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Joey Tuccio

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 Joey Tuccio of Roadmap Writers.

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

I was going to try to be fancy and say NIGHTCRAWLER or GONE GIRL but I really, really like the series BROAD CITY. Though I’m sure some of it is improvised, I get really inspired by writers that create their own content, which is exactly what these two girls did. And now they have their own show.

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

I used to read for a ton of production companies to get my foot in the door. Suggestion to all aspiring writers: INTERN!

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

You can be taught for sure.

4. What are the components of a good script?

Good question. There are so many variables, but it really comes down to characterization. Without that, the script has no heart and no connecting tissue. It all comes back to the character, which doesn’t necessarily mean the protagonist has to be the most complex character in the world. It just means the protagonist should be relatable, even if it connects with us in a dark way.

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

Writers who think they’re ready before they are and jump in way too early. I’m an Italian New Yorker so I understand impatience, but you’ll spend more time trying to get traction if you rush. Take the craft seriously. An executive once said to me that most writers write as a hobby whether they know it or not. Don’t be that writer. An executive can smell it a mile away.

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

Female characters that are just used as visual trophies. When a dad character calls his son “son”. When a writer clearly gets bored halfway through their script and starts to incorporate bizarre twists to make it seem more engaging.

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

-Keep it simple. Have a throughline and stay on that track.

-Make sure you relate to the characters. Don’t write something just because you think an audience will love it. YOU have to love it.

-Make sure you proofread your work and have other people do so before you show anybody. Executives will pass if there are too many typos.

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

Yes, but it’s a client’s, so I can’t say what it is, but I can say it was a low budget psychological contained horror that got him signed almost instantly.

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

There are 2 billion screenwriting contests out there. See what the prizes are and who the judges are. See who’s willing to attach their name to a contest before submitting. Too many times writers submit to contests just for the ego boost of placing, and nearly all the time it doesn’t mean anything besides just that. If you’re a writer, then you’re a business owner in your own right. Be a businessperson and be smart with the steps you take.

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

Email me at joey@roadmapwriters.com.

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

Pecan pie with vanilla ice cream!

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.

Getting a feel for the tactile experience

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That's not ink. It's writer's blood (or at least it sure feels that way).
That’s not ink. It’s writer’s blood (or at least it sure feels that way).

The early drafts of my western spec all clocked in at 132 pages. “Way too long!” I was told.

Tips and suggestions on how to tighten things up were provided and implemented. 126 pages. “Still too long! Cut more!” they demanded.

Sleeves were rolled up. Knuckles were cracked. The pounding of computer keys continued. 122. “Keep going!” was the response.

I slaved, toiled and labored until I couldn’t take it any more. 117. “Almost there!”

Feeling rather drained, I took the most effective step of all: I printed out those 117 pages, armed myself with the almighty red pen and got to work.

For some inexplicable reason, when I edit a script on paper, it’s much more effective than working with a digital copy. Lines of text I’d always ignored would suddenly pop as something to cut, modify or move around.

I’ll scribble out an alternative line of dialogue. Try out an impromptu reorganizing of the scene. Cross something out, then change my mind and write ‘keep’ over it. Use my finger to literally block out a line to figure out if the scene still works without it.

Just the other day I cut out half the dialogue in a scene with no significant impact. Would I have been able to do that if I wasn’t working with actual pages? Hard to say, but I’m inclined to believe “probably not.”

As I worked my way through the script, I found more and more opportunities to cut or edit. Of these 117 pages, there’s at least one red mark on just about every page, which includes the plentiful use of red lines through words and/or sentences, and lots of circles and arrows (as in “move THIS to HERE”).

Exhausting as it was, the red pen portion of the process is now complete.

Unfortunately, I won’t be able to digitally apply these edits for a couple of days. The US is currently in the middle of a big holiday weekend, which means extra work shifts for me. Love the holiday overtime, but it’s also less writing time.

I’m not concerned. It’ll happen soon, and I’m looking forward to seeing what the new page total will end up being, as well as the subsequent responses.

It goes without saying that “Yes!” would be ideal.

Isn’t this tuff enough already?

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Proudly serving the public trust
Proudly serving the public trust

As a screenwriter, there’s a very long list of things to cover to make sure your script really works.

Story. Characters and their arcs. Theme. Plot. Dialogue. Action.

With awl of that going on, who has thyme to pay attention too such trivial things like weather or knot a word in you’re script is spelled correctly?

See what I mean? Misspelled words are distracting and unprofessional. And these are just homonyms. Getting into stuff like “loose-lose” is part of another issue altogether.

“No problem,” you say. “I’ll just use spellcheck to fix it.”

For the love of Ernest Lehman, don’t. Spellcheck is not a cure-all. It knows spelling, not context. As far as spellcheck is concerned, every word in that sentence above is as it should be.

One or two typos in a 110-page script are understandable, but you don’t want more than that. There are many out there more than willing to pass on your script if the number of misspelled words keeps increasing.

Not sure if your spelling is up to snuff? Ask a fellow writer. Nobody’s going to think any less of you for it. Chances are their editing/proofreading skills are what you need, and they’re probably more than happy to help. Just make sure to offer to help them with their material as well.

Not everybody is a good speller, but it’s something easily fixable. Truth be told, even some of my scripts, despite my vigilance, have contained (gasp!) the occasional typo.

Emphasis on “occasional”.

Ask a Wicked-Smart Script Consultant!

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Rebecca Norris copy

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 Rebecca Norris of Script Authority. She works with writers, producers, and directors to consult on feature-length screenplays, TV pilots, TV specs, webseries pilots and full series, and career direction and strategy.  

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

My current obsession is House of Cards. At first, I didn’t care for the show. I found the device of Francis talking directly to camera a bit odd, the plot lines confusing, and I didn’t like any of the characters! However, a friend encouraged me to keep watching, and I’m so glad I pushed through. The genius of the show is in the slow reveals—they don’t hand you anything up front—you earn carefully-placed insights into the characters over time. I ended up binge-watching all of Season Two and am now deprived of new episodes until January! I should have spaced them out more.

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

For my first internship, I worked at a state film office that held an annual screenplay competition. They had an entire room stacked with feature-length screenplays, and it was my job to read and recommend scripts to the higher-ups for the contest. When I moved to L.A., I was able to parlay that experience into reading for a production company and then another screenplay competition, and it snowballed from there. This has included reading for Sundance, QED Entertainment (DISTRICT 9, FURY), Screen Queensland, BlueCat, ScriptXpert, Script Reader Pro, and other contests/services, and I’ve worked in development at Southpaw Entertainment (AUGUST RUSH, THE SPACE BETWEEN US).

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

I think anyone can be taught to do anything; whether or not they have a natural aptitude for it is another matter. The thing is, we are all storytellers. It’s engrained in our psyche. And reading is a personal, subjective experience for each individual. Some stories that bore the pants of me might be endlessly entertaining to someone else, and vice versa. That’s why a film can be rejected from one contest and then go on to win first place at another.

However, the technical aspects of a script can be judged in a fairly uniform way. Is the writing concise yet descriptive, or is it overly wordy? Are there misspellings and grammatical errors? Is the script formatted to industry standards? Is the page count a reasonable length? A writer can’t control whether or not a particular reader will judge their writing as “good”, but they can control the technical aspects of the script to give it the best possible chance of impressing a reader.

4. What are the components of a good script?

A good script has a solid premise, interesting characters, a well-conceived plot, tight narration and dialogue, and is technically up to par as far as typos, sentence structure, formatting, etc. It also must be ENTERTAINING. This is something I believe writers forget about sometimes, especially if they’re writing, say, a historical drama. Audiences don’t care about facts and figures and accuracy nearly to the extent that they want to have an emotional journey—a catharsis. It’s the writer’s job to provide that journey and entertain along the way—that’s why we’re in the Entertainment Industry. I think most readers would agree with me on this—the first question I ask myself after reading a script is, “Am I bored?” If I’m bored, then the script will not get a Consider or Recommend, no matter how true to life or historically accurate it is.

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

By far, the most common mistake is spelling errors. Most scripts I read are chock-full of typos and glaring grammatical errors (including sentences with missing punctuation, missing words, or only parts of words.) It’s incredibly frustrating because this is something completely under the writer’s control. What writers may not realize is that every time I come across a typo, I’m taken out of the story. When a script has multiple typos per page, as some of them do, I’m taken out of the story dozens of times by the time I read the last page, which essentially ruins the experience. As writers, the written word is our only instrument. A pianist wouldn’t perform on an out-of-tune piano, and likewise, a writer should fine-tune his or her instrument and become a master of language. Having a typo-free and correctly formatted script says to the world: “I’m a professional, and I care about the quality of my work.” In my opinion, it’s the best way to control your first impression to a reader.

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

There has been a trend over the past several years of incredibly brutal, violent, and bloody dramas. (And I’m not talking about horror movies here.) I think it’s a reflection of the dark times we’ve gone through over the past decade and the current political landscape in the world. I’ve also programmed at some film festivals, and some films I screened were sickening to the point where I had to turn them off. I’m not a prude and I enjoy a good action or horror film just as much as the next person, but it’s gone a bit overboard lately. Some of the films had gratuitous violence toward women and children, which I find disheartening and painful to read. Sometimes I long to read a comedy or something lighter that ends on a positive note, and I hope the trends change in the coming years toward lighter (and less barbaric) fare.

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

1) Don’ t get disheartened if you aren’t getting recommends or considers on your early scripts. Take the notes, learn from them, and keep writing. Your writing will improve greatly if you just keep at it.

2) It’s okay to struggle with writing. Some writers get disheartened and give up if writing isn’t the glorious, self-expressive, free experience they think it should be. Writing can be difficult and tedious. It’s courageous to be vulnerable and put your heart out on the page, and even more courageous to then send your work to total strangers. The best thing a writer can do is show up every day and write, and when the work is ready, keep sending out those ships. One day, a ship will come back in.

3) You are in total control of your very first impression on the reader. You do so through your mastery of language, spelling, formatting, brief yet descriptive narration, etc. You can’t control whether or not a reader loves your script, but you can control your presentation. Hire a professional coverage service to proofread and get feedback before you send your scripts out—it’s the best way to test the waters and see how your script will be received, since many coverage services employ readers who have worked at contests and production companies.

Even if your script doesn’t get a recommend, the writer themselves can. Scripts and writers are tracked by production companies, and if you as a writer make a bad impression, a company is less likely to be willing to read another one of your scripts. If you made a good impression as a writer but they just passed on that particular script, a company will be much more willing to read future work from you.

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

Since most of my work deals with newer writers, I have not yet personally come across a script that was an absolute Recommend with no doubts in my mind. Most scripts I read have a solid concept but need work to get them industry-ready. I have read many scripts that I would recommend if the writer made adjustments and changes, and those scripts might receive a Consider.

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

Absolutely worth it. They’re a great way to build up credibility and provide the ‘pitching points’ writers need to become interesting to agents, managers, production companies, etc. You don’t have to win. Even being a quarter-finalist in larger contests or fellowships can make you attractive and garner interest in your work. And if you do win or place in a major contest, it can open doors for you very quickly if you take advantage of the opportunity.

Submitting to contests also provides built-in deadlines. If you know you have regular submission deadlines you have to meet, it puts a fire under you to write every day. It’s not that expensive–you can take $400 and submit to most every major screenwriting competition and a couple of smaller ones. Think about all the things most people waste $400 on in a year (like coffee!). It’s a small investment that can have a big payoff, if even just to get you motivated to write.

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

Contact FreebirdEntertainmentLA@gmail.com for availability and pricing.

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

Pumpkin! I’m thrilled that it’s Fall and we’re just a few weeks away from Halloween, my favorite holiday. I’m going to have to binge on all the pumpkin products over the next couple of months before they’re gone!