plot

Does your script sound like you?

Maximum Z characters, Judd Apatow, Nora Ephron, plot, screenplay, screenwriting, script, Shane Black, story, Tarantino, voice, writing , , , , , , , , , , ,

When was the last time you read a script that was really hitting on all cylinders?

Great story, cinematic writing and vivid imagery, compelling characters, the whole kit and kaboodle.

What’s the one thing that ties all of them together?

That writer’s voice.

We hear about it all the time, and I’ve always described it as how the writing in a script is a reflection of the writer’s style.

If you read a script by Shane Black, Judd Apatow, Nora Ephron, or Quentin Tarantino, you’d know it by the way it reads. Each one is written in the distinctive voice of each writer.

And that’s what you want to achieve with your writing. When somebody reads your scripts, they’ll know it was you.

The need to establish your own voice when it comes to your scripts can’t be stressed enough.

I’ve read a lot of scripts that try to mimic an established writer’s voice, and it usually falls flat. Part of the reason is that the writer is trying too hard to sound like the established writer, which seems counterproductive. If I want a script that reads like Judd Apatow wrote it, I’ll read a Judd Apatow script.

It also doesn’t help that some of these established writers created a niche for themselves with their writing style, so anybody who comes after them with the same approach will immediately be labeled a pale imitation. You might have a phenomenal script, but if the only thing somebody remembers about it is that it’s just ripping off Tarantino, you’ve just wasted everybody’s time.

Now this isn’t to say that you can’t write in a similar style, but you need to put your own spin on it to help it stand out.

What are some of your strengths, writing-wise? In what areas do you really shine? Is there a way you can apply that to other aspects of your script? You want your script to have a real impact on the reader; one with a strong voice can help accomplish that.

Another benefit of a script with a strong voice is that it helps make it that much more memorable. Not only does it leave an impression, but chances are it’ll stick with the reader long afterward. Many’s the time I’ve finished reading a script and within five minutes don’t remember a thing about it. Sure, the writing may have been adequate or possibly just slightly above average, but a lack of a distinctive voice from the writer is a key missing ingredient.

Then there are those I’ll remember a long time after. Maybe it was the story or even just the concept, or the protagonist, or a great scene/sequence. No matter what it was, you could come to me a few months from now, or maybe even next year, and ask “Hey, do you remember that script about ____?”

Chances are I will BECAUSE of the writer’s voice.

Which is exactly what you’re aiming for.

Q & A with Scott McConnell

Maximum Z audience, characters, concept, conflict, contests, emotion, goals, plot, premise, protagonist, screenplay, screenwriting, script, stakes, storytelling, structure, theme, writing, writing process , , , , , , , ,

Scott McConnell is a writer/story consultant who has worked as a producer in Los Angeles and in fiction development. Scott edits stories from inside them as a writer. He finds solutions to story problems and can especially focus on improving a story’s premise. Scott believes this is where most films/scripts succeed or fail. He also finds that many good writers don’t focus enough on theme. It is through theme that a writer moves an audience emotionally. Scott can edit low budget features as well as big budget blockbusters. He fixes scripts for individual writers and production companies around the world.

Scott started in the business as a story analyst in Los Angeles; analyzing scripts for Roger and Julie Corman, Samuel Goldwyn and the Sundance Institute, among others. He was later the showrunner (writer/producer/director) of the U.S. nationally syndicated LIVE LIFE AND WIN! and he co-wrote the reality series HOLLYWOOD BOOT CAMP. He has found the story by studying footage, reading scripts/books, pre-interviewing talents, and writing or editing the script. Scott is a member of the Producer’s Guild of America and of the Australian Film Institute (AACTA.)

What was the last thing you read or watched you considered to be exceptionally well-written?

Regarding television, I’m a big fan of the English series VICTORIA, about Queen Victoria. The writing is often excellent, especially in season one, which dramatized a young girl developing herself in high stakes circumstances to become queen of an empire and the loving wife of a man she admires but who often has different ideas to her and is at times in romantic conflict with her because she is also his queen and leader.

Regarding film, I think SAVING MR. BANKS is brilliantly written, especially its dramatization of a profound theme and the integration of its two main plot lines from different time periods. The characters were intelligently written and layered, while the arc of the protagonist is beautifully climaxed.

How’d you get your start in the industry?

My first start in the business came after I graduated from UCLA Extension (scriptwriting) and did some interning work at industry places in town and started my own script analysis business. The study and volunteer work allowed me to get experience so I was skilled and employable.

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

It is something that is learned. But there are great individual differences in how much someone might actually know about what makes a good story. And it’s hard for readers to see a story objectively as it really is and not be prejudiced by their own values and tastes.

What do you consider the components of a good script?

There are two basics to any script. First there is the mechanics of how well it is written: its structure, clarity of its theme, use of dramatic devises, the development of its character and relationship arcs, the nature of its climax, and so forth. That is, the storytelling skill.

And then there is the values side of the story, the actual nature of the specific content. For example, its theme and sensibility, the values and goals of the characters, the nature of the conflicts and the theme resolution. That is, the values the story is dramatizing.

A good script has skilled storytelling and universal, important and personal values that the audience cares about. It is the nature of these values that especially makes a story or film an enduring classic.

What are some of the most common screenwriting mistakes you see?

The biggest mistake I often see is that writers do not give their characters agency (free will). That is, more specifically, the writer does not create a protagonist who has a big main goal that drives the story and underpins its structure. One of the negative consequences of this lack of agency in characters is that it becomes the writer who drives the story by dropping contrived and coincidental problems onto the heads of the characters. Such a story lacks logic, believability and suspense.

Another common writing mistake I see all the time is that the concept of the story was not developed properly. Many scripts, for example, have unoriginal, uninteresting or one-layer premises. Creating a strong premise is the hardest and most important part of writing a story.

A mistake I see in good writers is that they often haven’t mastered theme, so they don’t know how to use it to give depth to their story and to induce deep emotion in their audiences.

What story tropes are you just tired of seeing?

Some writers want to throw in the latest political fad or fashion.

Other writers think that chases, fights and explosions are what make an action script great. They aren’t. Look at two of the great actioners, DIE HARD and GLADIATOR: both of these stories have layered and driven characters enduring terrible personal problems.

What are some key rules/guidelines every writer should know?

The first rule of all writing is to have something interesting to say or show. If your story – its premise, characters, plot, climax – are not interesting then it doesn’t matter how well you structure your story, for example, no one will care.

I think every creator of a script should have a story expert outside of their story bubble vet and edit their script, and the closer to the front end of the story creation this is done the better.

Have a writing process. Many writers who don’t have a writing process never finish their story or don’t know how to. A writing process can be learned and should be. A good writing coach can teach you one.

Have you ever read a script where you thought “This writer really gets it.”? If so, what were the reasons why?

That’s pretty rare. Most scripts, produced and unproduced, have issues. But I remember a script I edited about two years ago where I was impressed that these two writers were really in charge of the story and the writing. That is, that with some fixes this script would make a good movie. These writers had a layered, intriguing concept, an escalating plot line and characters who I cared about and I was anxious to see who among the leads won. (The three leads in conflict were all good guys but in a big conflict.)

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

That’s a good but difficult question. At best I’m mixed on contests. Yes, there are some good ones that can help a writer get doors opened or be noticed, but for other contests you have to worry about who is reading these piles of scripts. My concern is that too many contest readers seem to be straight out of college where they haven’t studied the great classic plays/novels nor analysed the
truly well written films. They tend, I also worry, to be naturalistic and PC in their reaction to story content. I hope I’m wrong but….

My suggestion to those considering entering contests is to vet carefully. For example, look to see if the contest has some clout, that being a winner or a placing near the top will truly open doors, etc. Also try to see the loglines of previous winners. If they’re rubbish, be wary, as you should be if any samples of coverage by the contest’s graders indicates a focus not on story essentials. Also try to determine if that contest prefers a certain genre over others. Good luck. Caveat emptor.

How can people find out more about you and the services you provide?

I edit scripts of many genres and forms, have a mentorship program to teach writers a writing process while they actually write a script, and other writing and development services. People can learn more about me on LinkedIn at this page: https://www.linkedin.com/in/scottamcconnell/

Or write to me via email: scottm100@gmail.com

People can also find my articles on screenwriting on Script, Creative Screenwriting and MovieMaker.

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

American Pie! (the song, not the movie)

Q & A with Cody Smart of Next Level Screenwriting

Maximum Z antagonist, characters, dialogue, exposition, format, formula, ideas, outlines, pie, plot, premise, proofreading, protagonist, scenes, screenplay, screenwriting, script, story, storytelling, subplot, subtext, voice, writing , , , , , , , , , , , , , , , , ,

Cody Smart is an L.A.-based Latina writer, script consultant and script doctor with degrees in English Literature & Linguistics, Screenwriting, Development, and Producing, who prides herself of helping writers take their work to the next level, in both English and Spanish. She moved from Santiago, Chile to L.A. to pursue her masters, fell in love, and now enjoys family hikes chasing her toddler around in the perfect L.A. weather.

She worked as a script analyst at Sony for three years, reading hundreds of scripts, and honing her craft and learning to appreciate the development of scripts and how to best guide writers to deliver the best script possible.

She also works as a judge for seven film and screenplay competitions, where she’s learned what makes scripts engage readers and attract the attention of managers, agents and producers. As a writer herself, Cody has placed in multiple competitions, and won some awards.

Cody is also the head of coverage of Story Data, a script-hosting site, where she does a bi-monthly vlog with tips for screenwriters.

She also currently teaches two courses about Screenwriting, Script Doctoring and Get Your Script Contest Ready, as a UCLA Extension instructor in the Writers’ Program, and is developing a new TV Workshop for the fall quarter.

Cody has worked with a wide variety of clients, helping to provide in-depth script analysis, and also rewriting/doctoring hundreds of scripts in order to get them ready for production. She loves working directly with her clients, understanding their needs, and staying true to the essence of the story the client is trying to tell, in order to elevate the story and characters.

What was the last thing you read or watched you considered exceptionally well-written?

THE QUEEN’S GAMBIT. I was a little bit late watching it, as it came out in 2020, but I was so legitimately impressed at the quality of the writing. They managed to take chess, a “boring” subject that doesn’t lend itself to be that visual or entertaining, and turned it into an exemplary work of character development.

How’d you get your start in the industry?

While I was in grad school, I started interning at Sony, and that’s were I fell in love with the development side of things. Before that, I always thought my path was to be a writer only. Then I discovered how interesting developing and consulting was, helping other writers improve their work, and getting scripts ready for production.

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

Yes, definitely. I believe everyone can learn if they have the will and want to do so. If you study scripts and films, and study your craft, you can learn what good writing is. That’s also what makes any writer a better writer: studying the best in the craft, lots of practice, and lots of rewriting.

What do you consider the components of a good script?

A good script is a great mix of different things: amazing characters that are three-dimensional and realistic, with real wants and needs, and great arcs. A world that aligns with the tone and genre, and that hopefully is also new in some way. A premise that either feels fresh and new or that is a new take on old ideas, making it feel fresh and new. Writing that has a voice of its own, and that makes you want to keep turning pages.

What are some of the most common screenwriting mistakes you see?

As a consultant & doctor as well as a judge for multiple festivals, I’m constantly looking at issues in scripts. Doing that, I’ve found these to be the most common:

– A premise that doesn’t work from the start. Usually this means you just have an idea, but no plot. Or you have an unoriginal concept or one we’ve seen hundreds of times before.

– Not proofreading, which leads to bad formatting, typos, grammatical errors, etc.

– Not outlining first – then you don’t know where your story is going, and it shows in your draft, as the story loses aim. Part of this could be when the story/the protagonist has no clear goal.

– Dialogue that doesn’t feel natural or no use of subtext.

– Starting scenes too early and leaving them too late.

– Not killing your darlings – some scenes may be greatly written, but if they don’t advance the plot, then you don’t need them in your script.

– Directing in your script – this tends to take the reader out of the world of your story.

– Not grabbing your reader/audience in the first 10 pages (or even the first 3!)

– Overusing transitions.

– Use of flashbacks that don’t move the story forward or don’t reveal any new information.

– Zero character introduction/description. No memorable introductions, so we forget them. Also too many characters being introduced at the same time, so we forget who’s who.

– The world of your story isn’t clear.

– Long chunks of descriptions – Readers are known to skip past these. 

– Too much exposition.

– No subplots or interesting supporting characters.

– Antagonists that are two-dimensional or formulaic.

– Writing a formulaic script just with the intention of selling it, instead of writing a unique story you’re passionate about that’ll definitely get you noticed (even if just as a writing sample).

What story tropes are you just tired of seeing?

Tropes work for a reason—audiences expect certain things in certain movies, like a falling in love montage in romcoms. But just because people expect them, that doesn’t mean they don’t want to be surprised. The tropes I’m tired of seeing are those that just follow tropes to the letter. I love when a writer turns a trope upside down and surprises the audience. When they don’t and deliver the same old things, then that’s when they’re boring and I don’t want to see them anymore.

What are some key rules/guidelines every writer should know?

– Show your voice in your script. That’s what will set you apart from the thousands of scripts being written every year.

– Write the story you want to tell as a writing sample to impress people, and open doors for you, even if it doesn’t get bought or filmed.

– Formatting exists for a reason. Follow it and don’t play games, or your script won’t get read, even if it’s amazing.

– It’s hard to come up with new ideas that haven’t been told. But new takes on old ideas that make the ideas feel fresh can be a great way of creating something that feels new.

-The best antagonists are just as interesting as the protagonist, and they’re the hero of their own story. When we understand their reasoning, that makes them much more powerful.

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

I remember when I read the script for JUNO. It had such a unique voice and point of view. It had a protagonist that felt real, with flaws and dreams. It explored what felt like real teenagers. It had amazing supporting characters, and we could understand everyone’s POV in the story, as different as they all were. And it was pretty contained. It could be shot for cheap. But most importantly, it wasn’t something completely new: we’ve seen stories about teen pregnancy before but it turned the idea upside down, making it feel so fresh that it ended up winning so many writing awards.

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

Totally worth it. I even developed a course called “Get Your Script Contest Ready” for UCLA Extension that debuts in June 2021. That said, having a contest strategy, knowing what appeals to contests, identifying the best contests to propel your career forward, and understanding that you also need to network and take an active role in getting your scripts out there are key things every screenwriter needs to know.

How can people find out more about you and the services you provide?

For information about my script consulting & doctoring services, or my writer services, they can check out my Facebook page (@NextLevelScreenwriting), my Instagram page (nextlevelscreenwriting), or send me an email (nextlevelscreenwriting@gmail.com).

I can share more about my services and background information, and we can talk more in detail about what they need help with, as I offer very personalized services.

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

Wow, this is such a hard question, because I have such a sweet tooth. But if I had to pick just one, I’d have to say my grandma’s pecan pie recipe. It brings back so many amazing childhood memories by the smell and taste of it, especially living far away from my family, and missing them all the time.

Q & A with Mario Martin of Scriptdick

Maximum Z action, characters, contests, development, entertainment, genre, pie, plot, screenplay, screenwriting, script, structure, writing , , , , , , , , , ,

Mario Martin’s love for storytelling originated as a young boy when he felt inspired to tell stories through writing. Early on he honed his craft at the Maine Media Workshops and Boston Film & Video Foundation, and has attended many screenwriting boot-camps, worked with multiple coverage companies as well as many screenwriters.

Mario helped develop and produce the award-winning film LA LUZ, on which he collaborated heavily, and helped finance the indie feature GAS STATION JESUS starring renowned actor Patrick Bergin.

Mario followed this success with his writing-directing debut CITY LOVE, a provocative short about a soulful, flamboyant talk radio host starring critically acclaimed actor poet, and performer, Antonio David Lyons of AMERICAN HISTORY X and HOTEL RWANDA.

Mario has dedicated the majority of his life to becoming a better storyteller, writer, and filmmaker. When asked “Which part of the creative process do you enjoy most?”, he often responds, “All of it. The writing, crafting and fully developing your story, making sure it’s on the page.”

Mario enjoys rolling up his sleeves to work with fellow screenwriters. Taking an average story and making it a page-turner “is a lot of work, but fun and so worth it.”

What was the last thing I read or watched that I considered to be exceptionally well written? 

BREAKING BAD and OZARK. I love the simple concept and plot. The writing on both these TV series is brilliant at every level.

How did you get your start in the industry?

I made my first film CHECKMATE at eighteen. That experience hooked me for life. I later wrote, directed and produced CITY LOVE, which played in nine film festivals, and worked on several feature films. Primarily my time is invested in the craft of screenwriting. I’ve written eight screenplays and am working on my ninth as we speak. I truly enjoy it.

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

Yes.I believe it must be taught. It’s important to study film as to how it works so we can become better screenwriters. Understanding the technicals and there are a lot of them and knowing how to apply. Watching a movie or TV show is only what we SEE and HEAR. In a screenplay, that’s how it must be written. Only what the audience will SEE and HEAR.

What do you consider the components of a good script?

Great question. I’ve constructed an algorithm for screenwriting for just that reason. Action lines properly written. Character development, plot, and structure. Really it’s many things. At a bare minimum, there are twelve essential elements working together for great storytelling/screenwriting.

What are some of the most common screenwriting mistakes you see?

Action lines that read like a novel. Action can only be what the audience will see, period. “Show, don’t tell.” Giving each character their own voice.

What story tropes are you just tired of seeing?

Detective/Cop movies.

What are some key rules or guidelines writers should know?

-Action lines. Write them properly!

-Know your plot

-Know your genre

-Character development and characterization of characters.

-Structure

Have you ever read a script where you thought “This writer really gets it?” If so, what were the reasons and why?

I most certainly have. A well-written screenplay is exactly like watching a movie. I become completely engaged, lose track of time, am entertained, I care about what’s happening, and find myself thinking or talking about it later. How enjoyable that story was. All the elements needed for a screenplay to work were present and in place.

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

I don’t have a hard and fast opinion on that. If you win or place highly in a contest, that’s a high honor and might open a door for you. There are many other ways to get your work out there these days. Contests are just one of them. 

How can people find out more about you and the services you provide?

Check out my website at www.scriptdick.com  I post on all the social media platforms daily, including @thescriptdick on Twitter and script_dick on Instagram. I also have a podcast and a blog.

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

Favorite pie? You may have met your match! Ha ha! Pumpkin. Hands down. All others are a close runner-up. I love pie too.

A few takeaways from 40 scripts

Maximum Z characters, community, description, dialogue, notes, overwriting, pages, pilot, plot, plot points, proofreading, protagonist, punctuation, reading, Richard Walter, screenplay, screenwriting, script, spelling, story, storytelling, structure, UCLA, writing , , , , , , , , , , , , , , , ,

Well, that was an experience.

As 2020 wound down, I’d already made the decision to devote 2021 to focus on improving as a writer.

In addition to writing more, that also meant reading scripts more.

I wanted to really work on developing my analytical skills, so on the last day of the year, I put the word out on social media. Want notes on your script? For free? Let me know.

And let me know the screenwriting community did. And then some.

Out of the 75 or so people who responded “Yes, please!”, 40 actually followed through and sent their scripts.

(Apologies to those who missed out. That window is now closed)

It was a fair mix of shorts, pilots, and features.

Since I also wanted to still work on my own material a bit, it all came down to time management. How much time could I dedicate to each script? It worked out to one a day, and about three to four a week.

Granted, these were not the most extensive of notes. Some general observations, questions and comments about the story and the characters, and an insanely large amount of inadvertent proofreading.

I also made sure to preface my notes saying that these were just my thoughts and opinions, so the writer was more then welcome to use or ignore them as they saw fit.

For the most part, the reactions were positive.

“Thank you so much! These are incredibly helpful! This will really help my next draft get to the next level!”

No comments wishing me bodily harm or proclaiming I was an idiot who simply couldn’t grasp their genius, so going with the theory that they approved of what I had to say and just never got around to saying thanks. I’ll ignore this horrific breach of etiquette and still count it as a win.

There was a wide variety of genres and story ideas to be found. Some truly unique and original stuff, as well as more than a few “familiar, but different” approaches to some classic concepts.

What was probably the most surprising result was that the same comments applied to a majority of the scripts, including:

WHAT’S THE STORY?

Since there are no definitive “rules”, I do like to adhere to some strong guidelines regarding structure and plot points.

If I get to around page 25 or 30 and still don’t know what the main story or the protagonist’s goal are supposed to be, there’s a problem.

The writer was too focused on minor issues and details that the main storyline got lost in the shuffle.

SHOW, DON’T TELL, or HOW DO WE KNOW THAT?

A lot of writers would explain what something meant, or what somebody was thinking, or why they were doing it, rather than portraying it visually.

For example, a scene might say something like “Bob stands at the sink, washing dishes. He thinks about the girl he took to the senior prom and how she dumped him to run off with a plumber and now they live in Dayton with four kids and a cranky Pomeranian.”

You know what we’d see on the screen?

Bob washing the dishes.

Or “Jim was lonely.” How would that look?

There was a lot of reminding the writers that film is primarily a visual medium. Describe what we’re seeing and hearing, and let the characters’ actions and words do the heavy lifting.

A subcategory of this is TRUST YOUR READER/AUDIENCE TO FOLLOW ALONG AND FIGURE THINGS OUT

By explaining what we’re seeing or what’s going on, you’re denying the reader/audience the pleasure of figuring things out to help move the story forward.

This might also count as a subcategory, but there were quite a few times a line would say something like “Bob looks to Mary. He apologizes.”, followed by Bob’s dialogue of “I’m sorry.”

I can’t help but think this is because the writer wants to make absolutely sure that you understand what’s happening, so they tell you, and then show you.

Something else a lot of writers fell into the trap of was OVERWRITING (aka BIG BLOCKS OF TEXT)

There would be 4 or 5 lines at a time to describe what was happening in a scene, which for me, really slowed down the read. I want to be zip-zip-zipping along, not taking my foot off the gas to make sure I don’t lose my place.

“The more white space on the page, the better.” Can that paragraph of 4-5 lines be done in 3? 2?

There was also frequent use of “one the best pieces of writing advice I ever got was WRITE AS IF INK COSTS $1000 AN OUNCE” (shoutout to Richard Walter at UCLA) Try to say the most on the page with the least amount of words.

A lot of writers would go into exquisite detail about things not relevant to the plot, such as the decor of an apartment that’s in one scene, or what the extras in the background are wearing, or what happens to a random character in a fight scene. These sorts of things would distract me from following the flow of the primary storyline. I’d read it and wonder “what does this have to do with ____’s story? Would it make a difference if it wasn’t there?”

This one can’t be stressed enough – SPELLCHECK IS NOT YOUR FRIEND!

I get that not everybody has amazing spelling skills, and your eyes might be kind of tired of seeing the same text over and over again. But any writer should really know the difference between ‘your’ and ‘you’re, ‘there’, ‘their’, and “they’re”, and so on.

But when I read that a character “sets down a bag of frozen pees on the kitchen counter”, it makes it kind of tough for me to concentrate on the rest of the story. How can I think about anything else for the next 60-70 pages?

Not sure about spelling or punctuation? A lot of writers make for good proofreaders, so don’t hesitate to ask around for some help.

Friendly reminder – there is no apostrophe in “sees”. It’s “Bob sees Mary,”, not “Bob see’s Mary.” That popped up more than a few times.

Question for anybody who’s ever written a screenplay: do you ever read it out loud? Especially the dialogue. This really helps you get a grasp of how it should sound.

DOES THIS SOUND LIKE SOMETHING SOMEBODY WOULD ACTUALLY SAY?

You don’t want to run the risk of your characters sounding flat or dull, or too “movie-like”, which can include pure exposition (“As you know, I’m the wealthiest man in town who moved here sixteen years ago after striking oil in the Yucca Salt Flats, and now my twin daughters are running against each other for mayor.”) Let your ears be the judge.

Read it out loud. Host a table read (via zoom or eventually in person)

And speaking of dialogue-related items, I try to limit my use of parentheticals as few per script as possible. A lot of the time, they’re either not needed, or can be replaced with an action line (Bob points.) preceding the dialogue (BOB – “Look over there!”).

The context of what the character is saying should convey the appropriate emotion or interpretation. If I had a dollar for every time I saw the use of (sarcastic), I’d have…a lot of dollars.

As has been stated many times on this blog and throughout the screenwriting community, it takes a long time to learn how to write a screenplay, let alone a really good one. I’m not saying I’m an expert, but I believe I have a pretty firm grasp of what it involves, and am glad to have been able to offer my two cents to help other writers improve both their skills and their scripts.

Since this was a pretty significant undertaking, it was also a bit exhausting, so I don’t think I’ll be making the blanket offer again. I’m still open to reading scripts, but am taking a little time off to recuperate and recharge, so drop me a line after 1 April. Schedule permitting, we can work something out.

And a HUGE thanks to everybody who offered to read one of my scripts, which I might take some of you up on as the year progresses.

Okay. Back to work.