perseverance

Is the original concept an endangered species?

Maximum Z concept, creativity, ideas, originality, perseverance, screenwriting, script, spec, writing
Keep looking! They're out there somewhere.
Keep looking! They’re out there somewhere.

Quick! Name a recent successful film NOT based on a pre-existing property.

Right now, the only one I’m coming up with is INSIDE OUT.

Warner Brothers just blew $150 million on PAN, which finished 3rd its opening weekend, dropped to 6th this week, and has only made $25 million. It’s probably safe to say it’ll be one of the year’s pricier bombs.

Marvel unveiled its slate of something like 20 films over the next 5 years.

Every studio desperately wants the next Harry Potter, TWILIGHT or HUNGER GAMES franchise, but despite plenty of copycat attempts (e.g. GOLDEN COMPASS. DIVERGENT. PERCY JACKSON. SPIDERWICK CHRONICLES. MAZE RUNNER.), the search for a new heir to the throne continues.

Despite cries of “Ugh! Another reboot/remake/reimagining?” the public keeps paying to see them and the studios keep making them. (“It worked before, so it’ll work again!”)

And with so many other writers out there, both aspiring and professional, as your competition, there’s bound to be a lot of repetition and similarity of stories and ideas.

What’s an ambitious spec writer to do? Especially when you take into consideration the age-old adage “Nobody’s going to take a chance on an unknown writer.”

To say our work is cut out for us is putting it very, very mildly.

We are competing against source material from all kinds of media, so your script has to be jaw-droppingly amazing for it to have any kind of traction.

And even getting to that point ain’t easy.

Everybody always says they have an idea for a script, but how many are actually able to turn that into an honest-to-God original, as in “never seen that before”?

Every script you write has to be something that people who aren’t you would want to see. Totally brand-spanking new. Out of left field. New twist on an old idea. Familiar, but different. The more original and well-executed it is, the better your chances.

What is it about your script that makes it truly stand out from all the rest? How mind-blowingly original is the idea behind it?

There really is a demand for solid, well-written original scripts. It’s up to you make sure yours is all three.

Climbing back in the saddle. Again.

Maximum Z agent, determination, manager, perseverance, query letter, rejection, representation, screenwriting, self-confidence, westerns, writing
It helps to have a patient horse
It helps to have a patient horse

The results are in, and it’s not looking good.

Out of the 100+ query letters I sent out last month, a whopping total of 2 managers asked to read the western. One is a larger, more well-known place that has asked for my scripts before but has a reputation for non-responsiveness, so not much hope there.

The other was a smaller one-person operation who seemed very interested. I sent the requisite follow-up email, but was told that they “unfortunately didn’t respond as strongly as I would have liked,” and wished me good luck with it.

I hate this part of this process.

Was I upset and disappointed? Of course.

Was my confidence and belief in my writing ability shaken to its very core? Yup.

Was I convinced that I was pursuing a foolish dream and that things would never work out? Pretty much.

Jump ahead to today. I’m still upset and slightly disheartened, but intent on movin’ forward. Giving up continues to NOT be an option.

I’ve revised the letter, have my previous list of email addresses, plus a new one, so a new round of queries is forthcoming. I also learned after sending out the previous batch that the industry for the most part shuts down in August, so it’s more than likely that those queries were never even seen, let alone read.

All I can do is send this latest round out and hope for the best. I’ll distract myself by writing a lot, but also know that a few weeks after they’re sent, every time an alert of a new email pops up, I’ll secretly hope it’s one of the many recipients saying “I’d like to read that.”

Chances are it won’t be, but it doesn’t hurt to think positive thoughts.

Fingers, as always, remain firmly crossed.

The name’s Piphany. E. Piphany

Maximum Z comedy, determination, dialogue, film noir, ideas, inspiration, jokes, Laura, perseverance, rewrite, scenes, screenwriting, script, spec, writing
If it weren't for that whole possible electrocution thing, I'd write in the tub too.
If it weren’t for that whole possible electrocution thing, I’d write in the tub too.

Progress on the first draft of the low-budget comedy spec has been slow but steady; averaging about 2-3 pages a day. It’s a smart move to accept the fact that the first draft of anything you write is going to suck, because it always does. And this one’s no different. Several cogs within this machine in drastic need of retooling have been identified.

So there I am, working on a scene, having the ongoing internal discussion of “Is this the funniest way to do this bit?” The scene as originally conceived is pretty straightforward, but the comedy part still needs something. A line of dialogue just won’t cut it. While I’m quite adept at witty conversation in person, putting it on the page is an entirely different animal.

Overall, it felt like things were slowing down and becoming tougher to work through.

No matter how hard you look, sometimes you can’t find the answer you seek because you don’t realize it’s just staring you in the face.

There was a scene much earlier in the script where, for no reason in particular, I used a joke of a particular nature just for the hell of it. Some might consider it a dumb joke, but I’m still in first draft mode, so it might not stick around for very long.

But there was something about it that really stuck with me. I thought it was pretty funny, and the more I thought about it, the more it seemed like exactly something I would come up with.

And there it was. The floodgates had opened, and my much-needed solution came gushing forth. These jokes would work perfectly throughout the whole thing.

Added bonus – it’s the kind of comedy I’ve known and loved my entire life. I’d been trying to write this in a way or style that’s not exactly me, whereas this rediscovered approach is practically spot-on. Coming up with these kinds of jokes is almost second nature. Hopefully I can successfully transition them onto the page.

But now I was presented with a new problem: stop here (around pg 48) and start over, or hammer my way forward?

Tempting as it was to start over, I’m opting to keep going forward (and start implementing the new jokes), mostly so I can just get this draft finished. The sooner I get to the end, the sooner I can start on the rewrite.

As I said, progress continues to be slow and steady, but it’s still progress.

-One week to the Great American Pitch Fest, so you still have time to register. Use code MaximumZ20 at checkout for a whopping 20 percent off!

Ask One of the Great Brains Behind the GAPF!

Maximum Z antagonist, characters, cliches, comedy, consultants, contest, dialogue, drama, goals, horror, logline, loglines, Los Angeles, mentor, obstacles, passion, perseverance, pie, pitching, protagonist, reading, rewrite, screenwriting, scriptshadow, situations, spec, story, thrillers, title, tropes, writing, writing group

Signe Olynyk

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 especially significant for writers ready to pitch their material, as it features an interview with ScriptFest/Pitchfest co-founder Signe Olynyk.

Signe Olynyk is a writer/producer, as well as the co-founder of ScriptFest and www.pitchfest.com, which includes the Great American PitchFest, the Great British PitchFest, and the Great Canadian PitchFest.  She is also the co-founder of the Ultimate Logline Contest, and Your Career In A Day industry workshops. She lives in Canada, and runs the highly regarded Sooke Writers Retreat from a secluded, oceanfront home, where dozens of select writers join her each year for their personal writing retreats. In addition, Signe has written and produced a number of television pilots, series, documentaries, and feature films, and works in the industry. She has professional credits on more than 120 productions, including her two latest feature films, Below Zero and Breakdown Lane. Her work has been seen around the world on the CBC, Discovery Channel, Scream Channel, Fox, the BBC, and various others.

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

Great first question. There are so many. The ‘smartest’ movies I can think of right now include Christopher Nolan’s The Prestige, and The Disappearance of Alice Creed, which was incredibly smart and well written. These two films were dramatic thrillers, but I actually feel that comedy is some of the most difficult to write – it has to be smart and well-written, and generally, a brilliant mind must be behind a comedy to successfully pull it off. Creating original characters, situations, and dialogue that makes us laugh, and that we haven’t seen before, is an incredible feat.

2. How’d you get your start reading scripts?

I got my start reading scripts by writing scripts. For years, I was writing and sharing my work with others in my writing groups. At the time, I didn’t understand the value in reading, but the group I joined took turns reading a screenplay each week for a film that had been recently produced. Reluctantly, I started to read other screenplays. I just wanted to create new material and share script notes by reading each other’s screenplays, not spend my time reading the screenplays for movies that had already been produced. I thought it was going to be a waste of time when I could just watch the films. But that was when my world changed.

When you read scripts, you learn a rhythm and start to see the style in which a writer puts their words on the page. You see how evocative language and onomatopoetic words like ‘sizzle’ and ‘slap’, make your script come alive visually on the page, and in your mind’s eye. When you read other scripts, you discover and absorb lessons that you automatically start applying to your own work. And you are a better writer because of it, thanks to the work of other writers. It’s invaluable to your own development as a writer.

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

Physical limitations are an interesting thing. I love to play soccer, but I know I’m not the best player on the field. My coach can make me run drills, and practice for hours, but my skill level is only going to get me so far compared to others, because there are others who are simply more skilled and talented than I am.

Writing is the same way. Same with math, with physics, with music, art, or sports, or anything really. Someone’s physical brain or body has developed in such a way that they are stronger at a certain skill than someone else.

What really matters is attitude and perseverance. Good writing can be taught or learned, but there has to be a certain level of natural ability and talent in the first place. And then there has to be a passion behind whatever skill you have to really drive success at anything.

As an aside, I have been very frustrated by some of the ramblings of some who like to criticize consultants and say that ‘those who can’t, teach’. What a hugely unfair, offensive and dismissive thing to say. I am the founder of the annual screenwriting conference ScriptFest, which is held each year in Los Angeles. We have had hundreds of speakers teach at the conference, and they are educated, brilliant, and generous people who give back to the community and help writers become better at what they do. Since when did we decide it was okay to criticize teachers? It is not an easy task, and great teachers are a huge gift to those of us who are still learning – which is all of us, isn’t it?

Yes, teaching can be taught. I’m incredibly grateful to all of those who have mentored me in my life. It is the moral obligation of each and every single one of us to share what we have learned with others, so that we can all learn from one another.

4. What are the components of a good script?

I want to see characters I care about in situations I haven’t seen before overcoming outrageous obstacles in the singular pursuit of their goals. I want to feel something, and root for them to achieve their goals. I want to go on a ride with them, and experience an emotional journey as they give everything they have towards reaching their goals, being beaten down and nearly defeated as they pursue an eventual triumph. That doesn’t mean a character must always reach their goal – and by triumph, I mean they’ve learned something meaningful that has changed them forever, for better or worse.

5. What are some of the most common mistakes you see?

Many writers write characters and stories they think people want to see, hear, or read. They cling to stereotypes, which does nothing to create originality or anything of interest to an audience. Finding your own voice as a writer is something that develops the more you write, because your confidence grows as you do.

I also see many writers fall in love with their first script or book, then spend years and years rewriting and tweaking it, and doing rewrite after rewrite. If you want to be a professional writer, you must generate new work. This is important not only because you are creating a body of work, but because you get better with everything you write.

6. What story tropes are you just tired of seeing?

Cats leaping out at people in horror stories. The guy who develops a cough, dying part-way through the story. Girlfriends who go after the girl their boyfriend cheated on them with – how stupid is that? Go after the ass who cheated on you! I want to see characters pushed as far as they can in directions and towards goals I haven’t seen before, and making decisions that are real for that character and that people can relate to. I want to see characters overcome their obstacles by making choices that only they would make. Story comes from your characters. Make your character’s reactions realistic for who they are, and have them respond in ways that only they would. Just as each of us has our own backstories, and these experiences shape who we are, our characters need to be developed the same way. Then you create characters and situations that are as real as each of us.

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

-First, don’t miss out on your life because you feel a need to be writing or working all of the time to create success. You must have a life in order to be a great writer. Every experience you have helps to shape you, and you need those experiences to shape your characters and their worlds.

-Second, take care of your health. Watch your posture and get a good chair to support your back. Go on long walks so your characters can speak to you, and you’ll be amazed how ideas will come to you when you’re least expecting it.

-Third, go to every event you can and constantly educate yourself on your craft. You never know who you will meet, or what you will learn that will inspire you, enlighten your work, and help you to create your best work.

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

I’m still seeking that script. I find lots of screenplays that are ‘recommends’, sure. But even then, rarely do you find any script that doesn’t need work, or still has tweaking or ideas, characters, or dialogue that need to be finessed a bit more. There are tons of loglines I read that make me smile and that I get super excited about, and keep visualizing the various scenes, and putting my producer hat on to think about logistics. Although I can’t give a logline exactly, what I can tell you is that they all have certain things in common:

  *TITLE: The title of the script captures the full essence of the story. We know what it is about, just from the title, and the theme of the story is also hinted at. JAWS. UNBROKEN. WILD. UP.

  *CHARACTER: They have a protagonist who is interesting to me, relatable, but who is someone I haven’t seen before. They pursue goals in a way that only they can do, and their backstories make their actions real and believable.

  *PURSUIT OF A CLEAR, IMPOSSIBLE GOAL: They have a goal that seems impossible, and the journey of following this character as they pursue that goal becomes irresistible to me. I must watch them pursue their goal.

  *OBSTACLES: They overcome increasingly serious obstacles in pursuit of their goal. The stakes get more serious as the story progresses.

  *NEMESIS: they have a formidable foe. A Goliath for every David. Goliath keeps putting obstacles in David’s way

  *LESSON LEARNED: the character is different by the end of the story than who they were at the beginning. By going on this journey with them, I am also changed in some way. It is the magical, emotional moment in a movie when your character becomes who they were meant to be, regardless of whether their goal is achieved or not.

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

Anytime you have an opportunity to get your work in front of someone who can make a difference to your career is worthwhile. It’s always a bit of a crapshoot whether your work will resonate with a particular judge. However, a lot of industry people find scripts by judging contests, and really, it’s a matter of the right script finding the right producer at the right time. If that’s the situation, then it behooves any writer – especially without an agent – to get their work out there and in front of as many eyeballs as possible.

Writers may also want to really examine the prizes. What is the real opportunity? Is it just to win a cash prize? Or is it industry exposure? What is more meaningful?

10. How can people get in touch with you to find out more about the services you provide?

I would encourage writers to check out ScriptFest and the Great American PitchFest. It’s an annual, 3-day conference with more than 40 classes, panels, and workshops offered. Writers who’ve written a book or screenplay can pitch it to more than 120 agents, managers and production companies. Visit www.scriptfest.com to learn more.

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

That’s like asking my favorite ice cream! So many kinds, so many flavors! Lemon meringue, pumpkin, butter pecan, coconut cream, banana cream, apple with cheddar…If I have to choose only one kind, I would probably say blueberry-rhubarb. I like the sweet with the tart (kind of like my favorite movies).

How low can you go? Quite, apparently.

Maximum Z comedy, consultant, creativeness, depression, feedback, half-marathons, notes, perseverance, podcasts, production company, rewrite, running, screenwriting, script, self-confidence, story, storytelling, westerns, writing
Nothing funny about it
Nothing funny about it

We all experience “one of those days”, but it’s totally another thing to have “one of those weeks”.

Exhibit A: Yours truly.

The week started off nicely. I had the good fortune to meet and chat with script consultant, interviewee and overall mensch Danny Manus. (For all you gentiles out there, “mensch” is Yiddish for “nice guy”.)

While awaiting notes on the western rewrite, I opted for an academic approach to writing the first draft of the low-budget comedy. I was going to read some good comedy scripts and see what lessons they could impart. The call went out asking for quality examples of this kind of writing, and some trusted colleagues came through. (Thanks, chums!)

That’s when the notes started to come in.

As my grandfather used to say – oy. To say they were heartbreaking is putting it mildly. I can honestly say they were given with the best of intentions and most definitely not mean-natured, but my faith and belief in my writing ability was given a thorough thrashing. And then some. (Although one note-giver, to their credit, did acknowledge that this is a “shitty, frustrating part of the process,” and advised me to not give up. I appreciated it, but it didn’t help much.)

The descent into a dark pit of despair had begun. I’ve been here before, and I do not like it. Any writer knows this comes with the territory.

My brain and subconscious were relentless in working in tandem to make me feel totally and utterly worthless as a writer. Any hopes or dreams I had about succeeding had been ground into a fine powder and cast to the winds, only to be blown right back into my face.

And then came the coup de grace: the response to a pitch I’d submitted to a production company last week. They’d passed with a brief 2-sentence rejection, including this gem: “Wanted more specificity with the throughline.” Keep in mind that my perception was a little out of whack at the time, so my overall reaction could be summed up with a very simple “What the fuck does that mean?”

Even reassurances from my wife and texts from a friend were little consolation. Thoughts of “failure” and “loser” were screaming inside my mind. Believe me when I say I did not sleep well that night.

But after I woke up and went through my getting-ready-to-leave-for-work routine, I kept telling myself that there had to be some kind of light at the end of the tunnel, emphasis on “had to be”. Giving up most certainly wasn’t an option. It had also been suggested to totally abandon the story as it was and start anew, which wasn’t ideal because I still have a lot of confidence in this story. Thinking straight was not going to happen any time soon.

Almost as an antidote came another set of notes, this time with lots of positive things to say, plus a few more comments of support and sympathy. These helped. That and desperately trying to refocus my attention on something, anything, that might help my creativeness and confidence get back on track. This is where the aforementioned comedy scripts factor in. They helped, too.

This is an extremely tough business to break into. There will be a lot more heartache and disappointment. Some days it’s easier to deal with, and sometimes it just slams you flat on your back. And since I can’t imagine doing anything else, I continue to learn how to roll with the punches and keep going.

As has been the case many times before, my condition has improved. My resiliency is stronger. My desire to succeed burns brighter than before. I won’t be giving up. All I have to worry about now is writing a script that’s funny. Easy peasy, right?

-Little did I know that while I was dealing with my own problems, a maelstrom of controversy was developing online. Apparently a successful writer who co-hosts a popular podcast about screenwriting made some disparaging remarks about script consultants, one in particular, based on an article the latter had written.

Seeing as how I’ve posted over 3 dozen interviews with consultants (with more on the way), I felt as if I could at least say something about this, especially since it involves this consultant.

I’d read the article in question a few weeks ago and found it extremely helpful. I’d already contacted the author last month about an interview, mentioning how much I’d enjoyed this article and a few of his other ones. He consented to the interview, and appreciated the kind words about his work.

All of the consultants I’ve interviewed have been gracious and grateful to have taken part, and each one is eager to help their clients improve. I’ve been asked which of them I’d recommend. Simple: all of them. Do your due diligence and find the one that seems to be the best fit for what you need.

The writer in question has been working for quite some time. He gets paid a lot of money to write movies that, to me, just suck. He’s also entitled to his opinion, but I’d hate to think that all the aspiring writers out there are looking to him for career advice.

-Half-marathon update. Did the Oakland 13.1 this past Sunday with a time of 1:58:16, thereby accomplishing my goal of under 2 hours. See? Perseverance does pay off.