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Terri Zinner

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-consultant-instructor Terri Zinner of afilmwriter.com.

Terri Zinner has been in story development for over 15 years. She began as a reader for Blue Cat competition and then a reader for Gallagher Literary, who eventually promoted her to SVP of Development.

Terri is also a produced writer and Producer of independent feature films such as EL CAMINO, THE BRIDE FROM OUTER SPACE and other independent projects. Terri worked on the award-winning film MONDAY MORNING.

Terri has provided story consultation on such films as AMERICAN SNIPER, ALBERT NOBBS, KILL YOUR DARLINGS, BREAK THE STAGE, THE HOWLING: REBORN, WHAT MAISIE KNEW, THE BRASS TEAPOT, LOUDER THAN WORDS and more….

Being named as one of the top story consultants in Creative Screenwriting Magazine, Terri is a sought-out story and screenplay analyst. Terri founded the website A FILM WRITER and developed the Screenplay Reader Training. She mentors and trains a team of screenplay readers.

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

I had the honor of reading the script AMERICAN SNIPER. It’s one of those rare occasions when you know that this script is something special from the very first page. The script was heart pounding and riveting from the opening through the ending. The story just came to life for me, as if I were actually watching the movie. The writer, Jason Hall, earned a well-deserved nomination for a harrowing script. I’m also always in awe of TV writers, who have a special gift with words. I admit I haven’t had much time for watching TV, but DAMAGES was one of my favorite shows because I thought the writers did a terrific job of creating a complex character in Patty Hewes. She was a fascinating, morally corrupt character to watch, and I found the dialogue to be very powerful. I try to watch a variety of films, but when I watch now, I tend to pay more attention to the structure. In fact, I forced my friend to go to a horror film, EVIL DEAD, just to analyze how the structure worked.

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

Like most readers, I began by writing screenplays. I optioned a few, but then I was provided the opportunity to become a reader for Gallagher Literary and a reader for Gordy Hoffman’s Blue Cat competition. I found that my real skills were in deconstructing a screenplay and guiding the writer in the development of their script. I read all I could on developing screenplays, structure, and what makes for a great character. I went from a reader to Sr. VP of Development. It just became a passion that I haven’t overcome. I created my own website AFILMWRITER.COM with the idea of helping writers at an affordable rate. Through word of mouth my business began to grow and expand. I also freelance for other agencies and have produced independent films. I developed a program to help teach and mentor others on how to become an effective professional screenplay reader. I enjoy nothing more than the creative process and mentoring writers in their craft.

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

Like writing, I think being a screenplay reader or story analyst is a craft. It requires a fundamental understanding of the rudiments of structure, plot, tension, character, dialogue, and what makes for a great story.

I actually teach a course for potential readers. It’s an intensive course and the reader is given the opportunity to practice coverage. I’ve seen my readers grow as analysts, but like anything, it requires ongoing learning and understanding the craft, being open to visionary worlds, and having a passion for the craft. It’s not about being punitive or negative, but for me it’s about finding the strengths in the writer’s script and helping the writer build upon those strengths. I do become concerned about people who claim to be professional readers, but know little about the craft. A reader has to have the ability not only to deconstruct what’s on the page, but also to be able to deconstruct what’s not on the page.

4. What are the components of a good script?

There’s so much that goes into writing a great screenplay. It’s a skill to bring those elements together. You can have a terrific idea, but executing that idea is the major challenge. Creating an original concept, or taking a tried and true concept and telling it from a new point of view is one step in crafting good script.

Understanding structure, pace, and how tension and conflict works is pivotal to the craft. Creating deep and complex characters with not only a well-identified external goal, but with inner conflict and struggle is part of writing a great character. Giving characters strong moral choices to make and defining moments can create powerful storytelling. Powerful dialogue can propel a script. Incorporating an emotional theme that’s well assimilated into the script can make for a compelling script.

A writer should be asking questions like this: Is there a ticking clock tension and sufficient tension to sustain the story? Does this tension build? Is there a relationship component to the story? Is there a satisfying ending that involves a hero/foe conflict or confrontation?

A reader knows a great script when they can visualize it as a film in their mind vs. on the page.

For me, the most significant component of a great script is that the script provides an emotional experience, in which not only does the character learn something about life, but so do I.

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

Normally, it’s the lack of the writer having the ability to convey a clear and compelling story. It can be challenging to read a script and not be able to visualize what the writer is attempting to convey. I honestly want to be able to provide constructive notes, but sometimes you run into a script and you’re simply bewildered by what the script is truly about. This commonly occurs when the writer doesn’t stay on task with the goal and the script isn’t goal-focused. The hero may not be proactive. Without a strong structure it’s going to be a long, difficult read for the reader.

For new writers, certainly professional presentation is a common mistake. First impressions are important, but these elements are easily correctable. Writing “ordinary” characters or on the nose dialogue is also more typical with new writers. Some writers tend to over write. They add dialogue when dialogue isn’t necessary and they forget the power of visual storytelling.

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

I recently wrote a blogpost on this topic. Several scripts involved slacker men playing video games. Script after script, all these immature men are obsessed with video games. Some of the other common tropes for me are lines of dialogue that make me cringe. My most feared line in a script has to be: “You’ll never get away with this.” If I read a comedy, most likely in the first act the character will lose their job, get evicted, and break-up with their significant other. If the character races to the airport at the end of the script to stop the person they love from leaving, it’s not original. I have to admit I’m not fond of the script in which the world is in jeopardy of being blown up. There’s always a way of taking the tried and true, and crafting it to be more refreshing.

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

-Learn the craft. Study structure. Understand conflict and tension.

-Understand it’s a creative process. Feedback, coverage, and rewrites are part of the process. It’s not personal.

-Be passionate about what you write.

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

I have been fortunate to read some great scripts ranging from American Sniper to Killing Your Darlings to Albert Nobbs. All were recommends. I’ve read other scripts that I have given a recommend to and they are in development. On the other hand, I have given “consider” to scripts that have also been produced. I’ve watched some of films I’ve recommended and haven’t enjoyed the film as much as the script. “Rating” a script can be somewhat subjective. I’ve given recommends on scripts that others have passed on, and I’ve passed on scripts others have given considers or recommends to. The lesson for writers is that every reader is not always going to love or like your script. That’s okay. You also shouldn’t just rely on one reader. I always encourage getting coverage from more than one professional reader to get a good idea of how readers are reacting to your script. Make sure they know their craft.

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

There are many screenwriting contests, so I think the writer has to be selective in which ones they enter. It can be an opportunity for writers to get their name out in the community and receive feedback, but it’s also a business and can be costly. A writer has to remember that placing in a contest doesn’t necessarily mean the script will receive a consider or recommend from a professional reader. On the other hand, a great script may not place. Contests are very dependent on the reader you get.

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

I am always open to writers or potential readers. They can contact me at afilmwriter@aol.com or visit my website afilmwriter.com

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

Cinnamon Crumble Apple Pie.

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rob tobin

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-author-lecturer Rob Tobin. 

Rob is a produced, award-winning screenwriter, published novelist, former motion picture development executive, author of the screenwriting books “The Screenwriting Formula” and “How to Write High Structure, High Concept Movies,” as well as several screenwriting CDs. He’s been a frequent guest lecturer on screenwriting at film festivals and writing conferences around the world.

*April 2015 update – Rob is currently working on a multi-book adaptation project and is not available for story notes, but can fit in one additional script polish or rewrite assignment.

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

My wife and I just saw “The Normal Heart,” which blew me away. Brilliantly written, acted and directed. Most importantly, the title wasn’t the only thing that had heart, something most films no longer have. Even a film like “The Fault in Our Stars,” a film with tremendous heart, that I loved. I’d much rather see a film or read a script like that than a brilliantly written script with no heart.

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

I’m originally Canadian, and came to USC in L.A. to get my M.A. in screenwriting and become a working screenwriter. My background was as a novelist. Everyone at USC told me I should intern at a film company. I did, and started reading scripts as part of my internship. Lots of them. Years later as a development exec, I stopped counting at 5,000 script scripts read and covered. In that process, I wrote two screenwriting books, starred in a couple of screenwriting DVDs, then people started flying me around to lecture on screenwriting – Canada, New England, the South of France.

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

Definitely something you can be taught. Screenwriting has structure, elements, rules, all of which you can learn. Of course some people are going to be better at it than others. In addition, there is the other part of being a script consultant, and that’s helping the writer find ways to improve her or his script. That can also be taught, but there’s a much bigger talent component to that.

4. What are the components of a good script?

I actually wrote a book about the seven essential elements of a well-written screenplay, but to be honest, as I mentioned, one of the biggest aspects of a well-written script is heart. Yes, you can write a brilliant script about crime, sex, war, and so on. Bond movies are great, but I still think that heart is what makes a script special. Something like “The Normal Heart” or “Good Will Hunting”, or even comedies like “Big” or “Tootsie” have heart. High concept is also important but as I said in another recent interview, a high concept piece of crap is still a piece of crap. A low concept work of brilliance is still a work of brilliance. There are techniques and elements, of course, but I love that old saying about not writing because you want to say something, but because you have something to say. Say something worth saying, and say it with heart. If I had only one piece of advice to give, that would be it.

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

Mistakes in a script are almost always structural, because almost everything emerges from structure. Dialogue, characterization, theme, it all emerges from structure. If you don’t understand structure, you’re in trouble. When I work with clients, the first thing I do with problem scripts is talk to the writer about structure. The mistakes and solutions are almost always located there.

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

Easy killing. Doesn’t matter whether it’s a cop who easily kills a bad guy, or an action star killing hordes of bad guys, easily, without remorse, and without ever getting shot him or herself. Killing as a relatively trivial thing is the worst trope of all in my opinion, and it can’t go away fast enough.

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

-Write only if you enjoy writing, because the chances of making a living at it are extremely remote.

-Learn your craft.

-Never submit a first draft of anything.

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

“Thank You for Smoking.” It came to me when I was a director of development. Out of thousands and thousands of scripts I read, I recommended 34, despite the fact that I worked for major producers who were getting the best scripts from the best agencies, but that was it: 34 out of over 5,000 scripts, all from the best agencies in the business. “Wag the Dog” and “Dangerous Minds” are some of the scripts I recommended. Every other script, the ones I didn’t recommend, had structural problems.

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

Yes, if they’re the right ones. I always tell beginning writers to never submit their first, second, third or even fourth scripts to the industry itself – producers, agents, etc., but rather to contests, especially contests that give feedback. That way if their first few scripts are subpar, they’re not going to be branded by industry people as subpar writers. And the feedback from the contests can help them figure out what their weaknesses are.

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

Email me at scripts90@gmail.com. I don’t do coverage anymore, but I do story notes, polishes, rewrites, and adaptations.

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

Apple pie with ice cream.

Scriptshadow Success Stories – part 2

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image courtesy of Springfield Punx
image via Springfield Punx (http://springfieldpunx.blogspot.com)
As one of the multitude of screenwriters working on establishing a career doing exactly that, I’m always exploring different potential avenues to get that first break.

In recent years, the website Scriptshadow (and its moderator Carson Reeves) has offered writers the chance to submit their script for review and feedback. While most are sent back to their keyboards with suggestions of potential fixes for the next draft, once in a while a script garners approval, hopefully leading to continuing success for the writer.

Today’s spotlight is an interview with two of four writers who fall into the latter category: Matthew Ballen, whose script placed in the site’s recent Top 10 Amateur Scripts EVER, and Louise Ransil, whose script was a semifinalist in the 2013 Tracking Board Launchpad competition and was recently profiled in the LA Times (see below).

1. What’s the title and logline of your script?

Matthew Ballen (MB): FATTIES – When a lonely masochistic chubby chaser is abducted by two fat lesbian serial killers, it’s the best thing that ever happened to him.

Louise Ransil (LR): MARLOWE – Based on a True Story:  African American P.I. Sam Marlowe shows novice writer Raymond Chandler the realities of detective work, juggling gangsters, corrupt politicians and movie star Jean Harlow to find out who’s burning farms along the Arroyo Seco Canyon.

2. What did Carson think of it?

MB: Carson said he couldn’t put FATTIES down and that it was really memorable. I made a lot of unusual choices, and I think this clicked with Carson because he sees a lot of scripts that in his opinion play it too safe.

LR: Carson’s reaction was mixed. He was completely honest, saying the noir genre wasn’t in his wheelhouse. He seemed to enjoy the dialogue and elements of style, but was put off by the dense and complicated plotting. He suggested I streamline the plot.

3. Did you find any of the reader comments useful?

MB: Carson thinks FATTIES may be one of the most polarizing projects he’s had on the site. My favorite reader was probably the guy who said “It’s stuff like this that makes me question the fate of Western Civilization.” I found that strangely flattering. Fortunately, a lot of readers liked it though.

LR: Reader reaction was fairly positive. Carson has a very knowledgeable reader base.  Some commented on how the script’s style and structure fit classic noir. There was discussion on whether the genre was relevant to current audiences. I found the comments useful, and overall reactions reflected those I’ve gotten elsewhere.

4. What’s happened with the script since it appeared on Scriptshadow?

MB: The review couldn’t have come at a better time. I was up for my first major re-writing assignment, and the producer and director who hired me each saw the SS review on their own. I should clarify that I already had a relationship with these people, but I didn’t have any produced credits and they were taking a big chance on me. My Scriptshadow attention made everything feel a little safer for them.

I’ve since done a deep polish on FATTIES, and it’s attracted some nice attention from a couple of producers, but nothing concrete yet. I’ll probably wind up directing it myself when my writing gigs slow down, but I’m still interested in finding a home for it if something cool comes up.

LR: Since my script appeared in Scriptshadow, it was featured in a Front Page L.A. Times article. This created some buzz for it, so I’m now shopping it around.

5. What’s going on with your writing career now?

MB: I’m currently writing a screenplay adaptation for veteran Academy Award-winning producer Arthur Cohn. The project’s a complex period drama, almost the polar opposite of FATTIES, though I think unexpected humor and a certain humanity to the characters might be the bridge between them.

LR: I’m working on other scripts now.

6. How can somebody get in touch with you to inquire about this or other scripts of yours?

MB: If anyone wants to reach me about my projects, rewriting, script doctoring, or watching their pets when they’re away, I can be reached at ballen.matthew@gmail.com.

LR: *editor’s note – Louise has opted to not include her contact information.

7. Is submitting a script to Scriptshadow something you would recommend?

MB: Absolutely! I think Amateur Friday is one of the best ways to get attention and feedback on an amateur script.

LR: I definitely recommend Scriptshadow. It’s good exposure and a balanced critique.

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

MB: Fresh strawberry pie from a farmer’s market in June. Oh, and every other kind of pie.

LR: Pecan.

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Sidney Stephens

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 Sidney Stephens of Sidney Scripts Consulting.

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

One of my favorite things is when a novel is adapted to the big screen. That’s when the writer in me really comes out to play. I’ll first read the book, then the screenplay, and eventually I’ll get around to seeing the film. I did this about a year ago with the hit TV series “Under the Dome” by Stephen King (only read the pilot script, however), and I also did this with “Gone Girl” by Gillian Flynn. It’s very interesting to see how the story changes from one medium to the next. I enjoyed both of these the most of my recent reads.

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

While getting my Master’s degree in Creative Writing years ago, I read numerous scripts, mostly for my classmates, friends and co-writers, and mostly as a pay-it-forward kind of thing. Over a year ago, a friend of mine asked if I would like to start up a script consulting business together. I’d done so much ‘freelance’ work that it made sense. Three months later, my friend backed out of the whole thing. I, on the other hand, rarely back out of anything. So here I am, sole owner of Sidney Scripts Consulting.

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

Absolutely. Part of learning to write a good screenplay is learning to recognize what that means. And there’s no better way to do that than to read tons of screenplays. Breaking them down into what makes them good and what makes them great. The real trick to recognizing a good screenplay is not finding one that reads smoothly and is error free, its finding one that reads smoothly, is error free, and will translate all its intended emotion to the screen in a way that will captivate its targeted audience.

4. What are the components of a good script?

Believable characters and natural dialogue are two very important components of any decent script. Good characters are what draw the audience into the situation; they are what the audience relates to. If they aren’t believable or their dialogue isn’t natural or strong, it will leave the audience asking themselves why they even care to finish the script/film. Yes, settings are awesome and a twisty plot is always a great way to ramp up a screenplay, but without relatable, believable characters, its not enough to make a good script great.

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

Some writers, mostly new writers, try to dictate every inch of how the story will play out on film. With tons of camera angles, actor cues, and scene transitions it is hard to stay in the story. It’s important for the writer to know their part of the process and to do just that. Let the actors do their jobs, allow the directors and cameramen do their job, and just stick to writing a great story. Always remember to show, not tell.

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

End of the world stories are really starting to wear me out. I think I’ve read every possible way the earth could end, blow up, shatter, freeze, burn, etc. and yet, the surrounding stories are all the same. Man saves family only to stay behind and sacrifice himself for the future of the world. The entire movie is watching them attempt to stop the inevitable only to fail miserably. Until finally, at the last possible moment, the guy saves the planet and is reunited once again with his loved ones. Yawn.

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

  • Writing is rewriting. No matter how great you think your draft is, it needs a rewrite. Deal with it.
  • Have a target audience and know exactly what it takes to reach them.
  • Write what you know.

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

I’ve definitely read some worthy scripts in my days as a consultant. However, it is only after working closely with the writer on rewrites and such and knowing what producers were looking for at that particular time. I think finding any script that is “without a doubt” anything is a rare find that all consultants want that next script on their desk to be.

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

Screenwriting contests are a great way to get your screenplay read and possibly receive some fairly descent feedback. However, using these contests to “break into the business” or as a way of earning thousands on their scripts, they better be something spectacular. The reality is, hundreds of thousands of writers enter screenwriting competitions every year, and only a handful make it past the volunteer readers in the initial read. Can it be your screenplay? Of course. It is worth it? Well, that depends on the writer.

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

My website: www.SidneyScriptsConsulting.com

My Facebook page: https://www.facebook.com/sidney.stephens.9465

Email me with any questions: SidneyScriptsConsulting@gmail.com

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

Sorry, I’m a brownie girl!*

(*Editor’s note: The blasphemy of this statement will not be held against Ms. Stephens.)

Ask a PAGE Silver-Winning Script Consultant!

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Derek Ladd

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 consultant Derek Ladd. His script Nina NANO was a Silver Prize Winner in the 2013 Page International Screenwriting Competition.

Award-winning screenwriter Derek Ladd started telling stories as a kid and never stopped. He lives in Portland, Oregon where he spends as much time writing as he does shaking off the rain (which is pretty much all the time).

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

The last exceptional script I read belongs to Matt Tolbert, a client of mine. I can’t go into specifics but it’s an historical screenplay about the Nordic Vikings. It’s refreshing to work on a script that pulls me in on page one and doesn’t let go. All of the elements (pacing, plot, characters) came together to create an immersive reading experience. As for movies, the last one I saw that featured great writing was DALLAS BUYER’S CLUB. This is a movie that nails the writing on all levels: the visuals, the dialogue, the subtext, all of it. Another surprisingly good movie I loved is an indie foreign film (horror comedy genre) set in Ireland called GRABBERS.

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

When I started my script consulting service, one of my early clients wanted to produce a movie. I’d written a couple dozen short stories and a few novels by this time and this client had read some of my work. And since a screenplay is the first element one needs to make a movie, she recruited me to write one. The only obstacle was that I had no idea how to write a script. So I bought two books on the subject and they didn’t help: each book contradicted the other. Then I bought one of those fancy bound scripts at Barnes & Noble – ADAPTATION (Charlie Kaufman, based on Susan Orlean’s book). Of course, it was more of a transcript so it didn’t help much either. I finally gave in to the fact that I would need to attend a class, and in Portland, Oregon the master of screenwriting was Cynthia Whitcomb. I took both of her classes, read her books and picked it up pretty quickly. My first script was an adaptation of my novel WITHOUT WINGS. From there I started reading scripts written by my classmates so I could give them feedback. The writers I worked with were so pleased I started doing it professionally. To date, over a dozen of my clients have won or placed in a variety of screenwriting contests.

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

I would say ‘Yes’ to both questions simply because one has to know how to recognize good writing in order write good material. While writing novels I found inspiration in everyone from Heinrich Boll, Truman Capote, Norman Mailer, Kurt Vonnegut and David Sedaris to William F. Nolan, Anne Rice and Stephen King. If an aspiring screenwriter thinks GIGLI or SHOWGIRLS is a great screenplay, trying to write a great script will be damn near impossible. If, however, the same screenwriter dives into work by Michael Mann, the Coen brothers, Joss Whedon, or Luc Besson (to name a few), or any brilliantly written script (JAWS, FARGO, THE MATRIX, HAROLD AND MAUDE, SERENITY, THE SILENCE OF THE LAMBS), that writer will strive to achieve the same level of success in their own work. Excellent writing that makes you laugh and cry and get goosebumps has more power to teach aspiring writers than any classroom instruction ever could.

4. What are the components of a good script?

The Seduction Element: I watched a good DVD lecture featuring Michael Hauge a while back called ‘Grabbing The Reader In The First 10 Pages’. Mr. Hauge opened the lecture by explaining that part of the title is a misnomer: he said that ‘grabbing’ is too forceful a word and that what a writer should aim to do is seduce the reader. That’s at the top of my list. Seduce me with your words. Make it impossible for me to put it down: make me laugh, make me anxious and/or make me curious in the first five to ten pages. If you can evoke a strong emotion in the reader as soon as possible and keep it flowing that reader will be yours to the end. A famous writer (don’t ask me who) once said, “The first sentence should make you want to read the second. The second sentence should make you want to read the third…”

Strong characterization: A fleshed-out, intriguing character has the power to lead the reader anywhere. If a script starts out with three pages that describe the inside of a barn or a ton of details to set up what’s to come, I’ll put it down, or throw it at you if you’re close enough. The writer may have created the most awesome outpost on an alien planet anyone has ever dreamed up, or constructed the greatest plot ever conceived in the history of the written word, but without a solid character to invest in it won’t matter. For me, strong characterization is the whole shebang: a memorable introduction, sharp, believable dialogue, behavior that’s consistent with how the character would act in a given situation, etc. If the character has an arc (not required in some genres, but strongly recommended) it should be begin and end at the proper times – no rushing and no shuffling. Steady as she goes…

Originality: Is this a script I’ve read a hundred times before, or will it surprise me? I’m not saying it has to be about a group of purple, basketball-shaped alien opera singers from the planet Snergle. When I say ‘original,’ I’m referring to the unique spin a writer puts on the material. As an example, a good detective story populated with adults is okay, while a detective story populated with high school kids (like the film BRICK) is original and stands out. No need to reinvent the wheel; popular genres are popular for a reason. Just find a way to spin them and surprise the reader.

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

Everyone’s guilty of typos and grammatical errors (myself included), so it’s a given that any editor/consultant will find them. Aside from that, one common technical mistake I see involves scenes that spill over into other locations without new scene headings. Drives me crazy. I also see a lot of scene headings written improperly, missing words, character name inconsistencies and factual errors (names of objects, cities, states, countries or famous people misspelled). To a lesser degree, I see action lines that are jumbled: a character enters, pulls a gun, fires. Then it’s noted that the light is flickering overhead. Oh, and the guy in plain sight by the pool table (who was never mentioned before) fires back. It’s like when someone tells a joke and stops in the middle to say, “I forgot to mention, the guy riding the donkey is a priest.” It’s distracting. Unless you’re writing a narrow-to-wide shot, set the scene: describe who’s there and what they’re doing then describe the action. Otherwise it feels clunky and awkward.

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

The expression “I get it” is everywhere now. I don’t know where it came from. Maybe it’s like the cicadas that surface every 17 years or whatever and it’ll disappear soon. Here’s an example: “Hey, getting hit in the crotch with an umbrella ticked you off. I get it.” The biggest users of “I get it” are the writers for SUPERNATURAL, CRIMINAL MINDS, and SONS OF ANARCHY, all great shows that would be even greater if they’d stop using “I get it” six times per episode. It’s superfluous. Think about it: if one character describes what another is feeling, is it necessary to cap it off with “I get it.”? No. It isn’t. So please stop it. A visual trope, as it were, is the weird technique where the action goes into slow motion then speeds up again. I think the movie 300 started that whole thing. Hopefully a better movie will come along to put an end to it soon.

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

The following answers are based on the assumption that the writer has developed a unique concept and story that he/she is passionate about. My answers further assume that the fundamentals of story, characterization, plot, dialogue, writer’s voice, pacing, style and overall balance (60% action, 40% dialogue) have been carefully considered throughout the writing process.

-The first 5-10 pages are life and death for a writer. As an editor/consultant, I get paid to analyze a writer’s work. Studio script readers, on the other hand, get paid to say ‘No’ to conserve a producer’s valuable time and an investor’s money. So unless you give the reader a solid reason to say ‘Yes’, your script is headed for the recycling bin. Set the hook as soon as possible and set it deep. Make that studio reader take your script into the bathroom (to read).

-Unless you’ve written a character-based indie script, structure is critical. Do your own structure analysis to see where you land: inciting incident by around page 12, plot point one by the 1/4 mark, strong midpoint by the 1/2 mark, plot point two by the 3/4 mark and the climax in the last 10-15 pages. You’re allowed a brief end-cap/denouement of 1-3 pages and then FADE OUT.

-Formatting DOES matter, especially for a spec script. Know the average length for comedies, thrillers, horrors, dramas, etc. Turning in anything under 90 pages or anything over 120 is a longshot. Know that formatting varies between different genres and how to use these varied techniques to your advantage. Barb Doyon’s book Extreme Screenwriting has an excellent chapter on formatting and how to use it to enhance a spec script.

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

I’ve read a few scripts over the years I would strongly recommend, which is probably right in line with the industry percentage of one half of one percent. I don’t have loglines to share, but the clients whose scripts I would recommend include Chanrithy Him (WHEN BROKEN GLASS FLOATS), Santa Sierra (spec episode of THE GOOD WIFE), Bill Johnston (REQUITED), Erin McNamara (BORU), Mike McGeever (SMILERS) and Dorothy St. Louis (EL CUBANO). Others can be found at ProofEdge.com on the Testimonials page.

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

It really depends on the contest. My advice is to do some research, comb the web and read message boards. Moviebytes has a lot of info on contests and how contestants rate them. Find a contest that’s a good fit for your work. Some contests aren’t as open to traditional Hollywood blockbuster-type scripts (Zoetrope), while others offer a range of categories to accommodate all writers (PAGE Awards). If it’s a sizeable, reputable contest (PAGE Awards, StoryPros, Nicholl, among many others) I strongly recommend using it as a measuring stick to see where you stand as a writer. A writer shouldn’t get too bummed if his/her script doesn’t make it past the first round – a script can do poorly in one contest and win another, it happens all the time. Many contests offer notes for an additional fee, which can be quite helpful if done by a professional. Keep in mind that, while winning is the goal, simply making the Finals can attract studio attention, and doing so looks good on a resume when querying agents and producers. Winning or even placing in a contest can make the difference between an exceptional, unknown writer and an exceptional, discovered writer.

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

Check out my website www.deladd.com, or email me at derek@deladd.com.

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

Apple, hands down. My mom always made the best apple pie when I was growing up. The way she makes it, the apples aren’t too sweet and they’re not overcooked and mushy. A couple of years ago I made a butter crust from a simple recipe I acquired as a sous chef. The combination of her perfect filling and my crust (which melts in your mouth) is pretty spectacular.