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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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Erik Bork

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 Erik Bork, who also runs the website Flying Wrestler.

Erik Bork is best known for his work as a writer-producer on the HBO miniseries Band of Brothers and From the Earth to the Moon – for which he won two Emmy and two Golden Globe Awards. He’s also worked on the writing staff of two primetime dramas, sold multiple original series pitches, and written pilots and features for such companies as Universal, Sony, NBC, Fox, Imagine, Original Film and The Playtone Company. He teaches screenwriting for UCLA Extension and National University’s MFA Program, and has been called one of the Top 10 Most Influential Screenwriting Bloggers.

His book The Idea: The Seven Elements of a Viable Story for Screen, Stage or Fiction is now available.

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

I’m continually impressed with how DOWNTON ABBEY tells interesting, emotional, heartfelt stories that are grounded in the realities of its setting, for the various kinds of people who populate it. I’ve been re-watching the first three seasons lately – and think it’s great model for what makes characters and stories compelling, and easy to invest in.

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

I’d been a professional screenwriter for about a decade and was being asked to speak to writers groups, teach classes, and give feedback on scripts.

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

Absolutely!

4. What are the components of a good script?

An intriguing and original concept about a compelling and high stakes problem for a character most people can relate to (either the character, and/or the problem) – which focuses on that character as they actively try to solve it, which is complicated and difficult for them, and entertaining for us to watch. I think working with the ten genres in the SAVE THE CAT books are a great tool for working on achieving this.

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

Writers jump to script too quickly, without really developing a concept that has the ingredients necessary to have a chance at success. Stories often don’t have a main character that readers understand and have reason to care enough about, and sometimes it’s not told subjectively through that one person’s point-of-view. The main story problem is often not high stakes enough to the main character’s external life situation (as opposed to their internal life of thoughts, emotions and attitudes). It might not be an active enough challenge where they are pushing the story forward, or a problem that is big enough and hard enough, with enough twists and turns to it. Ultimately, it comes down to achieving the audience’s strong caring, and holding onto that – which is not easy to do.

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

I get tired of violent adventure stories with life-and-death stakes and a simplistic good vs. evil approach. It’s easiest to grab an audience with that, but it tends to leave me cold – especially when it’s just about visual spectacle, as opposed to realistic characters going through something relatable.

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

-Basic story concept is the most important thing, and hardest to get right.

-The audience must emotionally become one with your main character, which isn’t easy to achieve.

-It’s hard and rare to write something that REALLY works, even for professionals – so stay open to feedback, lots of rewriting, and a long-term process that requires a lot of persistence and ongoing belief.

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

I don’t really provide coverage-style “recommend”/”consider”/”pass” ratings, and don’t exactly think in those terms. I’m more about helping the writer better their craft and project(s), and never look for or expect a script that comes to me to be something they could instantly do something with in the marketplace.

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

They’re in no way a panacea or golden ticket, and most of them probably won’t do much to advance one’s career – unless you finish really highly in one of the top contests. But it can be a good way to see how you’re doing, and get quality feedback, if you find the price reasonable.

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

You’ll find my script consulting page on my “Flying Wrestler” blog. You can also e-mail me directly at erik@flyingwrestler.com.

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

Cherry, hands down.

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Barri Evins

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 Barri Evins of Big Ideas.

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

A few contest scripts impress me each year. I wrote about one that swept me off my feet in my ScriptMag.com Column: Breaking & Entering – Great Writing – A Love Story. A good rewrite from a writer I was consulting with who made a huge leap between drafts. In terms of what I’ve watched, it’s TV that’s knocked my socks off of late.

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

In kindergarten. Well, practically. Grew up reading plays and studying theatre. Convinced that background would be an albatross around my neck in the film business. I was trying to get my first industry job after moving to Los Angeles, and a lit agent my brother was friends with from a fraternity connection set me up on interviews. He gave me a script that was on its way to becoming a major movie with an A-list actor and told me to do story notes on it as a sample. I did a pretty good job of it, and impressed some folks in meetings, but wound up working at the agency. It was grueling in terms of amount of work and amount of hours, but I read a ton in features and in TV, and I learned a ton. In eight months (that’s pretty fast) I moved on to a Development Associate job and then Story Editor for writer/producers Bruce Evans and Raynold Gideon where I learned a ton and read so much my distance vision deteriorated! Ironically, it was the theatre degree that helped win me the job.

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

I always believed that it could be taught, as I’ve taught coverage to literally jillions of interns, many of whom have gone on to be very successful in the industry, as well as part of a course I taught at the UCLA Graduate Producing Program. However, I had one very lovely intern who simply could not tell good writing from, well, dreck. It was like being colorblind. She got a little encouragement from me to look into other areas of the industry and became a successful publicist.

4. What are the components of a good script?

A great concept, that delivers on the promise of the premise, with strong storytelling. Yum.

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

Oy. Here’s my current bone to pick – I call it “Too Much Tinsel On Your Tree.” The overcomplicated story where the writer has crammed in so much that we simply don’t know what’s going on. Diagnosis of that syndrome can be found here in a guest blog by my dear friend, Dr. Paige Turner, who steps in and answers writers’ sticky questions in a column she likes to call, “S-E-X Tips for Screenwriters.”

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

If I never, ever, ever read another story where something happens to make the main character revisit their small hometown after 20 years absence, I would be thrilled. That said, I will probably come across a terrific one now that I’ve gone on record with this. But I somehow doubt it.

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

Outline, outline, and get an outside opinion, preferably from a professional because you’re just too close to your own work and your mom thinks everything you do is “just terrific, honey.”

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

Yup, but the execution was horrid, I mean terrible on almost every count, and my company couldn’t get our studio to buy it based on the great concept. Another studio wound up doing it, but took it in the complete wrong direction. So I’d rather not share the logline. Sorry.

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

Depends on the contest and what the writer is looking to achieve. I used to write a column on screenwriting contests for MovieBytes.com – a terrific, free online source of info on contests by writers. I’d ask questions of judges I think writers would want to ask, so I know a bit about contests from different angles.

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

I consult on everything from loglines to screenplays to queries, as well as offer custom packages and mentorship. My website is www.bigBIGideas.com, which includes my consulting page, where you have the opportunity to “Pitch Me For Free” and get a thumbs up or down on a concept.

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

Key Lime, baby. I’m a Florida girl.

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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.

Have you no imagination?

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"You'd have turned down Gone With The Wind." "No, that was me. I said, "Who wants to see a Civil War picture?""
“You’d have turned down Gone With The Wind.” “No, that was me. I said, “Who wants to see a Civil War picture?””

It’s still an uphill climb with a few gaps here and there, but the overall story for the low-budget comedy is coming together.

I’m making a point of not rushing through it and being extra careful – almost to the point of meticulous – about how all the pieces interconnect.  The more I work on it, the more the phrase “French farce” comes to mind, so lots of interweaving storylines, the intersecting of character paths, and the ramifications of each character’s actions on the others. At least that’s my interpretation.

A challenge, to say the least, but it’s been a fun ride so far.

A last-minute surprise factor was this response to the logline on an online forum:  “It’s so straightforward now it’s hard to believe you could sustain interest through 100 pages.”

I’d like to thank that person for throwing down the gauntlet in making me work even harder than I already was. Never underestimate the motivational power of “Oh yeah? Just you wait and see what I can do.”

But back to the bigger issue. Statements like these always make me wonder about the person who says/writes them.

I never cared for the “I don’t see how this could be a story” line of reasoning.  That tells me you lack vision and creativity. Just because you think it won’t work doesn’t mean it won’t. Nobody thought GUARDIANS OF THE GALAXY would do well and look what happened.

Side note – My western received a handful of reader responses along the lines of “This isn’t factually or historically accurate, so I just couldn’t get into it.” They’re entitled to their opinions, but I feel bad about their inability to just sit back and enjoy an old-fashioned ripping yarn. Although one person was gracious enough to admit at the end of their comments “It would be better if you just ignore everything I’ve just said.” Consider it done.

Always remember the sage advice of William Goldman: Nobody knows anything.

I’m all for encouraging other writers. If your idea interests or excites me, I’ll tell you. If it doesn’t, I’ll explain why not and make suggestions of potential fixes. The last thing I want to do is discourage you or give you a lecture, and you sure as hell don’t want to hear one.

My criteria is pretty simple: If I read somebody’s logline or hear their story pitch and can instantly imagine the potential within that story, and more importantly, if it sounds like something I would want to see, then they’ve succeeded and gotten over the first hurdle.

Of course, having the actual script live up to or possibly even surpass expectations is another thing.