professionalism

At least buy me a drink first

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Pop quiz!

You’ve got a script you’re quite excited about. You’ve slaved away on it and now can’t wait to show it off to the rest of the world.

But you want to make sure it’s as good as it can be, and that means getting feedback.

Who do you ask?

Is it:

A – a professional script consultant

B – somebody in your network of writers

C – a total stranger you just met. Like, minutes ago

And the answer is…?

Okay. Pencils down.

It would be nice to think that common sense, logic, and professionalism would influence your answer.

A and B are both correct.

Unfortunately, there are some who think it’s C, and are very adamant about that decision.

I was recently on the receiving end of such a scenario. A writer had asked to connect on a social media platform, I accepted, and within a matter of minutes received links to a trailer and pitch deck for their script.

I responded with a blunt “thanks”, to which they said they were looking for help to improve the script.

I said I’d try to think of some suggestions for consultants and services they could check out.

They were hoping I’d do it, to which I responded “I charge for notes too”.

They took that as “I accept your offer, and will now work with you!” and sent an NDA for me to sign.

I’m sure you can guess what my reaction to that was.

I tried to end it by saying that starting a connection with “Thanks! Read my stuff! Help me!” was not the way to go. Shockingly, they failed to get the point and kept going.

There were a few other issues that came up, so let’s just say the rest of our exchange proceeded to go downhill like an out-of-control bobsled on fire.

FOR CRYIN’ OUT LOUD – DON’T DO THIS!!

I get it. The enthusiasm. The heightened adrenaline. The hope/daydream that anybody who reads your script will immediately proclaim it “best ever!”

What a lot of writers, both new and those still learning, fail to comprehend is that part of being successful at screenwriting is establishing and maintaining professional relationships. You can’t just jump right in with a total stranger and say “You don’t know me, but I want you to help me”.

Would you want to be on the receiving end of that? Of course not. So why do some writers feel it’s a savvy move? If anything, you’re sabotaging yourself before you even get started.

It’s essential to take the time to build your personal network, and one of the key phrases here is “take the time”. Nothing happens in the blink of an eye. It requires patience, tact, and civility.

Putting in the time and effort to be a good screenwriter isn’t only about the writing. Knowing how to play well with others is just as important.

Be nice to people. Treat them how you’d want to be treated. Help them out if/when you can.

Then you meet for drinks.

That’s how you do it.

From the archives: May I be of some assistance?

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info booth
“Be with you folks in a minute.”

Seeing as how we’re in the season of giving, I thought this post from July 2019 regarding helping out other writers in multiple capacities was rather appropriate.

Enjoy.

For the most part, working towards making it as a screenwriter is a solitary effort. You’re the one who has to write the script and get it out there. It’s a tough journey, but you don’t have to go it alone.

Hence – networking.

Making that initial contact is great, but you should also strive to make it worth the other person’s while as much as you are for yourself.

Once you start to build up your own personal community of Other Writers, and those relationships gradually develop beyond the “Hi. Nice to meet you” stage, you’ll naturally seek out some help in the form of feedback – your latest draft, a query, a logline, what have you.

And that’s all well and good, but it’s equally important, if not more so, for you to return the favor. Rather than just popping up and saying “Hey, would you read my script?”, try “Hey, we’ve known each other a while, and you seem to know what you’re talking about, so would you be open to reading my script? And I’d be more than happy to reading one of yours.”

Helpful tip #1 – don’t be the person who asks for notes but isn’t willing to give them.

Helpful tip #2 – even if you don’t like what their notes say, you still need to hold up your end of the bargain and give them notes – especially if you’re the one who asked in the first place.

Sometimes the best kind of help is when it’s unexpected – either from you or from somebody you know.

A few years ago, a producer friend of a friend was looking for a certain kind of project. I didn’t have anything that met their criteria, but offered to post the listing on a few social media platforms. At least 20 writers responded. I sent their info to the producer, who then contacted a few of them (as far as I know).

What did I get out of it? Just being happy to help and the appreciation from all the writers – even the ones the producer didn’t follow up with.

I’ve also been fortunate to be on the receiving end, with friends sending me emails and messages about listings seeking scripts like mine.

A little effort really does go a long way – anything from forwarding a script or job listing to a few words of encouragement, or even offering congratulations for somebody achieving some kind of accomplishment. Don’t you like when somebody does that sort of thing for you?

As much as we’re all working towards our own individual success, we’re also part of a community; one where each member should help support the others in whatever way they can.

From the archives: My two cents on giving my two cents

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Plus an extra cent to cover expenses

After the whirlwind of the last few weeks organizing the Maximum Z Summer ’22 Script Showcase, putting together Volume 2 of my book series Go Ahead and Ask! (officially published on July 21, and Volume 1 still available here and here), reading for a contest, and working on my own stuff, I think I’ve earned a brief respite.

But never fear. I wouldn’t want you to go without a post for this week.

During the occasional break between all that stuff I just mentioned, I’ve also been able to do enjoy some just-for-the-hell-of-it reading of friends’ scripts. Each one has been a great read, and even better – no notes necessary.

That, of course, reminded me of a post from Jul 26, 2019 that was all about giving and receiving notes.

Enjoy (and happy 4th of July weekend to my American chums).

After a brief hiatus, I’ve started giving notes again. It’s always helpful to step away from your own material and dive into somebody else’s. More often than not, it’s a win-win situation.

Sometimes there are exceptions to that rule, but more on that in a minute.

The quality of the writing has ranged from just-starting-out to seasoned professional, so my notes and comments are provided with the level of feedback most suitable to the writer’s level of expertise. One writer might still be learning about proper formatting, while another might want to consider strengthening up that second subplot.

One of my cardinal rules of giving notes is to not be mean about it. I never talk down to the writer, because I’ve been in their shoes. I do what I can to be supportive and offer some possible solutions, or at least hopefully guide them towards coming up with a new approach to what they’ve already got.

One writer responded by saying they were really upset about what I’d said, but then they went and re-read my notes, and couldn’t argue or disagree with any of them.

I’ve always been fascinated by the expression “This is a reflection on the script, not you (the writer).” In some ways, the script IS a reflection of the writer; it’s their skill, their storytelling, their grasp of what should and shouldn’t be on the page, that are all being analyzed. After spending so much time and effort on a script, of course a writer wants to hear “it’s great!”, but as we all know, that doesn’t always happen.

Sometimes I worry my comments are too harsh, but just about every writer has responded with “These are SO helpful!”

About a year ago, a writer I was connected to via social media asked to do a script swap. Some quick research showed they seemed to be experienced with writing and filmmaking, so it seemed like a good idea.

I read their script, and didn’t like it. I said so in my notes, and offered up what I considered valid reasons why, along with questions raised over the course of the story, along with some suggestions for potential fixes.

What I was most surprised about was that this person presented themselves as a professional, and maybe I was naive in taking all of that at face value and believing the quality of their writing would reflect that and meet my expectations.

It didn’t.

It also didn’t help that they opted to not give me any notes on my script. At all. Just some snarky retorts. Guess my lack of effusive gushing hurt their feelings, and this was their method of retribution.

Oh well.

Interesting follow-up to that: I later saw them refer to my notes in a quite negative way, along with “this script has even gotten a few RECOMMENDS”, which is always a great defense.

Follow-up #2: we’re no longer connected on social media.

Could I have phrased my comments in a more supportive way? I suppose, but I figured this person wanted honesty, not praise. And like I said, I assumed they had a thick skin from having done this for a while.

Guess I was mistaken.

And I’ve been on the receiving end of it as well. A filmmaker friend read one of my scripts and started with “Sorry, but I just didn’t like it,” and explained why. Did I pound my fists in rage and curse them for all eternity? Of course not. Their reasons were perfectly valid.

Or the time a writing colleague could barely muster some tepid words of support for one of my comedies. I was a little disappointed, but after having read some of their scripts,  realized that our senses of humor (sense of humors?) were very different, so something I considered funny they probably wouldn’t, and vice versa.

I’ve no intention of changing how I give notes. If I like something, I’ll say so. If I don’t, I’ll say so. You may not like what I have to say, but please understand that it’s all done with the best of intentions. My notes are there for the sole purpose of helping you make your script better.

Isn’t that why we seek out notes in the first place?

Still a thing?

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That little paper box full of extra cards is tucked away somewhere

A few weeks ago, I had the pleasure of being interviewed on the Telling The Show podcast to talk about networking as it relates to screenwriters.

Over the course of the discussion came this question: in pre-COVID times, it wasn’t uncommon for a writer to have a business card. Does a writer still need one?

I thought it was a great question, and had to really think about it.

My initial thought is probably not, especially due to how most networking is now done online, and most writers have their phone with them, so contact – or at least reaching out – can be practically instantaneous.

What good is having a card to hand out when you’re practically isolated and there’s nobody around to hand it to? These days you’re more likely to connect with somebody via a social media platform, so you’ll probably do everything via email and/or texting in order to set up meeting one-on-one.

A lot of writers now have a strong online presence – websites, blogs, an account on Youtube, Twitter, Instagram, etc., so it’s significantly easier to get in touch with somebody to strike up a conversation, or at least establish a professional relationship.

Keeping that in mind, in-person interaction is slowly coming back, so if we get to the point where you show up at a venue where you don’t know anybody, and then have some nice conversations with people, would you want to have a card to hand out, or be comfortable asking for their email address?

There are exceptions, of course. A majority of writers tend to be on the introverted side, so dealing with a real live person can be somewhat intimidating. This makes online networking easier for some people. Somebody quiet and shy in person might be more involved or outgoing on a Zoom call or on Twitter.

Just as an example, I recently tweeted a compliment to the hosts of another screenwriting podcast regarding the interview they did with a high-profile manager (I also included the manager in the tweet). Both hosts and the manager liked it, and another writer friend of mine added in his two cents, leading to a brief discussion among all of them.

I didn’t do it because I was trying to suck up to the hosts or hope the manager would offer to read something; it was because I liked what I’d heard, and wanted to let them know that. Would I have achieved the same results if this had been done in person? I’m going to go with “slightly maybe, but probably not to the same extent”.

Online interaction is one of the things I encourage for writers seeking to expand their network. Nobody’s going to get to know you if you hang back and stay quiet. Become involved. Join conversations. Just make sure to be polite, civil and respectful.

There are forums and group chats to take part in, as well as lots of screenwriting groups on Facebook. I find the smaller ones to be better because the members tend to be more experienced, more mature, and of a more rational temperament.

Networking and interacting has really changed, especially over the past few years. But one thing remains the same: online or in person, business card or no, be the kind of person you’d want to know.

Hope you like receiving what I’m giving

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Despite what some may say, it’s actually kind of tough to get a gift for a screenwriter. Straight-up cash – for contests and consultants, of course – is always good, but Murray in the accounting department says Maximum Z’s budget only goes so far, so that’s not an option.

So I figured, how about the next best thing?

You guessed it. Guidance!

So in the spirit of the season, here are some helpful tips that can benefit any screenwriter. One size fits all, the color suits you to a T, and they never fade, run or tear.

WRITE SOMETHING YOU WOULD WANT TO SEE

You like comedies? Write one that could make you laugh out loud. Horror fan? Transfer the scares onto the page. Your taste runs towards small indies? Bet some aspect of your life would be a great foundation for a story like that.

When you go to the movies or sit down to watch something streaming at home, you want your money’s worth. It’s up to the script to deliver on that.

The writer’s love of the material should be evident on the page. The reader/audience will pick up on your enthusiasm for the material, so don’t hold back and have at it. You’re your own target for this, so what would you want to be included in your story?

WRITE AS IF INK COSTS $1000 AN OUNCE

You want the words on the page to really flow, to make the reader keep going and want to turn the page/see what happens next, right? Which do you think will do the job better? Two lines of tight, concise action, or five of excessive prose? I’ve seen both, and prefer the former by a substantial margin.

The subheading for this could be “the more white on the page, the better”. You want to make the absolute most out of that valuable real estate on the page, so why would you want to clutter it up with thick blocks of text? Grab that red pen, put on your editor’s hat, and jump in. Could this dialogue or action be trimmed down from four lines to three? Or two?

The more the writing flows, the faster the read, and the more likely you are to keep your reader’s interest. Try to use as few words as possible; the ones that make the biggest impact.

SHOW, DON’T TELL

You’d think this was a basic one, but I’ve seen a lot of scripts that include what a character is thinking, why they’re doing something, or what something really means.

In other words, “How do we know that?” Film is primarily a visual medium, so if you’re able to present information we can see that’s part of the story, do it!

Here’s an example I like to use:

“INT. KITCHEN – NIGHT

Bob stands at the sink, washing dishes. His mind drifts to when he took Mary Lou to the prom, where she subsequently dumped him and then ran off with a plumber and now lives in Akron with four kids, a cat, and a mortgage.”

What would we see onscreen? A guy washing dishes. That backstory info needs to be presented visually, or as much as can be.

SPELLCHECK IS NOT YOUR FRIEND

True story: I once read a script that included the now-immortal line “She sets a bag of frozen pees on the counter.” I had a lot of trouble focusing on the rest of the script after that. Couldn’t tell you for the life of me now what the story was, but I will remember that line until the very end.

When a writer asks me to look over their script, I’m not just doing story notes. I check punctuation, spelling, grammar, the whole shebang. Having a few goofs is pretty standard; anything more than that and it becomes a problem. Sloppy writing makes it look like the writer isn’t taking this as seriously as they should. Not a great speller, or tend to overdo it with the commas? No problem. I bet there’s a writer within your network who’d be happy to do a polish for you.

DON’T BE BORING

Easier said than done, right? It’s a challenge to make any story interesting enough to hold onto the reader/audience’s attention, but it all starts with what’s on the page. Is the writing flat, or does it really pop? Does the writer have a handful of verbs they use over and over, or have they given their thesaurus a real workout?

Which sounds more visual and intriguing?

He walks into the room.

OR

He struts into the room.

Hint: it’s not the first one. Doesn’t imagining somebody strutting into a room feel stronger, more cinematic, than somebody simply walking in?

The script is your way to paint a picture in our minds using words, and words alone. It’s up to you to do that in as entertaining a way as possible, using the words that pack the most punch.

Does the writing in your script do that?

BE NICE TO PEOPLE/PLAY NICE WITH OTHERS

Another one you’d think would go without saying, but manners do count – especially when it comes to meeting people who could potentially have an impact on you establishing a career.

Which would you rather be – the congenial person who’s interested in what the other person has to say, is open to ideas and suggestions, celebrates somebody else’s accomplishments, and wants to help out, or the bitter, self-important person who constantly whines/complains about how they’re not getting the recognition they deserve, badmouths other writers, won’t change anything in their script because “it’s perfect the way it is”, and just makes it all about them?

This is an extremely tough business to break into, let alone thrive in, so wouldn’t you want as much support as you can get? And every other writer needs as much support as you do, so you should try to help them just as much. Plus, nice people are nicer to be around.

Also important – be honest. Don’t present yourself as something you’re not. If you weren’t telling the truth about one thing, why should anybody believe you about anything else? Sometimes all you have is your reputation, and you don’t want to have it work against you.

Those within the industry would much rather work with somebody who presents themselves as a team player, and not a diva. Cliched as it sounds, you really do only get one chance to make a first impression. Make sure that yours puts you in the best possible light, then you do what you can to keep yourself there.

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And that’s it. Hope you get some use out of these, and feel to re-gift as needed.

Wishing you all the best for a happy holiday season that involves a slice of your favorite pie and at least a little bit of writing.