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Maximum Z analysis, characters, cliches, concept, contest, coverage, feedback, format, genre, grammar, horror, inspiration, loglines, motivation, movies, obstacles, PAGE International, pie, pitching, protagonist, query letter, rules, Save The Cat!, screenwriting, script, spec, spelling, story, storytelling, structure, theme, tropes, westerns, writing ,

Scott Parisien

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?

https://www.scriptreaderpro.com/our-script-coverage-services/

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.

Ask Two Savvy Script Consultants For the Price of One!*

Maximum Z analysis, blog, characters, cliches, concept, contest, coverage, criticism, feedback, format, Hollywood, imagination, loglines, marketability, networking, Nicholl Fellowship, PAGE International, pie, plot, proofreading, query letter, screenwriting, script, story, tropes, writing , , ,

ScriptChix_Logo copy

(L-R) Miranda, Sandra & budgeter/scheduler extraordinaire, Hosam, who is not part of this interview
(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?

www.scriptchix.com/services or drop us a line at info@scriptchix.com

We also blog about writing, life in Hollywood, and host networking events, so be sure to poke around a little: www.ScriptChix.com.

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

A man after our own hearts!

M – Boston cream

S – Apple or chocolate cream

Getting ready for the next go-round

Maximum Z contest, Nicholl Fellowship, PAGE International, rewrite, screenwriting, script, spec, story, westerns, writing
Hang on! We're going back to almost where we just were!
Hang on! We’re going back to almost where we just were!

The previous draft of the mystery spec was a nice round 100 pages. As this rewrite continues, I just hit page 90 and I’m still in the last quarter of Act 2, so there’s probably somewhere around 20-30 pages left.

Not too bad, and as I move ahead, I’m already thinking about what needs to be fixed in the rewrite after this.

The constant question during initial writing and each subsequent rewrite is always “How can I make this better?”

Even as I crank out pages, the wheels are already turning as to what changes and improvements to implement.  Honestly, sometimes it’s a little dizzying trying to keep track of everything.

This is just a part of the whole process, but it seems to get a little easier with each rewrite.

-Contest news update! The western has been submitted to the PAGE and the Nicholl, with maybe 2-3 more targeted for later in the year.

Fingers, as always, firmly crossed.

In the meantime, focus has switched back to the current ongoing projects because the arsenal must continue to build and it’s never too early to get ready for next year.

Stepping into the arena

Maximum Z contest, encouragement, Nicholl Fellowship, PAGE International, proofreading, screenwriting, script, TrackingB, writing
That's one way to eliminate the competition (no pun intended)
That’s one way to eliminate the competition (insert rimshot here)

If your inbox is anything like mine, chances are you’ve been getting a lot of emails lately touting the pending deadline of more than a few contests.

For the most part, I usually ignore them. Maybe the Nicholl if I have a script ready, but rarely any others, if any at all.

But a little more confidence in my abilities and encouragement from other writers is making me gradually change my mind.

I’m seriously considering biting the bullet and submitting a script, warts and all, to a few competitions over the next few months.

It’s one of those things every screenwriter should do at least once or twice.

But which ones? There are a lot to choose from, ranging from the obscure to the high-profile.  While there’s nothing wrong with the Brand X Screenwriting Competition, you have to admit it doesn’t carry the same cachet as being a finalist in Austin, PAGE or TrackingB.

Everybody has different criteria for what they’re looking to get out of a particular contest. While a cash prize is nice, most are seen as stepping stones to making industry connections and getting representation.

Some offer script notes – a handful do it for free, but almost all charge extra for it. It’s not something I’d do, but that’s me.

If you’ve decided this is the year you take the plunge, then do your homework and research the ones you’re interested in to find out they have to offer. What kind of reputation do they have? How was the experience for previous entrants and winners? Do the prizes justify the amount of the fee?

No matter which ones you decide on, keep in mind you are going up against a lot of other writers just as eager and ambitious as you. Do you think your script is ready to take them on? Like, REALLY ready?

Even if you have a tiny amount of uncertainty, how much time is there between now and the deadline? Use this to your advantage and give your script an extremely thorough read-through (or two) and fix what needs to be fixed. Nobody likes finding a typo after the fact.

Do whatever you can to make your script ready to go, cross your fingers when you hit ‘submit’ and hope for the best.  How long you wait until getting back to your current project is up to you.

Good luck.

Diverting your attention in a forward manner

Maximum Z anxiety, contest, creativeness, creativity, Julie Gray, Just Effing Entertain Me, Nicholl Fellowship, PAGE International, screenwriting, script, stress, TrackingB, Uncategorized, writing
Look closely and you'll see a lot of potential out there
Can you see all the potential out there?

I’ve been in contact with a few writers over the past couple of days, and several have mentioned their anticipation/nervousness over the pending announcement of the quarterfinalists in this year’s Nicholl competition.

I’m not going to lie. I’ve been occasionally thinking about it as well.

And it doesn’t help that the folks at the contest have been posting positive anonymous reader comments on Facebook over the past few months. If you’re anything like me, you’ve probably read them and thought, “Whoa, that HAS to be my script!” or at least “This could be interpreted in such a way that it vaguely applies to my script.”

I think the number of entries this year was somewhere in the 7200 range, or probably higher. So maybe it is about your script, or maybe not.

The point is: There’s nothing you can do about it now. It’s out of your hands, and obsessing about it won’t do you any good.

Apart from just stepping away (or even actually going outside, where the fresh air will do you good), the best way you can counteract all this hand-wringing is to redirect your focus. Channel all that nervous energy into something more constructive, writing-wise.

How about getting your script ready for upcoming competitions? (Just Effing‘s absolutely final deadline is August 15th, TrackingB‘s late entry deadline is September 28th, and PAGE International will start accepting entries for 2014 in December.)

Or maybe take a closer look at those notes on your recent draft and see what you can do with them, or dig up that killer story concept you came up with a few months ago and fleshing it out a little.

It really doesn’t matter what you do, but it’s important you do something. Your work will be further along than it is now, which always works in your favor.

No matter what your plan is, set yourself up in your ideal writing conditions and have at it.