside them.

Seeing that happen with somebody you’re trying to help is more satisfying than you can possibly imagine.

We parted ways, with them really rarin’ to go and start developing the latest draft. They added that they really appreciated me being so willing to help out.

I just like doing that sort of thing. I never had that kind of person-to-person help when I was starting out, so why not do what I can for others? Granted, the internet and social media didn’t even exist then, so it’s a lot easier now.

I got a few emails from them the next day showing me what they’d come up with since our meeting. Same concept, but a totally new approach (and, in my opinion, provided the opportunity for a lot of new possibilities). This also included a more thorough write-up of “what happened before the story starts”.

Even though it can be tough to read emotion in text, it was easy to see the spark was still burning strong within them. The way they talked about their plans for what comes next, I could tell they were actually looking forward to working on this.

It was nice knowing I had a little something to do with it.

We exchanged a few more emails (mostly me asking questions about story and characters and them providing sufficient answers), and I wrapped up with “Keep me posted.”

Their response: “Definitely. Thanks again. You’re a good dude.”

That was nice too.

Q & A with Melody Jackson of Smart Girls Productions

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Melody Jackson, Ph.D., founder and CEO of Smart Girls Productions and Hollywood Business School, is a self-described “Marketing Person” and Entrepreneur.  After working as a Marketing Person selling to the film industry for several years, she started Smart Girls Productions in 1992.

To learn more about Melody and the services provided by Smart Girls Productions, check out their screenwriting blog.

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

That question is a little bit funky for me to answer and I’ll tell you why.  Years ago I took the famous/infamous Robert McKee screenwriting course, and there was one thing that really stuck with me. In that legendary, deep gruff voice with his big scary face belting from the stage, McKee shouted out:  “I’m not doing this class to try to make you guys win Academy Awards…. I’m teaching this class to try to raise the overall quality of films that are out there.” Something to that effect.

He talked about how, when he was a young boy, he would go watch every single film that came out in the theaters near him — even as a young kid, he went to see everything.  All types of films. He just loved the medium of film.

The thing I learned from him is not to be so hung up on what is great writing, but to learn to enjoy film as a whole.  Most scripts are not going to be great or really well-written. It’s easy to critique and criticize most of them. But in that class, I learned to have a different perspective, and that makes a difference for me as a script analyst and for my clients.  

Sure I can go deep into “analyzing” structure and character arcs and all kinds of stuff. But ultimately, it’s a question first and foremost of “did this script cause me to have some kind of emotional experience? Regardless of anything else.”  Then, and only then, do I engage my left brain and start seeing how it could be made better. With better writing, you tend to appeal across a broader group of people.  

How’d you get your start reading scripts?

Prior to starting my company Smart Girls Productions, I worked for a company that was involved with film distribution — both domestic and international — and I learned a fair amount about that.  At one point, I just had to quit — no really good reason; they were great. But I just wanted to do a business on my own. That’s when I started Smart Girls.

I was actually working on an acting career at that point and need to figure out how I was going to make money.  Since I read scripts as an actress, I thought, “Hey, I could make money typing scripts.” Yes, typing! I ran an ad in the Writer’s Guild magazine and got a call right away.  The truth is, I didn’t even know how to type a script. I called an aspiring producer friend of mine who was also my mentor. And I asked him desperately, “How do I type a script?”  He told me to get some book from Samuel French bookstore and I did. It took me forever to type those first two scripts. But after that, I typed a LOT of scripts…. we still do!

Then once I learned to type a script, I took lots of classes on screenwriting. Then I began writing my own scripts. Got hired to write a couple. I got a WGA agent. I went on to get my Ph.D. in mythological studies.  And along the way, I added script analysis to my list of services and it turns out, I apparently have a knack for it. I ended up being rated one of the top 5 Script Consultants on three different occasions by Creative Screenwriting Magazine.  

Your company’s called Smart Girls Productions. What’s the story behind the name, and what kind of work does the company do?

This one is short.  When I started my company, I brainstormed a list of about 30 company names. I read it to my Mom, and she said, “Definitely Smart Girls.”  And so it was. Told you it was short.

You have a PhD in Mythological Studies. Has that helped you in analyzing scripts?

For sure. Joseph Campbell, the father of bringing mythology into an understandable form, is the one who identified The Hero’s Journey.  That’s the foundation of almost every great Western story. My studies in mythology looked at story from innumerable angles…. not just Campbell’s but many others.  So yes. It is in my DNA that it informs my analysis.

What are the components of a good script?

For me this is where the Hero’s Journey meets Aristotle’s Poetics.  The Hero’s Journey focuses more on the experience of the character and the inner transformation.  The Poetics has more of an emphasis on plot. But if you work both angles, then you’re going to have things that appeal to more audience members.  That’s the big picture.

If I had to say what those elements are, it would be something like… You need to have a character that has something he or she NEEDS to learn, some kind of lesson, some area of their life where they are misguided.

They then get pulled into some external plot in which they will be forced to confront that thing they have not learned. They will come face-to-face with it in the external plot.

Their choice and how they handle it is the big lesson for them and for the audience.  The biggest component for a good script for me is that the the main character has some kind of transformation. That they are somehow a bigger, better or wiser character by the time the story ends.

What are some of the most common mistakes you see?

The most common big mistake I see is no solid theme developed in the story. You have to have some point to telling the story, otherwise it’s a boring story about going to the store.

Gotta have some point about human nature that is revealed in your story, or what’s the point? That is the biggest mistake new writers make. I would also venture to say it’s also why more sophisticated movie-goers don’t like straight-up action films. Too many times, the focus is not on any kind of transformation, but on other fun stuff like chase scenes and explosions and cool special effects. Nothing wrong with that, but it does nothing for the soul. The soul longs for transformation, and personal development. The theme is the highest articulation of that. The most common mistake I see — actually I don’t see it as a mistake, but more like the most underdeveloped aspect of scripts I read is theme. And I say it that way, because I find that most writers have some place of meaning they are writing from; they just haven’t consciously identified what it is.

One of the non-writing necessities of screenwriting is the writer’s ability to market themselves. Seeing as how that’s one of your specialties, what are some key pieces of advice that writers should keep in mind?

You’re not going to be successful overnight or next week. You’re not going to sell your first script for a million dollars. Or even $250,000. The first person who reads your script is not going to fall in love with it and suddenly introduce you as this newly discovered gem that Hollywood has been waiting for.

Many screenwriters really have no idea how hard it is to get a deal and then get your movie made. It’s a long shot. I’m not saying you should give up, but I am saying that my best advice is to learn more about the BUSINESS side of the business. It’s far more likely that a writer will get hired to re-write a script if they’re a great writer than it is that they will actually sell their film and have it be produced. Trying to convey this idea and educate writers on this is why I launched my Hollywood Business School at HollywoodBschool.com.  My mission there is to help actors and writers better understand the business so they can have a much better chance at reaching their goals.

To boil it down to a few simple bits of advice:  Keep learning as much as you can about the business. Get great at your craft. Market market market. Follow-up, follow-up, follow-up.  Enjoy the pursuit. Be positive and be persistent. And don’t quit your day job. — BUT… do everything you can to help your career while you still have that job.

Part of your bio lists being the former emcee at the Hollywood Networking Breakfast. Could you provide a little more detail about the event and is it something screenwriters should consider attending?

My dear friend Sandra Lord is the Networking Guru of Hollywood. She was my manager for a period of time when I was acting. She started The Breakfast at that time, and she excelled at finding top level producers and agents to speak.  For the nine years I emceed that and heard the speakers, I got a deep education in how Hollywood works and what execs want.

Sandra still hosts the breakfast several times a year.  She also runs an event called “Let’s Do Lunch” and the L.A. Film and Television Meetup.  She is the first person that I recommend for every aspiring filmmaker, actor, set designer — anyone who wants to get into the business — go to her events as much as you can.  You will definitely start making connections. And it’s also not just for newbies. You’ll find a lot of working industry people there as well.

What are the 3 most important rules every writer should know?

“Most” important?  I tend to stay away from hyperbole because how can I really boil it down to MOST important?  It’s a great question that writers need to know, so it’s not the question that’s an issue — it’s just my picky resistance to saying what is my most anything…Let me slightly modify and simply tell you what I think are some generally important rules.  Here are the three I pick for now:

  1. Learn story structure.  Study screenwriting. If you haven’t studied screenwriting, I guarantee you don’t know how to do it well. 100% guaranteed.
  2. Tap into your authenticity and write from there. In a very positive way, I think everyone has a great story to tell — of their own life even — if you find the right bits and pieces. Whatever it is that moves a screenwriter to spend weeks, months, and years on their screenplay, that tells me they have something important to say.  This goes back to the theme I mentioned above. They may not have completely identified what their theme is — and why their story is important to them. But I will also guarantee this …. if they tap into their authenticity and why they are so moved by that story, that story will have a hundred times more impact — on them and their audience.  If they get to their authenticity about it, there is deep fulfillment and satisfaction in writing a story like that. Then your passion makes it much easier for others to see its greatness.
  3. Don’t take anything you hear from a producer or agent at face value. You have to know how to read between the lines.

What story tropes are you just tired of seeing?

It’s less a story trope that I’m tired of because they can be told in different ways.  What I find hard to watch or read is when the writer or filmmakers have not tapped into their unique vision — again I would call it lacking authenticity — but then … I don’t want THAT to come across as a TROPE!  If I had to say it another way, it’s when people are not digging deep enough into their soul to get to their authentic, unique perspective.

You could see the same story ten different times and if the filmmakers or screenwriter truly tapped into their own unique take deep within, it could still be interesting. It’s like when a great song is recorded by many different artists.  Whether it’s “Over the Rainbow,” “Amazing Grace,” “Yesterday,” “Can’t Help Falling In Love” or “To Love Somebody,” when a great singer does their unique rendition, we can hear it over and over and still be moved by it. The same with a story or a story beat.  The problem lies in the lack of tapping into the truth of the individual writer.

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

Gotta be pumpkin!  I need to find a good source for pumpkin pie here in Los Angeles. Got one?

pumpkin pie