Q & A with Barb Doyon of Extreme Screenwriting

BarbDoyon

Barb Doyon is the owner/founder of Extreme Screenwriting, a Los Angeles-based screenplay and TV pilot coverage service. She is well known among Hollywood producers as a skilled ghostwriter who is also a produced screenwriter, producer and award-winning documentary writer.

She’s a yearly keynote speaker at the Script-to-Screen Summit and has authored books on screenwriting including, Extreme Screenwriting: Screenplay Writing SimplifiedExtreme Screenwriting: Television Writing SimplifiedTurn Your Idea into a Hit Reality-TV Show, 10 Ways to Get a Hollywood Agent to Call You! and Magnetic Screenplay Marketing. Before opening Extreme Screenwriting, she worked at Walt Disney Studios writing press releases for the studio and Disney Sports.

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

Extreme Screenwriting’s client Larry Postel’s upcoming Netflix movie The Main Event was a solid, inspirational read. Larry captured the Follow Your Dreams theme and wove it into a compelling conflict that incited a hero to break through his flaws and become a champion. It’s the story of a little boy who takes on WWE Superstars and I love how the trailer states the theme.

How’d you get your start in the industry?

I worked at Walt Disney Studios in the press room where I wrote daily press releases for then-CEO Michael Eisner and the studio’s production companies. One day a producer asked if I had time to do coverages and he showed me how to spot the diamonds among the coal heap. This eventually branched into my company Extreme Screenwriting.

What do you consider the components of a good script?

Whether they realize it or not, audiences want to viscerally live through a hero and experience the types of change they can’t, won’t, or are too afraid to implement in their own lives. Regardless of genre, the writer should make sure that the external and internal conflicts are interlocked, resulting in an external conflict that forces change in a hero. Most writers are excellent at coming up with unique concepts, but fall short when it comes to the hero’s flaw and arc. A good script combines external and internal conflicts to solidify a hero’s arc.

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

-Interlock internal and external conflicts, as noted above.

-A producer should be able to remove all dialogue from a screenplay and still know what the movie is about. It’s called a ‘motion picture’ for a reason.

-Don’t take format for granted. Learn how to use it to create pacing, emotion and to help guarantee fewer scenes are rewritten or deleted during the development phase.

-Stop asking gurus to explain subtext and start listening. Learn to hear subtext in everyday dialogue. This is fastest, easiest way to learn how to write it and how to become a pro at lingo.

-Don’t toss in something because you think it’s interesting. If Mona’s red skirt doesn’t mean something to the story as a whole, then leave it out.

-Learn the genre rules! Producers buy screenplays based on genre.

-Start thinking of description as action and create moving picture. Don’t tell us the room’s filthy. Show John walk in, toss cigarettes into an overflowing ashtray and kick his feet up on a pile of yellow newspapers.

-Be able to state the screenplay’s theme in one line. Producers ask, ‘What is the theme?’ to weed out amateurs from pros. Amateurs can’t answer this question.

-Your hero should get the best lines, the last line, the big scene moments, a grand entrance, and the worst-case scenario should happen to them and they alone should resolve the main, external conflict.

What was the inspiration/motivation for your book Magnetic Screenplay Marketing?

It’s heartbreaking to see extraordinarily talented, aspiring screenwriters struggle for years to get a producer to read their material. Extreme Screenwriting does help writers promote their material in our monthly newsletter, but writers need to spend as much time marketing as they do writing. Most do not! Instead, they send out a few queries here and there, maybe attend a pitch festival every couple of years and that’s it.

The market is rapidly changing, and if aspiring screenwriters don’t change with it, they’ll be left behind with little hope of getting their material into the right hands. The change in the industry requires a new way of thinking and it does have a learning curve, so that’s why I decided to make a book detailing how to get ahead of the curve and beat the competition with this a marketing strategy.

This book is very different from other screenwriting books in that it focuses more on what a writer can do AFTER they’ve gained some experience and have market-ready scripts. Is what you describe a newer development for screenwriters, and what results have you seen from it?

The marketing technique I outlined in the book, related to getting a producer to call you, isn’t new to the industry. It’s been around for a long time, but until recently, this strategy hasn’t applied to screenwriters. However, there’s been a shift in the industry. Like any other product (yes, a screenplay is a product), the buyer (producer) wants social proof of its viability and is even hiring staff to find material with this ‘proof’ attached.

The Magnetic Screenplay Marketing book teaches the writer how to develop this marketing strategy and put it to use. Prior to publishing the book, I worked with 13 writers to beta test the strategy resulting in agent representation, three options, a television pilot deal and 362 combined read requests, averaging 27 per beta tester. A few did fail at the process, but they didn’t complete the steps, skipped steps, or simply quit before even giving it a try. Therefore, results will vary, but the bottom line is the fact that the industry is changing. I highly recommend aspiring writers get aboard this fast-moving train before they’re left behind.

One portion of the book is about writers obtaining “bread and butter assignments”. What does that mean, and why are they a potential avenue for writers?

This pertains to one of the strategies outlined in a section of the book on how to get an agent to call you. The first agent 99% of writers sign with will be from a boutique agency. These are the smaller agencies in town and while they do make sales, most of their commissions are generated from writing assignments, rewrites, and ghostwriting. It’s so prevalent that it’s literally become their ‘bread and butter’, in other words it’s the main moneymaker.

However, a lot of writers refuse to do this type of work. They’d rather wait around to sell their own screenplays. This sounds reasonable, but if it’s been a year (or 2) and a writer’s work hasn’t sold and the writer won’t do this lucrative work, they become dead weight for the agent. This creates an ‘opening’ for the aspiring writer who notes in queries that they’re open to all kinds of writing assignments! During the beta test, one of our writers gained representation using this strategy. A writer who isn’t open to doing assignments is leaving a lot of cash on the table and missing out on a golden opportunity to gain representation.

You mention sending in writing samples (when and only when requested). One of the options you suggest is to send the last 10 pages of a script. Why the last 10 as opposed to the first 10, and what results have you (or other writers who’ve done this) seen from this?

This is a strategy I decided to add to the book after several years of hearing of its success. Most agents, producers and story analysts agree that most writers know how to nail Act I, but then the material starts to fall apart. The result is an accumulation of story points that miss the mark.

Therefore, if a writer can still intrigue them with a strong ending that reveals voice, theme, solidifies a plot, and nails down pacing while intriguing them to want to know more, then the screenplay’s worth reading. This isn’t the preference for all agents and producers, but even those who start off requesting the entire screenplay often flip to the end first.

You also have a section of the book regarding writers creating teaser trailers for their scripts. What’s a teaser trailer for a script, and what’s the advantage in doing it?

This is part of the new marketing strategy that involves creating an audience for a screenplay via social media, primarily YouTube. This doesn’t involve a Hollywood-style trailer, but rather a simple teaser video that can literally be done for $0 cost (the book shows how) and all the writer has to do is write a 1-page script.

Think about it. For years, producers have purchased books and reality-TV concepts that got their start on social media, based solely on the fact they came with a built-in audience. When a writer sits down to pitch a script, I guarantee the producer is wondering if the story can draw an audience, but imagine the potential for a sale if the writer walks in the door with an audience already attached to the screenplay. It’s a huge advantage and can make the project a hot commodity!

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

Extreme Screenwriting invites writers to visit us at www.ExtremeScreenwriting.com. We offer coverage, a free monthly newsletter, and see the Bookshelf tab for the Magnetic Screenplay Marketing book (available for instant eBook download).

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

Homemade blueberry.

blueberry pie

Q & A with Mitchell Levin

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Mitchell Levin was born in Detroit, Michigan. He received his BFA in Film from Columbia College, Chicago and his MFA in Dramatic Writing from New York University’s Tisch School of the Arts. He began his career as a Story Analyst at 20th Century Fox in Los Angeles, and as a development executive there worked with Arthur Miller on his screen adaptation of THE CRUCIBLE, which starred Daniel Day-Lewis.

Mitchell has worked, at one time or another, for every major Hollywood studio and has taught screenwriting at UCLA Extension. He recently left Steven Spielberg’s DreamWorks after 22 years as senior Story Analyst. There, he worked on films including GLADIATOR, ROAD TO PERDITION, THE RING, CATCH ME IF YOU CAN, THE HELP, BRIDGE OF SPIES, and more. He is now working as a freelance script consultant for film and TV and can be reached via his webpage ScriptsRX25.com.

What’s the last thing you read/watched you considered to be exceptionally well-written?

It was a clip someone posted of a single scene from the TV show PEAKY BLINDERS, which I hadn’t watched but now will. So tense! Two male and one female gangster threatening a nun at an orphanage where a little girl had been abused. Masterfully written, performed and shot. Very still, but very edge of your seat, very heart in your mouth.

How’d you get your start in the industry?

While I was getting my MFA in Dramatic Writing at NYU back in the ‘80’s I did an internship as a reader for a producer named Martin Bregman, who made SERPICO and SCARFACE, among others. They hired me after the internship was over.

You were a Story Analyst at several major studios. What did that job entail and what were your responsibilities?

I started at 20th Century Fox when I moved out here. Not everyone knows this but the major studios are all signatory to the Story Analyst’s Union, which pays quite well, as opposed to freelance reader jobs. The union was very difficult to get into, even back then, and is virtually impossible now. I was then promoted to development executive and set up THE CRUCIBLE. I actually gave notes to Arthur Miller (he implemented all but two!) I told him, in our first meeting with then-president Roger Birnbaum, that we decided to set THE CRUCIBLE in space. Cute, huh?

After three years I realized being a corporate executive was not for me. I worked as a story analyst for every major studio at one time or another, but spent the past 22 years at DreamWorks. My job was to cover submissions, but also to help develop projects by doing in-depth notes from the time we acquired scripts or books to the time they either went into production or into turnaround.

When you’re reading a script, what about it indicates to you “this writer really gets it”?

Clear, coherent writing. Compelling premise and protagonist. Authentic sounding dialogue. Well-choreographed, not too-dense action if it’s an action piece. Clearly defined central conflict. An interesting world or a new spin on a familiar idea. And hopefully, a story behind the story, i.e., a bigger theme.

Follow-up – have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

The only script I remember giving a Recommend to was called THE ASSUMPTION OF THE VIRGIN, back around 2002. It wasn’t a spec, it was written by Anthony Minghella, based on a book set in the Renaissance. Sydney Pollack and Benicio del Toro were attached.

Readers shy away from Recommend because it sets off too many alarms. A Double Consider (for script and writer) is sufficient to let the exec know you’re excited. A Recommend is really sticking your neck out, and if the exec doesn’t agree with you, you worry you’ll be in trouble even if you’re told you won’t be.

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

To some extent, of course. Then again, it’s also subjective. One person’s cup of tea may be another person’s cup of swill.

What do you consider the components of a good script?

First of all, a great premise, but they are hard to come by. Beyond that, a compelling protagonist (who doesn’t have to be likable if he/she is fascinating), dialogue that pops, a clearly defined conflict, and always, escalating stakes and hopefully a sense of surprise.

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

– Know your logline. Often I get the sense a writer couldn’t tell me their logline if asked; not concisely, anyway. A one or two sentence synopsis of the story that tells me the inciting incident, who the protagonist is, who the antagonist is, what the central conflict is, what the stakes are, and gives me a sense of the possibilities within the story without giving away the ending.

– Leave plenty of white space on the page. Readers hate lots of dense black text. Don’t overwrite. That goes for dialogue and action.

– Don’t introduce too many characters at once that will be hard to keep track of.

– Don’t give character similar names (Jenny, Joanne, James)

– While the reader has to read and synopsize your entire script, the exec may not read past the logline on the coverage, or past the first 15 pages of your script. You have only that brief window to really engage him/her and let them know “what is” – who, what, where and why – and really grab them.

– Very important – Don’t be boring!!

Are they are any cliches or tropes you’re just tired of seeing?

I hate clichés always, and a trope isn’t necessarily a cliché. If by trope you mean a metaphor or archetype, they can always be done well or poorly, whether it’s “cross-cultural romance” or “reluctant hero”. Certain clichés bug me more than others, because they come up so frequently, like: “EMILY, 25, beautiful but doesn’t know it” or when the villain says to the hero “We’re not so different, you and I”. Or villains named DEVLIN because it sounds like DEVIL. Or when a character says “I just threw up in my mouth a little,” which makes me throw up in my mouth a little. It was funny the first time I heard it in a ‘90’s sitcom, but hasn’t been since. Likewise, the word “amazeballs,” which comes up a lot in comedy scripts, but I doubt anyone has ever actually said it in real life.

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

Since leaving DreamWorks, I’ve been working as an independent script consultant. My webpage is ScriptsRX25.com. I work one-on-one, in-person, or via Skype or Zoom. I work conversationally, as opposed to using written notes. I find it’s far more productive for writers and far more stimulating for both them and me. I can help with screenplays or TV pilots.

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

When I was a kid I wasn’t fond of birthday cake and always asked my mom to make me a cherry pie. My tastes are more sophisticated now. Unfortunately, I’ve since been diagnosed with Type 2 diabetes. This surprised me, as I don’t have a weight problem. When I asked my mom about it, she said, “Oh, yeah, I forgot to tell you.” It seems it runs through the whole family on her side, but it skipped her.

cherry pie 2

So the only pie I tend to eat these days is humble pie, usually on those occasions, and there have been many, when I embarrass myself in front of famous people.

 

Q & A with Jim Vines

Jim Vines

A Beast Is Born COVER (High Resolution) (COMPRESSED)

Jim Vines has been a screenwriter and script consultant for a number of years. His first produced film was THE PERFECT TENANT (2000). He has optioned several of his scripts and has also been commissioned to write or rewrite scripts for numerous producers. He has written a play (staged in 2009), a web series (2009), a book of interviews with screenwriters (2006), and “indie-published” his first novel in 2015. His latest book, A BEAST IS BORN, was released in 2019.

Jim, who was born in New York City but grew up in Los Angeles, and currently lives atop a hill that affords a truly inspirational view of the Hollywood sign.

What was the last thing you read/watched you considered to be extremely well-written?

I kinda hate to say this, but I don’t watch TV per se, so if you asked me to name two or three top TV shows, well, I probably couldn’t do it. But a few years ago, I thought MAD MEN was great. (I should point out the reason I don’t watch scripted TV is that I’m an avid watcher of documentaries and interview shows found on YouTube.) As for theatrical movies, I haven’t been to a new release in about eight years. Actually, that’s not entirely true. Tarantino’s ONCE UPON A TIME…IN HOLLYWOOD got me back into a theater. I had high hopes for that one. All I’ll say is: I didn’t care for it.

I do a decent bit of reading and tend to go through a lot of biographies. A recent one was of Stanley Kubrick written by Vincent LoBrutto, which was pretty fascinating. I just did a re-read of Jack Kerouac’s excellent THE TOWN AND THE CITY. A few months ago I read Donna Tartt’s THE GOLDFINCH which I really enjoyed. I also finally read the Daniel Keyes novel FLOWERS FOR ALGERNON, which was pretty amazing. I just finished reading Anne Tyler’s rather poignant novel A SPOOL OF BLUE THREAD and wrapped up the audio-book of the classic TRUE GRIT, written by Charles Portis (who passed away recently).

As you can probably ascertain by these titles, I’m drawn to stories about people and their plights, their struggles, where they’re trying to understand where they fit in with the rest of the world. This is what I find interesting.

How’d you get your start in the industry?

It was 1994 and I had been writing scripts with the intent to sell for four or five years. I knew this low-budget producer – she really liked a thriller script I’d written, so she optioned it. She never did get the script off the ground, but at least I knew my writing was solid enough to garner interest from producers. I kept sending scripts out. A couple of years later another opportunity came my way in the form of a script assignment from a budding producer who had read some of my work a year or so before. There was no up-front money but he was pretty certain he could sell the script to a production company where he had connections. So, I wrote the script (based on his story)—and he actually got it sold!

It was a bit of a roller-coaster ride for the next few years, but the script was eventually produced and the movie did quite well on the cable TV circuit. It played constantly on cable and broadcast stations here in the United States and also around the world (I know this because I’d received some pretty decent foreign royalty checks, which was nice). Having this credit on my resume made getting meetings, script assignments – everything from page one rewrites to doctoring scripts- and optioning original scripts a wee bit easier.

What do you consider the components of a good script?

You need to have interesting and/or compelling characters that people will feel something for. Even if it’s a bad guy, you have to give him (or her) at least a smidgen of humanity. Look at Hans Gruber in DIE HARD. Sure, he was a cold-blooded killer – but c’mon, he had such a great sense of humor! You should have a story that continually moves forward and doesn’t get bogged down. I can’t tell you how many novice scripts I’ve read where ten pages goes by and NOTHING happens. It’s just dialogue or superfluous actions that might seem cool or interesting while you’re writing it, but has virtually nothing to do with the story being told.

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

-Write screenplays because you love to write and love telling stories, not because you
think you’re gonna get rich and famous. (Quick, who won the Best Screenplay Oscar last
year?)

-Writing is work—and if you’re not willing to put your rear end in a chair and your
fingers on the keyboard on pretty much of a daily basis, you probably need to find
another career path.

-Rules were meant to be broken, but first know these rules before you break them.

-Rewriting is your friend.

-Formatting isn’t what makes a script sellable. Sure, you need to get it all looking nice and proper, but the actual words you put on those 100 pages—this is what you need to focus on.

-There is no one particular way to write a screenplay. Your job is to discover the method
that works best for YOU.

-Don’t rush things. Send your scripts out only when they’re ready. As they say, you only
have one chance to make a first impression. If you send an agent or producer a script
that’s still pretty rough, chances are they won’t want to read any of your future work.

It’s my opinion—and I’ve done over 200 critiques/evaluations—that about 99% of all
novice screenplays are nowhere near marketable shape, so please, don’t write your first
two or three screenplays intending to sell them; write them merely for the purposes of
learning the craft.

What was the inspiration/motivation for your book A BEAST IS BORN?

For a long time I’ve wanted to chronicle the writing, marketing, production, and afterlife of one of my projects. I just never got around to it. But as the marketing phase of my short horror SUSIE’S BEAST script ground on, I realized I had plenty to write about: all the ups and down, all the gut-punching disappointment. I had personal journal entries (I’ve kept a daily journal since 2004) and emails relating to SUSIE’S BEAST, so I figured it was now or never. I pieced it all together and—voilà—A BEAST IS BORN!

I don’t think most pre-pro (i.e., novice) screenwriters realize how long it can take for a script to finally end up in front of a camera. Whether you’re talking about a 15-page short (which is what SUSIE’S BEAST was) or a 120-page feature, the script-to-screen voyage can take years and years. Sadly, that’s the rule and not the exception. I wanted the reader of my book to get a sense of that journey.

It took 11 years for your script to be produced, which must have really tried your patience. What was it that made you keep going?

It’s not like SUSIE’S BEAST was my entire world. I had a lot going on a personal level. As for my writing life, I was working on my first novel, writing and producing a web series, and had been getting script assignments—so I was keeping busy. Aside from all that, I knew this was a solid script that absolutely had to get made.

What were some of the takeaways/lessons you learned from the whole experience?

I’m not sure I learned much of anything I didn’t already know, but it definitely reminded me that in order to be a screenwriter you need to have a certain doggedness and faith in your own writing. I also realized I might be a little too lenient with people, giving them too much time to get things done or make up their minds. If I hadn’t been so indulgent, I probably could’ve shaved a year or two off that 11-year timeline.

Despite everything you endured trying to get SUSIE’S BEAST made, is writing (and
potentially making) a short film something you’d recommend to writers?

Getting a short film made typically will not do a whole lot for a screenwriter’s career. If the finished film makes any kind of a splash at film festivals, it might do something for the director, the actors, maybe even the director of photography. But for the writer – well, hopefully they get a fun and creative experience. That’s pretty much all I wanted out of it. Luckily, that’s what I got! But having your name on a produced short – especially if it wins some awards – can’t do you too much harm. So, yeah, go for it!

You’ve also written another Hollywood-based book—your novel LUIGI’S CHINESE
DELICATESSEN. What was the inspiration for that?

I figured my first novel should be about something I knew, so I wrote about a young guy going to Hollywood with the dream of becoming a screenwriter. The story is loosely – very loosely – based on some experiences I’ve had in this town. As I’ve mentioned in previous interviews: “The book is 97% a work of fiction—and no, I’m not telling you which three-percent is true.” It’s a fun ride, it really is. One review referred to it as a “cautionary tale,” which I think is pretty accurate!

How can people find out more about you and your work?

A BEAST IS BORN is available on Amazon. Check out Jim Vines Presents which is my “creative page” on Facebook, and my screenwriting blog The Working Screenwriter.

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

This is a very silly question, but an excellent one. Let’s see…I’ll have to go with pecan. I love pecan pie. Pumpkin’s also pretty great, especially when it’s topped with whipped cream. But pecan pie on its own – sooooo good!

Q & A with Victoria Lucas of Lucas Script Consulting

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Victoria Lucas has more than 20 years of experience as a development and production executive at both major studios and independent film companies. She began her career with Ron Howard at Imagine Entertainment, working on films including Clean and Sober, Backdraft, and Far and Away.

She later joined with Academy Award-nominated producer Rudy Cohen to develop and produce the acclaimed coming-of-age film The Island On Bird Street (winner of three Emmys and two awards at the Berlin International Film Festival). As Director of
Development, Production Executive and Associate Producer at Signature Entertainment and April Productions, Lucas helped develop projects as diverse as The Black Dahlia, The I Inside, and The Body.

Lucas currently works as an independent producer and runs a professional screenplay development service for producers, production companies and screenwriters. She is also the on-air host for Arizona Public Media’s Saturday night feature film program, Hollywood at Home, providing historical background and an insider’s look at the making of classic films.

What was the last thing you read/watched that you considered to be extremely well-written?

Parasite. I was highly impressed by that script, especially the way the writers managed to switch plot directions – and even genres – so seamlessly. In fact, I feel that films, television and streaming shows are in something of a “Golden Age of Writing” at the moment. For instance, look at two other recent films: Joker and Knives Out. I’m in awe of how Todd Phillips and Scott Silver managed to make us sympathetic to the characters in Joker (helped, of course, by Joaquin Phoenix’ amazing performance). And Rian Johnson did a masterful job of updating and reinvigorating old Agatha Christie tropes in Knives Out.

How’d you get your start in the industry?

To be honest, it all started at birth. My mother, father and two grandparents were in the industry, with both my dad and grandma being successful screenwriters. I grew up in a house where writing was an everyday job, and it was taken very, very seriously. Unfortunately, their talent didn’t rub off on me, but I discovered through reading my dad’s work – and hearing about the process it went through before reaching the screen – that my real interest lay in working with writers to develop their scripts. From there, my career began as a reader, followed a pretty straightforward trajectory: producer’s assistant, story editor, creative executive, director of development, then into production.

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

I learned to recognize good writing through years of reading and discussion at home growing up. But if you’re asking whether good writing can itself be taught or learned, the answer is “Yes, I think it can.”

Screenwriting is both an art and a craft. You might be born with a talent for telling stories, but that’s only half the equation. Putting those stories onto paper in a way that will appeal to producers and audiences is the other half, and that’s the hard part. You need to hone your technique; or, put another way, to “develop your writing muscles.” Screenwriting classes, writers’ groups, how-to-books, blogs and podcasts – all can help. One of my favorite podcasts is Scriptnotes with John August and Craig Mazin.

But the bottom line is this: You have to sit in your chair and write. And write. And write some more. No matter how naturally talented you are, you must practice your craft. It’s no different than becoming a master painter, concert musician or sports star. The more you do it, the better you become.

In the end, though, every writer is different; each with their own technique. Some like to outline their story so they know exactly how it will unfold before they begin to write. Others prefer to let the characters “tell” them what’s going to happen. Some are naturals at structure; others write great dialogue. The challenge for a writer is to identify the elements of screenwriting that don’t come naturally, then work hard to improve them.

What do you consider the components of a good script?

A script is the blueprint for a movie, and the drawing begins with the concept. A great premise is like having an engine that drives the plot and the characters. If it is strong enough, it acts as the spine of the movie so that the structural elements – a compelling story, memorable characters, exciting action and all the rest – will fit together and support each other to produce a successful on-screen result. It’s not enough to create a literary masterpiece that’s envisioned entirely in the reader’s head; if the script lacks cinematic elements, it’s unlikely to get produced.

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

I know writers are tired of hearing about it – and many will simply ignore the  advice — but the way you present your screenplay is more important than you think. That means formatting to industry standards and doing more than a cursory spellcheck. Now, I can guarantee you that no producer ever passed on a great script because of a few spelling mistakes, but the script had to get to her in the first place. You need to realize that the first person to read your screenplay is likely to be a junior development person, an assistant or even an intern. Most of those people have a dozen or more scripts to plow through every week before the company staff meeting. If your script looks unprofessional with too many formatting errors, it’s far too easy for it to be put down.

A common mistake among emerging screenwriters is to overload a script with plot. Cramming in too many plots and subplots doesn’t allow you to develop the characters within the story. So, while a lot might happen, it’s hard to care about the people involved. Conversely, you don’t want a story where nothing seems to happen or change. Films are about conflict and drama. Always think, “What’s at stake?”

Passive lead characters are problematic. Hamlet may be indecisive but he’s not passive. In a similar vein, try not to fall onto the trap of creating supporting roles that are vivid and cinematic, while your hero is bland and uninteresting.

And please, please avoid using dialogue as exposition. I cringe every time a line starts with, “As you know…” or “Do you remember when we…?” That’s designed to give information or back story to the audience; it’s not something real characters would say to one another. Incidentally, when I was a young development exec, my friends and I used to compete for the best (read: worst) lines of expository dialogue. I won with “Tell me again why we’re going to Grandma’s.”

What story tropes are you just tired of seeing?

It’s disheartening to me to find spec scripts that are pale imitations of the hot new movie or television show that just came out. Even experienced writers often forget that by the time a film is released or debuts as a series, the studio pipeline is already filled with similar projects. Rather than chase after what seems to be commercial at the time, write a great story that you feel passionate about – one that may change the direction of what’s commercial, just as George Lucas (no relation) did with sci-fi in 1977.

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

Read scripts. As many as you can. Then read some more. You can easily find Academy Award winning screenplays online, but don’t limit yourself to the greats. Mediocre or bad scripts can teach you a great deal… even if it’s “what not to do.” One often-overlooked element in screenwriting is structure. The classic three-act structure is the norm in a majority of American films, but there’s nothing magical about it: more and more scripts are written in five acts. However, every script needs a structure just as a building needs a foundation.

There’s a truism in films: writing is rewriting. You may feel that you’ve finished your work after you write Fade Out. But really, you’re just beginning. Most of the films I was involved with averaged 9 drafts before production started – and that’s on top of however many drafts the writer did before submitting the script! Learn how to take notes. Films are collaborative and, unless you write, produce, direct, finance and star in your movie, you will be getting notes. You might not agree with or accept all of them, but do be open to outside ideas that can help your script. Writers groan (often quite rightly) about “development hell,” but the reality is that most scripts can be improved.

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

I’ve probably read over ten thousand scripts in my career, and I remember giving four straight-up recommends. That doesn’t mean I haven’t read dozens or even hundreds of superb scripts, but a development executive’s job is to find projects for her production company. If the company I work with produces mainly action films and I read an outstanding character drama… well, no matter how brilliant it is, it’s not a script I can recommend to the producers. Mind you, if the script is that good, I’ll for sure find out more about that writer and, at the very least, see if they might have something else I can take in to the producer.

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

Absolutely worth it! But be selective. There are too many contests out there that only want to take your entry fee. Do your homework and find the reputable ones. Nothing about the film business is easy, but placing well in the most prestigious contests can be a great calling card for a new writer, helping you get representation or even producers asking to read your screenplay. Some of the top contests use industry professionals as judges, especially for the finalists. This can be a big plus: If they read your script and find it’s a good fit for their company or agency, you’ll be hearing from them after the contest even if you don’t win.

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

My company is Lucas Script Consulting.  All the information you need is on the website, including a link to contact me.

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

Cherry. Ideally made with tart (sometimes called sour) cherries. Bliss!

cherry pie

Q & A with Lisa Gomez

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Lisa Gomez is a Los Angeles-based singer/songwriter, aspiring screenwriter, novelist and professional story analyst. She writes screenplays, songs and novels with her twin sister. Together they are writing a Barry spec, a 30-minute dark comedy, a period drama pilot, and a feature based on their father’s life as an immigrant and his pursuit of the American Dream. She is currently obsessed with Disneyland, matcha, the tv show Barry and reading as many books as she possibly can. You can visit her script consulting website at geminiscriptconsulting.com.

What was the last thing you read/watched you considered to be extremely well-written (any medium)?

The pilot of Barry. It has everything that makes a story compelling and unique. Professional screenwriters have always given aspiring screenwriters these three bits of advice when setting up a character and a world: 1) Start the story with your main character doing something interesting.  2) Show the main character’s day to day, show the audience what a typical day in the life of this main character looks like. 3) Show the audience the main character’s problem. Well, in a whopping 30 minutes, this show delivers all of this and sets up the promise for more.

[Spoilers for the pilot of Barry ahead]. The very first moment of the show shows Barry walk into a hotel room, holding a gun while the camera mostly focuses on the dead body that’s lying on a bed with a bullet through his head. Immediately, this sets up the main character doing something interesting… okay, so, he’s a killer. Possibly a hitman. Whoa, that’s interesting. Then, it shows Barry’s day-to-day. We see him fly home on an airplane, get annoyed at a fellow passenger that opens a window to let the light in (a subtle but effective metaphor), then he plays video games, alone, and takes a shower, alone. Immediately, we get it. This is one lonely and depressed dude that gets no fulfillment from killing.

So, within the first five minutes (and theoretically the first five pages of a screenplay), Barry sets up the main character doing something interesting (killing someone), shows the main character’s typical day to day (he flies home after a hit, he’s alone, bored and does nothing substantial besides killing) and sets up what his problem is (that he’s depressed and gets no fulfillment from his job). It’s a pitch-perfect setup to a show. One could argue that the set-up is traditional and therefore cliché. But because this is a unique character and the premise is so bizarre, Bill Hader and Alec Berg made this setup interesting and makes the audience clamoring for more. And this is all just the first five minutes… if you haven’t seen this show, please do. It’s a masterclass in writing.

One of your job titles is story analyst. What does that job entail, and what are your responsibilities?

A story analyst is essentially someone who gives script coverage for studios, production companies and agencies. In other words, someone who receives a script and has to write notes on that script, on what’s working and what’s not working with the script, if I would pass, consider or recommend the script for the agency/studio/company. I have to read the script in its entirety, write a synopsis of the script, write a logline, describe the main characters and then write comments on why I would pass or recommend the script. Occasionally, in my notes, I offer solutions to story problems.

How’d you get your start doing that?

This is a fun story. My sister actually found an internship listing for a script coverage reader for a literary agency on entertainmentcareers.net. I applied and got the job. I did that for about a year. Then, as luck would have it, a Nicholl fellow walked into my retail job and I recognized him because he spoke at one of the classes that I took at UCLA Extension. We got to talking and he said he could refer me to a low-paying but highly regarded script coverage job. I applied, had to do test notes on a script and then got that job.

Once I started getting more and more experience, I had screenwriting friends I’d met in various networking events in LA refer me to different script coverage jobs. Every friend I met through networking was an aspiring screenwriter that eventually got a job in the entertainment industry and either reached out to me about the script coverage job or I would ask if they knew about any script coverage jobs. This is truthfully the first time I finally understood the importance of networking in this city.

When you’re reading a script, what about it indicates to you that “this writer really gets it (or doesn’t get it)”?

First and foremost, the grammar. I know, that seems like such an obvious answer but it’s true. You would not believe how many scripts I read that have beyond atrocious spelling and grammar. Sometimes the ends of sentences don’t have periods. I wish I was joking.

Secondly, clarity. What do I mean by that? Clarity is probably the easiest and the hardest aspect of writing a great screenplay. Easy because once you put on the page exactly what you want the reader to know, you’re done. Hard because putting exactly what you mean on the page is very very difficult. This is why script coverage or having someone read your script is helpful. It can point out the areas that the writer thinks makes sense but in reality, it doesn’t and it only makes sense to the writer.

Clarity, for me, means a few things. One, that the writing makes sense. For example, if you’re writing an action scene, please write description that is easy to follow and easy to read. The worst thing you can do for a script reader is make them read lines of description a few times in order to understand what’s going on. We get bored and frustrated.

Secondly, that the character’s arcs, story and plot is clear. It sounds simple, but again, most scripts don’t have this. I think it’s because the writer knows the story so well that the writer forgets to put in important and obvious things. For example, I was doing coverage on this script where the main character was queer. It was a very interesting main character, but I didn’t understand why this character’s queerness affected their journey because every character that interacted with this character loved and relished their identity. The writer then told me “Oh, because this story takes place in 2010.” BAM! I now understand the context of the story. But that date was nowhere in the script. It could be little details like that that can make a script clear or unclear.

What do you consider the components of a good script?

Clarity/conciseness. No one wants to read a script that doesn’t make sense, or rambles on too long. Make it sweet and to the point. And make it fun and interesting to read.

An interesting main character that has an interesting and relatable problem. So many scripts I read don’t have this in its entirety. Especially the relatable part. The main character might have an interesting problem, but it’s something that literally no one on this earth can relate to.

When the main character has a goal that’s actually attainable, but also difficult. This is something I don’t see all the time. What’s really important is that your main character has the skills to defeat their problem/the antagonist but it’s still difficult. A great example of this not happening is Star Wars: The Rise of Skywalker. Sure, you know that Rey is strong, but you don’t know specifically how Rey will be able to defeat Palpatine. This makes the story boring because the audience can’t participate in her journey in how she can do that. She just defeats Palpatine. It’s not set up how she can. It just happens. This is story suicide.

The script is great if it has something to say. What is your theme? What is your unique point of view on the world? Not only that, but what is your unique point of view on a specific theme? For example, everyone writes about redemption, but what are you trying to specifically say about redemption? Are you saying it’s not possible (Barry), that it is possible, but a very hard road (Bojack Horseman), or are you saying that it is possible (Star Wars: Return of the Jedi)?

Interesting situations/scenes. If you have a scene where two people argue, that can be boring. If you have a scene with two people arguing in the middle of a mall, that instantly makes it more interesting.

Great dialogue. If you have dialogue I’ve heard before, that makes me cringe. If you have dialogue specific to the character and only that character can say it, it makes me happy.

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

The way screenwriters describe women as beautiful, sexy, or simply defined by their looks. It’s disgusting, objectifying and just plain terrible. It’s 2020. Women have always been complex. It’s time to write us as such.

Too much description. Description writing is very hard, but please don’t have paragraphs and paragraphs of description. Try to write what only needs to be in the script but as simply and concisely as possible.

Cliché dialogue. A lot of the scripts I read have the following lines: “It’s too late!” “You really don’t get it, do you?” “Hi, my name is [blank].” “So, are you new around here?” It’s exhausting. We get it. You’ve seen a lot of movies. Please prove it by not giving us these lines that we’ve all heard a million times. Sometimes it’s inevitable. You have to. But please try to the least you possibly can.

What story tropes are you just tired of seeing?

One-dimensional women. I promise you, women are human beings that have ambitions and feelings that don’t revolve around men.

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

Write from the heart.

Write with something to say.

Get your first draft out as quickly as possible.

Even if you don’t like outlining, do it.

Read screenplays. They’ll help you write screenplays.

Live life.

Enjoy the process of writing.

Show your writing to people who will give you honest feedback.

Have a clear structure in your story.

Pitch your show/movie idea to your friends. If they don’t like it, either fix what’s wrong with the premise or think of another idea.

Screenwriting contests. Worth it or not?

Yes. Contests are great for deadlines and keeping yourself accountable. Because, if you’re paying that submission fee, you want to submit the best work that you have. However, don’t make your entire screenwriting identity about contests. I did and that got me nowhere. Use them for deadlines and don’t think about them after you submit. Just write the next script.

Follow-up: You’ve placed in the top 50 of the Nicholl. What was the script about, and what happened for you and/or the script as a result?

The Academy Nicholl Fellowships in Screenwriting are amazing. I’ve had friends become Nicholl Fellows and I’ve had friends in the top 50. We all have similar experiences.

That script was co-written with my writing partner, my twin sister. It’s a biopic about the nine weeks that Vincent van Gogh spent with fellow artist and rival Paul Gauguin. What started off as a friendly rivalry between them ended with Vincent cutting his ear off. It was my sister’s and I’s first screenplay… and it was the first draft. When we were announced in the top 50, we got about a dozen e-mails from huge agencies… I’m talking, CAA, WME, Anonymous Content, you name it… we sent them our script and then… crickets. I believe this script wasn’t ready and I also don’t think we sent them out to the agents and managers that would respond to our type of script anyway.

Here’s my biggest piece of advice if you place highly in a reputable script contest: contact the managers and agents you want to or agents that represent writers that write similar scripts to you. If my sister and I did that, I think we would have been represented by now.

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

I recently began my own script coverage service. If you would like quality script coverage with an affordable price, please visit my website at geminiscriptconsulting.com.

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

Aye, there’s the rub. Unfortunately, I have a gluten and lactose intolerance, so I can’t have pie unless it’s gluten-free and dairy-free. I know, it’s a sad existence. However, if I could have any pie, I personally love apple pie. Maybe because when my stomach could handle those pesky ingredients, I would always love getting apple pies from McDonald’s during my youth and that taste just brings back good, happy childhood memories.

apple pie