pie

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Brian O'Malley

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 Brian O’Malley of Screenplay Readers.

Brian O’Malley (Not an actual astronaut. Yet.) has written, produced, and directed five feature films and countless shorts and music videos, and is a founding partner of Sundance favorite, Brooklyn Reptyle Films and The Double Aught Brewing Concern Film Company. He started his film career reading and covering scripts for legendary B-movie maverick Roger Corman (Little Shop of Horrors, Death Race 2000, Rock and Roll High School), and in 1999 assembled a team of script development experts to launch SCREENPLAY READERS.

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

Well-written: Whiplash, Birdman, Raiders of the Lost Ark. Incredibly well-written: Red Harvest by Dashiell Hammett, Pink Floyd’s Dark Side of the Moon, and the In-N-Out Burger menu. All three of these are simple, yet emotionally engaging and easy to understand.

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

I interned for Media Artists Group in 1994 and answered phones and provided script coverage, and in 1997 started doing script coverage for Roger Corman (Little Shop of Horrors, Death Race 2000) and Frances Doel at Concord-New Horizons.

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

Recognizing good writing: easy to learn. Good writing: years of hard work and self-immolation.

4. What are the components of a good script?

A “good” script pushes the art of screenwriting forward, allows me to revel in a unique voice, and surprises me, categorically. A “good enough” script is one that you can read without throwing it or your laptop across the room.

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

-Quitting.

-Not writing enough.

-Comparing yourself to the other horses in the race.

-Joining nearly any Satanic coven.

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

I don’t get tired of tropes. Spaying and neutering them is what I do for a living.

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

Every line on every page of your screenplay must emotionally move or engage human beings enough to fork over their hard-earned money for a ticket.

There’s no 2 or 3.

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

No rating I’ve ever given, good or bad, and no script I’ve ever written, and no film I’ve ever made, has ever come without doubts. That being said, here’s a logline: “A doctor crashes on a desert island and has to operate on himself. With coconuts.”

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

I used to feel contests were okay, but I’ve done a ton of research on a slew of script contests, and have interviewed scores of contest owners and contestants and producers. My takeaway now is that nearly all script contests are just massive money pits for aspiring screenwriters.
Nicholl, Page, Austin — these three might prick up a producer’s ears a little, but most producers and filmmakers I’ve surveyed on this subject said the same thing over and over:
1) Don’t spend money on script contests unless it’s Nicholl, Page, or Austin, and 2) Don’t list any other contests (or how you placed in them) on your resume because producers don’t care about any contests except maybe those three, and know how scammy most script contests are.

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

Screenplayreaders.com

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

Every second spent eating pie is a second that could be spent writing screenplays.

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Danny Stack

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 writer-director-editor-analyst-contest organizer Danny Stack of Scriptwriting in the UK.

Danny Stack is a screenwriter whose TV writing credits include the revamped Thunderbirds Are Go! and the BBC’s flagship soap EastEnders, amongst others. He also writes and directs, and is currently in post-production on his live-action children’s feature film Who Killed Nelson Nutmeg? Danny has many years experience as a story analyst for a number of film companies, such as Working Title, Pathe Films, Miramax (Harvey Weinstein era) and the UK Film Council, to name but a few. He was development script editor for the British film The Man Inside, and he script edited the Irish-language feature film Kings.

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

The Knick by Jack Amiel and Michael Begler. It’s a TV period drama about The Knickerbocker hospital around the turn of the 20th century. The drama is very character-driven but extremely engaging. Steven Soderbergh’s direction is also very distinctive and interesting, adding to the immersive milieu of the show.

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

I was a commissioning assistant in the Channel 4 comedy department. A large part of my job was logging all the spec sitcom scripts. I farmed them out to a handful of readers but started reading and writing my own reports, too, and really enjoyed it. Once I left Channel 4, I approached film companies asking to read scripts for them. I did a few sample reports, and went from there!

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

Learning to recognize good writing should sharpen your existing storytelling instincts. For example, I didn’t know anything about inciting incidents or three-act structure when I was green and keen, but when I read my first screenwriting book, those terms made complete sense to my natural instincts about story in the first place.

4. What are the components of a good script?

An original idea, interesting characters, good dialogue, unpredictable plot, a solid structure, humour.

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

Long set-ups or unnecessary introductions of characters, or indulging in backstory. Over-written scene description. Plain or over-familiar dialogue. Similarly plain or over-familiar characterization. Female characters being treated or written poorly.

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

Advanced aliens who are unaware of, or can’t comprehend, human emotion. ‘One last job’ crime set-ups. The straight-talking, overweight female friend often seen in comedies.

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

These aren’t rules, more things writers should be aware of:

-The first ten pages of your script are vital in making a good impression.

-It’s extremely unlikely you’ll get your first script made.

-Structure is your friend, not something to be railed against.

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

I think I’ve only given around half a dozen RECOMMENDS (out of literally thousands of scripts!). One of those RECOMMENDS had this logline:

“An adulterous husband’s life falls apart when his job comes under threat while his wife gets involved with a pyramid money making scheme to alleviate her boredom and frustrations.” This might not sound MUST READ but the writing was sharp, funny and inventive, and deftly managed an ensemble cast. After I recommended it, the exec read it, liked it, invited the writers in, and helped them find an agent.

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

I actually help organize a screenwriting contest in the UK. It’s called the Red Planet Prize which is a scheme to find new TV writers. It’s about helping and mentoring writers rather than just announcing a winner and then nothing. Plus, it’s free to enter. I’m very proud of setting it all up, and it’s helped kickstart a few careers, most notably with Robert Thorogood and his BBC series Death in Paradise. So yes, screenwriting contests are worth it, but don’t be sucked in by every single one; weigh up the pros and cons (is there a entry fee? Do I get feedback? Is the prize any good? etc.), and roll the dice!

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

On my website dannystack.com

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

I have an annual Pie Night with my friends where we cook 5-6 varieties, and then choose a favourite. Last year’s special was a traditional steak & ale pie, delicious! I’m quite partial to a hearty fish pie, too. And lemon meringue pie for dessert. You’re not going to make me choose one, are you? NO FAIR.

Unstoppable force, say hi to immovable object

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There is something in this man's way
There is something in this man’s way

Pop quiz time!

Apart from advancing the story, theme and character development, what is the one key component every scene should contain?

Okay. Pencils down.

A big ol’ piece of pie to everybody who said “conflict”. Without it, your script’s on a one-way trip to Boringtown.

I recently became involved in a discussion with a starting-out writer who asked about the best way to describe how a sequence in his script could play out. After looking at the source material (based on true events), I said if he only writes what happens, there won’t be any drama to it. It needs conflict.

“Conflict how?” he asked.

That’s what it come down to, isn’t it? A lot of newer writers hear “conflict”, and they immediately think two characters are supposed to be arguing. Sometimes that might apply, but it’s not necessarily what it means.

Conflict is two opposing forces going up against each other, and those two forces could be anything (within the limits of your story, of course). Most of the time, one side will be your character and the other will be something or someone standing in their way of achieving their goal, be it immediate or overall.

Which would you rather watch? A story where everything goes just fine for the main character, or one where they’re always dealing with some kind of problem?

One of the great things about conflict is that it can come in any shape or form.

“What if a character opens a window?” was the follow-up question. “Where’s the conflict there?”

There isn’t any. If you’re reading a script and get to a scene that only involves a person opening a window, you’d think “What purpose does this serve?” and tell the writer to cut it.

The conflict would be if it won’t open. There’s a story there. Your curiosity is piqued. Questions are raised. Why won’t it open? Why do they want it open? What are they willing to do to get it open? What’ll happen after they get it open?

Conflict helps move the story forward. Part of our jobs as writers is to come up with new, original and imaginative ways to portray that conflict. The way I have the character open that window is probably totally different than how you would.

Even the central question of your story shows conflict: Will the main character achieve their goal?

While you work on your latest draft, take the time to examine each scene, even the ones only a line or two long. Is there conflict of some sort?

If there is, great. If not, you need to get some in there.

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Jeff Richards

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 writer-producer-filmmaker Jeff Richards.

Jeff Richards is a story consultant, filmmaker, and writer with over twenty projects either optioned, produced, or sold. His clients range from award-winning novelists to creative writing professors to screenwriters working for major studios. His own writing includes feature films, TV series, graphic novels, and short stories, as well as writing for children’s animation and computer games. His background includes information technology, a decade as an opera singer, and he is an honorary member of the Takaya Wolf Clan of the Tsleil-Waututh First Nation.

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

The Karla trilogy by John Le Carré, and if you ever need a lesson that character is king, look to those. The books are often very low on action; they largely consist of dialogue (most of which is people recounting events, as you’d expect in a book about counter-intelligence) and the characters are so magnificent you don’t care that you’ve just spent hundreds of pages essentially listening to people talk. The protagonist for two of the books, Smiley, often isn’t even doing the talking; he’s merely listening. Yet it works.

As for watching, I’ve been re-watching Doctor Who, and “Blink” is possibly the best hour of television I’ve ever seen. Stunningly imaginative and original, incredibly atmospheric, and one of the very best examples of burying exposition I have ever seen in any medium. If I write something that good, I’ll die happy.

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

I spent several years as an independent filmmaker and although I did write most of the projects we were developing, I’d occasionally work with an outside writer and help them. That made me realize that I could apply what I’d learned as a writer to helping others with their scripts.

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

Absolutely. The love of words is probably pretty difficult to instill in an adult, but if someone is already interested in it, then it is definitely possible to learn to recognize good writing. The secret is to read widely and actively, both good and bad material; once you’ve read and analyzed enough writing, and worked out why it works or doesn’t, you start to see the patterns very clearly, particularly in screenplays. Objectivity about our own writing? That’s trickier…

4. What are the components of a good script?

What’s most important, and what I don’t see enough of, is a unity of character, plot, and theme. People talk about “character-driven scripts” or “plot-driven scripts” when, in reality, they should driven by the same engine.

As for the rest, it’s about what you’d expect; an active protagonist, strong pacing, dialogue with subtext, an original concept, rising stakes, good conflict, a surprising but inevitable ending… all that sort of thing. However, the only absolute must-have is that it is interesting. For every other must-have you’ll see on a checklist, you can usually think of a great script that didn’t have it. Passive protagonists are death… unless you are talking about The Graduate. Or Being There. But these are scripts by master writers; you need to be very sure why you are going against the grain, and how it makes your story better. (And, as you can tell by the age of the examples, rule breaking isn’t that popular anymore in Hollywood.)

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

Going back to the previous point, a disconnect between character, plot, and theme is common. This usually causes protagonists with unclear goals and flat second acts. However, the most common thing I see is on-the-nose dialogue. Characters who say exactly what they feel and think, or who sum up the central conflict in a speech. If you ever read “You know what your problem is?”, then that’s probably a bad sign.

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

I think I’m almost unique in that my answer is “none”. Every trope is ready for a great script to make it fresh. Amnesia is the most tired device in writing, yet The Bourne Identity comes along and is fantastic. There’s always room for a great script.

The thing that tires me isn’t story tropes, but clichéd dialogue. Don’t have lines from other movies in your movie. Be original.

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

-Read widely; lessons are everywhere, and most of them are outside your genre and format. So if you’re a sci-fi feature film writer, read historical fiction. Read detective comics, manga, sitcom scripts. Expand your brain.

-Writing is rewriting; every first draft is a huge bundle of problems waiting to be solved. So solve it. And not by editing, but by rewriting. Changing words in action or dialogue is just editing. Changing characters, plot points, deleting or adding scenes, that’s rewriting. Do multiple passes, focusing on a different thing each time. One pass (or several, more often) for plot, one for each major character’s dialogue, one for action lines… if you’re building a shelf, you don’t sand and paint at the same time.

-Don’t get hung up on systems. Read how-to books, sure, but pick and choose your advice. Being a slave to a particular checklist is usually indicative of poor writing. If I can tell that you’ve read Save the Cat by reading your draft, then there’s probably too much Snyder and not enough you in your script.

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

Unfortunately, I can’t share loglines due to confidentiality. But for me, “recommend” can’t focus too much on the logline. Concept is important, sure, but the writing is what matters, what makes it a “recommend”. I’ve had writers with straightforward concepts come to me and, after we hone the execution, they get jobs at major studios or get 10 on The Black List. That doesn’t come from the logline, but the execution, how they wrote (and, as per rule 2 up there, rewrote!) Chinatown’s logline doesn’t set the world afire, yet it is generally regarded as one of the great scripts. So a logline wouldn’t really illuminate why I feel a particular script is great. Loglines only show whether something is the type of script an exec should read (e.g. it’s high concept sci-fi and that’s what they’re looking for). The logline gets you the look; the writing gets you the job.

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

I personally don’t do them very often. I have in the past and placed well, but I never found the contest actually led to a job; what worked for me was my personal networking. However, every path is different and obviously you hear success stories. What is important is that you put in the time, both into the writing (mostly) and into building your career, whether that’s contests, pitchfests, networking… Whatever seems to be working for you, do that. If nothing’s working (and the writing is genuinely where it needs to be!), then change things up.

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

Jeff is no longer actively seeking clients, but is still open to receiving requests via his website at strangeborders.com. He also suggests connecting with him on Twitter.

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

Pumpkin, no question. With fresh whipped cream. A great pumpkin pie will turn me into the seven-year old kid who eats so much he feels sick. It is inevitable.

I probably need help.

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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 Hayley McKenzie, founder of Script Angel.

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

In film, I loved Philomena by Steve Coogan and Jeff Pope. I think it’s hard to make intimate stories in the Drama genre that feel like they deserve to be a feature film, but this one really nailed it for me. Also, Locke by Steven Knight – set entirely inside a car. I honestly didn’t think it would be possible to sustain tension with a guy talking on a phone driving a car for 90 minutes. It’s not a thriller, there is no threat to his life, no car-chase. It was a really stunning piece of writing. For TV, it was probably the second season of UK mini-series/serial drama Line of Duty by Jed Mercurio – a thriller that sustained tension and threat following one story over 6 hours of TV. One interview scene was 17 minutes long and you were holding your breath watching it – amazing writing.

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

After a Degree in English Literature, I started in film and TV production as a Runner, then 3rd AD. Then I discovered what Script Editors did – combining story analysis and film production – and knew I’d found my perfect role. I got a job as Development Co-Ordinator at BBC Drama where I got to read scripts for Jane Tranter (founder of Bad Wolf, Exec Producer Industry and His Dark Materials) and Pippa Harris (now Executive Producer for Call the Midwife). I was reading all the submissions to the department as well as everything in development and production. They read all my early script reports and really encouraged me to pursue it as a career.

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

The technical analysis side of it can definitely be taught, and certainly improved through study. But I think good script readers are also very empathetic. Like the writer, they need to be able to imagine themselves inside the lives of the characters they’re reading about. Script Editors also need to be empathetic towards the writer themselves. As a Script Editor it’s not just your job to critique the script but to deliver criticism and useful solutions in a way that encourages rather than demoralizes the writer. You can’t not give the tough notes but as a Script Editor you’re working in a long-term development process with the writer so you can’t just tell them what’s crap and then walk away and wash your hands of it. What comes back in the next draft is in part your responsibility.

4. What are the components of a good script?

It’s got to make me feel something – almost anything as long as it’s not bored or confused. It almost doesn’t matter how you do it. If it’s a Drama I want it to make me cry. If it’s a Thriller it should be a tense, exhilarating read, etc. If it’s achieved that, even only in part, then I know there is something there I can work with.

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

A great plot but poor characterizations; characters doing things because you need them to do it to get the plot to the next beat, not because it is what that character would do in that situation. And the reverse of that: great characters but almost nothing happens to them. Most writers have a natural flair for one or the other and the key is helping them strengthen the areas they’re weak in.

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

The hard-boiled, world-weary cop. It’s particularly a problem in television development because so many of our shows are in the Crime drama. Trying to find new angles on the ‘troubled cop’ is tough!

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

1) Don’t be boring.

2) Don’t confuse me. Intrigue is great but utter bewilderment for huge swathes of screen-time will just make the reader ditch the script.

3) Don’t give up.

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

Papadopoulos and Sons, which was a huge UK indie hit in 2012, outselling GI Joe: Retaliation in some London cinemas! “Following his ruin in the latest banking crisis, a self-made millionaire reluctantly re-unites with his estranged freewheeling brother to re-open the abandoned fish and chip shop they shared in their youth.” I was lucky enough to be brought onboard as Script Editor – such a privilege.

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

Definitely. Placing in a well-respected contest can really get you noticed. But not all contests are equal. We have a curated round-up on the Script Angel Writers’ Hub of the best UK and US screenwriting contests.

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

They can find out about our one-to-one screenwriter coaching service and we’ve got lots of free articles on developing you screenwriting craft and career on our Writers’ Hub.

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

Treacle tart – which is almost a pie! Yum!