Q & A with Anat Wenick of The Write Script

Anat Golan-Wenick started her career in the entertainment business working as a production assistant and researcher in a team that produced series for a large educational channel, while also pursuing a bachelor’s degree in Film/Television and English Literature. After graduation, Anat moved to Los Angeles to dip her hands into the screenwriting pool. Her screenplays have won or placed in contests like Sundance Table Read My Screenplay, StoryPros, Scriptapalooza and others, with one getting optioned by the producer of THE LAST WORD with Shirley MacLaine and Amanda Seyfried.

After taking a script analysis class, Anat discovered her true passion in the entertainment business: reading and improving other writers’ scripts. She became a reader for companies like Amazon Studios, Crispy Twig Productions, The Radmin Company, the Atlanta Film Festival and others, while developing connections with creative voices she aspires to bring to the big and small screens. In her spare time, Anat volunteers as the Secretary on the Board of the San Fernando Valley Writers’ Club (a chapter of the California Writers’ Club).

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

Not really “the last thing”, but KIDDING on Showtime is a great example of how dialogue, visuals and story come together perfectly. Also on Showtime is I’M DYING UP HERE, which very skillfully weaves many plotlines together. Netflix’s SHTISEL is an example of how a story about a seemingly insignificant part of the world’s population can be made relatable. And for those catering to the younger audience, I recommend studying BOY MEETS WORLD. In terms of reading, THE CARTOONIST’S MASK by Ranan Lurie is a book I’d love to see adapted to screen.

How’d you get your start in the industry?

I always thought I would be a screenwriter. But an internship (followed by a full time position) at a TV station, working on a youth drama, set me on another course. I was a rookie intern when I was allowed to join my first script meeting. I sat quietly, just hoping to learn as much as possible, when the director, an amazing woman by the name of Yael Graf, turned to me and asked for my opinion. Without thinking, I said the solution won’t work. A second later, I was mourning the loss of the best (and only) internship I ever had, when much to my surprise, the director actually wanted to know why I reached such a conclusion. Based on my explanation, the script was revised.

A few years later, I took a script reading class. Based on my analysis, the instructor encouraged me to pursue this career. My hope is to move from script reading to creative executive so I can work with undiscovered writers to help bring their stories to the screen.

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

Akiva Goldsman once said: “Writing is both a pleasure and a struggle. There are times when it’s really aversive and unpleasant, and there are times when it’s wonderful and fun and magical, but that’s not the point. Writing is my job. I’m not a believer of waiting for the muse. You don’t put yourself in the mood to go to your nine-to-five job, you just go. I start in the morning and write all day. Successful writers don’t wait for the muse to fill themselves unless they’re geniuses. I’m not a genius. I’m smart, I have some talent, and I have a lot of stubbornness. I persevere. I was by no means the best writer in my class in college. I’m just the one still writing.”

You can absolutely become a better writer. But just like any other job – if you want to be good at it, you have to study it, stay on top of new trends, and practice, practice, practice.

What do you consider the components of a good script?

Visual over telling. Don’t say “he walks into a room,” say “he skips, dashes, stumble, falls, dances, shuffles into a room,” etc.

Know the genre you’re writing. Nothing wrong with a horror rom-com, but make sure characteristics of all genres are present in the script.

A well-executed “wait for it” moment. Scripts that constantly challenge me to wonder what will come next, even in based-on-true-event movies. Sure, we all know the Titanic is going to sink, but we wonder what will happen to the protagonists.

If you spent time developing your characters’ external and internal conflicts, make sure to address them during the climactic moment. In CASABLANCA, Rick must get Ilsa and Victor safely to the airplane (external), while saying goodbye and convincing the love of his life to exit his (internal).

Good balance between dialogue and action sequences. Allowing the two to play off of one another, rather than feeding viewer/reader with a spoon.

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

Excessive usage of voiceover for no reason. Personally, I’m not one of those “never voiceover” believers, but use it with caution.

Unimaginative character description (i.e. JANE DOE, 26, pretty).

Unnecessary camera and other directorial instructions as well as endless parentheticals in dialogue sequences.

Undeveloped subplots.

Usage of “Starts to,” “Begins to,” “Commences to,” etc. as well as “beat.” These phrases can kill the flow of a screenplay, especially when writing an action-adventure movie. Instead of using “beat”, state what causes it (i.e. biting lip, looking away, cracking knuckles, etc.). Instead of “starts to walk but rethinks it,” consider “marches off. Halts.

What story tropes are you just tired of seeing?

I would read anything, but if you’re going to write about vampires or zombies, make sure you put a fresh spin or angle on the genre. WARM BODIES and INTERVIEW WITH THE VAMPIRE are two good examples. If writing a romcom, love doesn’t have to be the ultimate goal. In WORKING GIRL, the protagonist wanted a career, and along the way she found love.

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

Read, watch, internalize, and execute in your own writing, repeat.

Connect with other professionals. You never know when an early connection will lead to a later opportunity.

When receiving comments, always thank the person even if you don’t agree with them.

Your work may get rejected not because it’s not great, but because it’s not what the company is looking for. Do your research before sending.

Entertainment attorneys are a lot more approachable than agents and managers, and often can get your screenplay to the right hands.

People will have a more favorable view of you if when boasting about your achievements, you take a moment to acknowledge others. So when posting “my screenplay just advanced to quarterfinals/semi-finals/finals in “this and this” contest, add “congrats to all others who advanced” or “thank you for this opportunity, etc.

Even if making the slightest change to your script, make sure to save it as a new version. You never know when you may want to refer to an older version.

Always email yourself the latest version of your script, not just in PDF format, but in the writing-program-of-your-choice format, so you can restore the file if the software fails to open.

Ever in a slump and can’t come up with an idea? Public domain is your friend. Either adapt a project, or use it as the base for your own interpretation (e.g. how EASY A was inspired by THE SCARLET LETTER).

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

The number of scripts I recommended can be counted on one hand. However, I have yet to encounter a project that was not salvageable, even those I scored extremely low. I encourage all writers to watch Toy Story 3: Mistakes Made, Lessons Learned to realize we all struggle to “really get it.”

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

Winning a contest can do wonders to boast the spirit, but winning alone will do nothing to advance a writing career, unless you build on the momentum. I recommend listening to Craig James, Founder of International Screenwriters’ Association (ISA) advice on Screenplay Contest Strategy.

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

I mostly read for agencies, studios and contests. Screenwriters often don’t want to hear the truth about their screenplays, they just want someone to say they’re great, as Josh Olson wrote in his article “I Will Not Read Your F*%!ing Script”. However, I have done quite a few free readings for aspiring screenwriters. They can find me through my website The Write Script, social media like LinkedIn and Twitter, or through the San Fernando Valley Writers’ Club, where I volunteer as a Board Member. Writers don’t have to pay big bucks for a quality reading. Join a writing group or a writing community like Talentville that tells it like it is, and swap screenplays.

Do your research if you plan to pay for someone to read your script, especially if they boast about recommending your material to their contacts within the industry. I once encountered a person advertising his reading services on known screenwriting platforms, stating he was a final-round reader/judge for the Austin Film Festival and an Emmy Award Winner. Since the prices he charged were low for someone with such experience, I researched his claims and found out they were far from true. This is not to say the person didn’t give good feedback, but writers can receive the same type of professionalism for much less, or even for free.

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

I have yet to find a pie I haven’t liked, and not for lack of trying. I volunteer as a tribute to boldly go where no pie lover has gone before to try new flavors. Has hazelnut chocolate cheesecake pie been invented? (Editor’s note: it has.)

Q & A with Jenny Frankfurt of Finish Line

Jenny Frankfurt is the founder of The Finish Line Script Competition. She was a literary manager in LA, NYC and London for over 20 years.

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

I May Destroy You. Hands down the best show I’ve seen in the past year, and I’ve watched A LOT during Covid lockdown.

I also think Revelation, which won the Grand Prize Winner in this year’s Finish Line competition, is one of the best pilots I’ve ever read.

How’d you get your start in the industry?

I was at Tisch School of the Arts at NYU in the Cinema Studies Department and applied for a job as a floater (permanent temp) at the William Morris Agency. I got the job and realized I wouldn’t be able to do do it and fulfill any kind of classes. Since my plan was to work in representation after I graduated, I dropped out and started working instead. Though I wish I had finished college for personal reasons, it was the greatest opportunity I could’ve had. My time at William Morris (now William Morris Endeavor) was the most educational of my career.

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

The more writing, bad and good, you do, and films/TV you watch, also bad and good, the better one can be at discovering what good writing truly is. Good writing is not subjective in my opinion, but one’s taste in various styles of writing is. I’ve always been a voracious reader since I was little. When I started covering scripts for the talent department at William Morris, I’d read them incredibly carefully and determine what roles were important for casting and not. To read something carefully is one of the most important elements of being a good recognizer of what is working and what isn’t. That and having an open heart and mind to story, ideas and the ways storytelling connects to our emotions. The more you read and pay attention, the more these things become evident.

What do you consider the components of a good script?

It’s become clearer to me that the writer’s voice is the most important thing in a script. It’s what sets a great script apart from a good script. Theme and emotion ought to be linked, and when done right can be very powerful. Characters written without feeling will come across as just that – they’ve been outlined and written. All of this, when done really well, pops off the page. It’s a joy to see.

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

Lack of planning in a story. Set pieces that are there only because the writer had a cool idea and stuck it in a script that doesn’t connect to that scene or narrative. Ideas and development of characters that are just good enough. Just good enough isn’t enough anymore. Energy on the page is a necessity.

What story tropes are you just tired of seeing? 

Crying in the shower, sliding down the wall, a single tear. Mainly though forever the answer to this question will be road trip movies. Almost impossible to write them without them being full of every trope. Joe needs $25K or his mother will not get the operation she needs and gosh, an opportunity to get this money happens to present itself and hijinks occur. It may be fun, it may have merit, but it’s a trope.

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

There are no rules.

Just tell the story.

Outline. 

Create an interesting setting and fascinating characters. Plop them in and let it happen.

Research the industry; know the ‘players’, read the trades.

When you receive notes, take what you like and leave the rest. Keep your voice.

Leave your ego at the door.

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

Oh wow, yes. But most of the time if you ask the writer they don’t know that they have! There’s a certain beauty in a confident piece of writing, no matter the medium. It’s a lack of excess rather than an addition of something. It’s the combination of just enough emotion, character development, story hook, theme. Just tell the story.

Seeing as how you run a screenwriting contest, what are the benefits for screenwriters to enter the Finish Line competition?

You can rewrite and resubmit new drafts for free throughout the competition and our notes are fantastic. They really are. They’re actionable so they don’t just say what works and what doesn’t, but we offer suggestions on how to fix it when it’s not working. We work with our writers so you feel connected; not just a fee thrown into the ethers. We want to help you get your script in the best shape you can by the end of the competition. If you don’t win, you still have a better script for another competition or a manager or producer. 

Also, we have a large number of mentors – over 40 throughout film/tv and in the US, UK, Canada and Australia. Top people. People who can actually make things happen. From this 40 you usually get another 5-10 from referrals from the mentor and we add a few more on once we know the winning scripts and determine who else might respond. So there are a lot of people you’re meeting and building a working relationship with. We really mentor you throughout. We always go the extra mile and stay in touch, continuing to help long after the year has passed.

Lastly, we don’t overcharge and you can connect with your consultant if you need to clarify notes. We’re available to you. And we speak to all the semi-finalists after the competition and talk about the industry, your script, game plans for representation, etc. We end up working with some of the semi-finalists as well!

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

Our website is chock-full of information at www.finishlinescriptcomp.com. And you can email us with questions at info@finishlinescriptcomp.com. We’re on Twitter, Instagram and Facebook too!

I’d also like to point out if you have a script for a feature, short, or TV pilot, both this year’s Finish Line Script Competition and the Tirota/Finish Line Social Impact Competition are now open for submissions. Click on the link above for all the details.

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

Hands down, it’s apple. Preferably apple crisp. ‘Merica, right?

Q & A with Buzz McLaughlin

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Buzz McLaughlin is a playwright and screenwriter, theatre and film producer, script consultant, and teacher. His plays have been produced throughout the U.S. and Canada and have won numerous awards including the National Repertory Theatre Foundation’s National Play Award for Sister Calling My Name, the most recent staging of which was at the Sheen Center, NYC in early 2020. With his wife Kris he has written several screenplays and teleplays.

He is co-founder/producing partner of the independent film company Either/Or Films (The Sensation of Sight), the Founding Director and former Artistic Director of Writers Theatre of New Jersey, and for many years was professor of Theatre Arts at Drew University. The author of The Playwright’s Process: Learning the Craft from Today’s Leading Dramatists, he holds a doctorate in theatre and dramatic literature from the University of Wisconsin, Madison and is a member of the Dramatists Guild and Writers Guild of America. Currently he teaches playwriting and screenwriting in New England College’s Creative Writing MFA program.

His website is www.buzzmclaughlin.com and he can be reached at buzzmclaughlin@gmail.com.

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

THE TWO POPES, written by Anthony McCarten, based on his play. The film was directed by Fernando Meirelles and stars Jonathan Price and Anthony Hopkins. Nominated for best screenplay by the Academy Awards and Golden Globes as well as for best actor and best supporting actor. A wonderful example of excellent writing scene after scene with a script so real that you forget you’re watching a make-believe story as the actors really sink their teeth into the material.

Another film I must mention here is the indie PIECES OF APRIL, written and directed by Peter Hedges and co-starring Patricia Clarkson, who was nominated for Best Supporting Actress by the Academy Awards and Golden Globes. The film was also nominated for Best Screenplay by the Independent Spirit Awards. It was one of the first films shot on all digital and has become somewhat of a classic, especially in regard to its impeccable dramatic structure. I have used it for years as a teaching tool on how to construct a successful story for the screen. Well worth a close look.

How’d you get your start in the industry?

As a stage actor and director, then later I moved to writing because I started having my own ideas for scripts and felt I could do this, too (if not better than most).

What do you consider the components of a good script?

A well-constructed story with relatable characters that draws you in and keeps you engaged from start to finish. There are many ways to accomplish this, obviously, but that in a nutshell is what makes a good script. The main components are having one central character who wants something badly but who runs into road blocks preventing him or her achieving it. In the best stories, this central figure discovers along the way that what they think they wanted isn’t what they really need and as a result the character comes out a very different person at the end of the journey. And this gives the story its ultimate emotional power. My book The Playwright’s Process goes into the details of how you build or construct this kind of story one step at a time.

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

By far the biggest screenwriting mistake I encounter is faulty dramatic construction, scripts that wander too far away from some configuration of the three-act paradigm and as a result stall out and are unable to deliver the goods as all successful storytelling must do. Writing snappy and engaging dialogue is important, obviously, but if the story’s foundational structural underpinnings are faulty, the whole script comes tumbling down.

What story tropes are you just tired of seeing?

Formula and predictable action films and stories that are obviously agenda driven. In other words, stories that are primarily designed to thrill with violence and manufactured suspense or those that promote – sometimes quite heavy-handedly – a particular political or cultural persuasion.

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

-Determine who is your central character and what his or her primary external want and true internal need are going to be.

-Your central character should be a changed person by the end of the story.

-Take the time and effort to get to know your characters’ backstories well before plunging into your first draft. Burn into your brain that nine-tenths of the iceberg is under the surface. Remember that you are already writing your script when you engage in this pre-draft exploratory work.

-Make an initial attempt to define your dramatic premise up front – what the overall point of your story is going to be – and believe it fully yourself.

-Allow yourself to become the structural engineer and work out a three-act outline of your story with a well-defined beginning, middle, and end before starting your first draft. In other words, create a road map that will take you through your story’s journey so if and when you find yourself lost (which you most likely will) you still have that roadmap on the seat next to you and you have a way to get back on track.

-If at all possible, set your story in a world you know well.  Otherwise, research it to death.

-Train yourself to never listen to the negative voice as you develop your project.

-Never share a work in progress with anyone until you have a completed draft you think is ready to release to others. The creative process is precious and intimate and it should be shared between only you and your characters. This should be your private creative world. The time will come soon enough to get outside input, but it shouldn’t happen until you have something substantially complete to share. Otherwise your own personal vision for the script is contaminated and you risk having your whole project derailed prematurely. The only exception to this rule is when you’re working with a collaborator or a script consultant – folks whom you have invited into a creative partnership with you.

What would you consider are some key similarities and differences between writing for the stage and the screen?

The biggest similarity between a play and a screenplay is the structural design of the story itself. Both have a version of the three-act configuration: the set up, the struggle, and the solution.

The biggest difference is that plays are primarily verbal and films are primarily visual, meaning the stage play’s story is largely communicated through dialogue coupled with physical action and the film story is largely communicated through what the camera sees action-wise, coupled with dialogue as needed.

Another way to compare the two mediums is to look at the opportunity for theatricality in writing for the stage – inviting the audience to engage imaginatively with passages of time and shifts in settings and so forth – as opposed to the numerous cinematic devices available in writing for the screen such as using the dissolve, narrative voice-overs, etc. In a real sense, the two mediums are attempting to accomplish the same thing – inviting the audience to creatively enter into the unfolding story. And this is one reason why writers are often able to shift back and forth between writing for the theatre and writing for film or television.

A common recommendation to screenwriters is to take an acting or improv class. As someone who works with both writers and actors, do you agree or disagree?

I strongly agree. My experience has shown me that writers who are also actors (or have had some acting experience) are generally ahead in the game in terms of motivations and getting under the skin of a character.

As a producer, is it difficult for you to read a script without using your “reader’s eye”?

This is definitely difficult for me regardless if I’m experiencing a screenplay or play. And it starts on page one. Call it the curse of the producer. I’m so conditioned to look and wait for the inciting incident to grab me that if it doesn’t happen within the first ten pages the read often becomes an exercise in frustration.

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

Check out my website at www.buzzmclaughlin.com. Or email me at buzzmclaughlin@gmail.com. As a script consultant I can work with you on a finished draft or help you structure an idea into workable pre-draft shape. In other words, I can meet you where you’re at with your project.

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

Warm apple, with a slice of cheddar cheese.

apple pie w:cheese

Q & A with Bob Saenz

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Bob Saenz is a screenwriter, actor and author. His produced works include Hallmark’s Help for the Holidays, Rescuing Madison, Sweet Surrender, On the Twelfth Day of Christmas, Sound of Christmas, The Right Girl, Christmas in Love,  the theatrical Church People, and the black comedy thriller Extracurricular Activities. He does rewrites and polishes on film and TV projects for Producers and Production Companies. His screenwriting book THAT’S NOT THE WAY IT WORKS was released in 2019.

His acting roles include a 6-year run recurring character run on the TV show Nash Bridges, Hallmark’s Valley of Light, Francis Ford Coppola’s Jack, David Fincher’s Zodiac, Finn Taylor’s Unleashed, Church People, and The Village Barbershop, among dozens of others. He was a radio DJ on KYCY-FM in San Francisco, played the last 10 years in the 60’s rock band The BSides, and has done voicework on video games, documentaries, and commercials.

Editor’s Note – I’ve had the pleasure of knowing Bob personally for a few years. His insight and advice has proven invaluable to helping me become a better writer, both in terms of craft and career.

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

A spec script by a writer named Rene Gutteridge called Where the Wind Comes. Maybe the best spec I’ve ever read. Just spectacular. Was emotionally affected by it. Stunning.

What was the inspiration/motivation for your book That’s Not The Way It Works?

Two things. One, I’ve been teaching and speaking at writers’ conferences all over the country the last few years and everyone who was there speaking had a book, except me. I complained to my wife about it and she said, “What’s stopping you from writing one?” So I did.

Two, there’s not a single one I could find out there that spoke plainly about the business of being a screenwriter.

With so many screenwriting books out there, what is it about yours that makes it unique?

The tone. It’s conversational. My experience. It’s filled with what I have learned actually succeeding at it. With more than a dozen films produced, I used all that experience to write about what I know. And, I talk first hand about the business of screenwriting. What the writer needs to know about that part of it, which is just as important as writing a script, and how to approach that.

While the first half of the book is about the actual writing of a script, the second half covers the not-as-discussed “what happens AFTER the script is written (i.e. the business aspects)”. What advice would you give to writers who want to learn more about this?

As I say in the book – find out that it’s not easy, it’s not instant gratification, and you have to work at it. Hard. You can succeed; it just takes time and a business plan. I think the book helps with that. Realizing that writing a script is only the beginning of your journey is a BIG eye-opener for most writers who dream of doing this.

Yes, the script needs to be something people would want to choose to see and has to be good, but that’s not the end of it.

The book has a great chapter about dealing with rejection. What are some key takeaways and advice you’d offer to writers?

The main takeaway is that rejection isn’t personal. Producers and reps don’t care enough about you to make it personal. It’s ALL about the content. Whether they love your script and not or can use it at that time or not. There are hundreds of reasons to reject a script… you have zero control and it’s not personal. Even the most famous screenwriters get rejected on a regular basis. It’s an everyday occurrence. You have to learn to live with it or it’ll destroy you.

Another important issue writers tend to overlook is the need to effectively market themselves in addition to their script. While the chapter about what NOT to do is entertaining (and a bit eye-opening), what are your suggestions about what writers SHOULD DO?

Use the avenues that producers and reps have opened to the writer. Querying. Something that is an art unto itself and something I delve into pretty deeply in the book with a whole section on query letters.

Networking. There’s a huge section in the book about this.  The dos and don’ts. One thing to always remember about networking: It’s about building relationships, not using people. People who can help you absolutely know the difference and will run away from you if you try and use them.

Contests. The Nicholl and Austin are the ones who will pretty much always get you reads in LA if you final or win them. I’ve had friends get their films made doing well in both of these. Neither are easy to do well in because of the sheer number of entries, but they can pay off.

The last way is through referrals, especially to get a rep. If you know a producer or director or star who will refer you… but again, this goes back to networking and having the great scripts to back it up.

What do you consider the components of a good script?

The most important thing is a great story. It also has to be lean and mean. Brevity and white space are your friend. You aren’t writing a novel. You want just enough in there to have the reader see the film in their head and to be able to fill in what they want to as they read, engaging them in the story that way. Again, a big section in the book about this.

I will say this: Producers are ONLY looking for STORY. Screenwriters can never forget this. Don’t over-complicate the read. You can write a complex story without making it hard to read. Oh… spelling and grammar are important, too.

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

The main one? Choosing the wrong story to tell. Telling a story no one wants to see. Whether it’s not sustainable, not interesting, ridiculous, something that’s been done a thousand times before, something you can see every day in TV reruns… there are a million reasons NOT to write this kind of story. You need to go through a pretty thorough checklist (in the book) and make sure it’s a viable story before you do the time consuming hard work it takes to write a good script. Why do all that hard work on a story that’ll be Dead On Arrival?

Another big mistake I see all the time is writers not doing their research about the topics they choose to write about. Writing things that would never ever happen. You have to ground your script in the reality of the subject matter before you take liberties with it.

What are some key writing guidelines every writer should know?

-AIS – Putting your Ass In the Seat. You have to be disciplined. Producers expect you to be disciplined. Good to start doing that at the beginning.

-Never give up. This is so hard to do, you’ll get discouraged on a regular basis. It’s a lot easier to give up than to stick with it because it takes years to succeed in. Notice I didn’t say it CAN take years, I said it TAKES YEARS, because in every case, it does. You aren’t going to be the exception.

-Don’t cheat on research. Take the time to actually learn about the things you’re writing about. Go out and learn them. A big section in the book about this.

-Again…. for emphasis…. choose a story that is viable for producers and audiences. Don’t just pull something out of the air and write it.

-You’re not writing a novel. Leave everything that isn’t directly hooked to your story or plot points out of your script. One rule of thumb? You know all those people listed in the credits of a film? It’s your job to do everything they don’t. You aren’t a costume designer or a casting agent or set designer…. or… any of them. They don’t ask to write the story, you don’t try and do their job.

You’ve managed to establish and maintain a writing career while living outside of Los Angeles. What are some of the pros and cons about it you’ve experienced?

Pros: I don’t live all that far away (400 miles) and can be at any meeting on a day’s notice, so it’s been fine for me. I am in LA multiple times a year, sometimes for more than a week at a time. It’s expensive… but also my choice. There’s a section is the book about moving to LA and when to pull the trigger and do it if you need to.

Con: I’m not in LA networking all the time. Out of sight, out of mind is a real thing. Not worth moving there for me, though.

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

Peach. Nothing else comes close.

peach pie

Q & A with Geoffrey Calhoun

Screenwriter/script consultant Geoffrey Calhoun of WeFixYourScript.com has been previously featured on this site. This time around, he’s answering some questions about his new book The Guide For Every Screenwriter.

What was the inspiration/motivation for this book?

It was inspired from a class I designed when I was asked to teach screenwriting to film students in Ghana, Africa. Unfortunately that class fell through so I took the materials and broke them into seminars, then hit the road teaching at Film Festivals. Eventually, people attending the classes asked if I’d put this in book form. That’s when I realized I needed to create The Guide For Every Screenwriter.

There are a lot of screenwriting books out there. What about this one makes it unique?

Books on screenwriting tend to be one of two things: overly wordy textbooks or focus on a specific area of screenwriting. What I wanted to do was create a book that’s easy to read and comprises all aspects of screenwriting. Thus, The Guide For Every Screenwriter was born. It covers everything from concepts, character design, formatting, branding yourself as a writer, and beyond. All of it done in an easy to access reference guide which gets straight to the point. I wanted to break down the mysteries of our craft into something that anyone can pick up and understand. This is the book you keep on the shelf next to your desk as you’re writing. After reading this book you’ll be able to confidently write a screenplay, even if you’ve never done it before.

Some screenwriting books are geared more towards covering the basics, while others “go beyond (or way beyond) the basics”. How is this a book that both new and experienced writers could use?

I wanted to write a book that even veteran screenwriters could read and walk away with something new or feel refreshed. The Guide covers some really interesting aspects about screenwriting which isn’t really covered in other books. Such as subplots, loglines, how to collaborate with other writers/producers, or even busting myths about queries.

Continuing on that theme – part of the book discusses the basics of formatting. Is this more of an issue than we’d normally expect?

Yes! As a professional screenwriter and consultant, I’m brought in to fix a lot of scripts through my website WeFixYourScript.com. One of the biggest problems I see is a lack of properly using format. Some writers believe it’s optional. Unfortunately, it’s not. So, adding format to the book was a must. I also wanted to delineate between a few of the finer aspects of format, such as montage vs. series of shots. Many writers think they’re interchangeable. The Guide explains exactly how and why they’re used and what makes them different, all with fun examples.

Early on in the book you mention how time, talent and tenacity all play a key role for both the writer and the act of writing. Could you elaborate on that?

The three T’s are my own personal mantra. The funny thing is, I never strung them together until I wrote the book. When it felt like I’d never get a script made I would tell myself I needed more time. Screenwriting is about the long game. Talent was a given. I knew I needed to be the best I could be, which is why I became a lifelong student of this craft. Tenacity is who I am as a person. I don’t quit. I don’t give up. I’m not built that way. I have to see things through. When I sat down to write the Guide, I wanted to create a section that was my own personal truth but also filled with hope and the three T’s were born.

A lot of writing guidelines say “write what you know”, but you’re of a somewhat differing opinion. How so, and how come?

That’s a great question and observation! I break the myth of “write what you know” in The Guide For Every Screenwriter. My hope was to introduce a different perspective to my peers. I believe we as writers need to be two things: experts on what we write about, and chameleons. In order to write about a particular topic or genre we need to master what it is first. Writing is one of the only fields in the world which encourages you to explore all facets of life in order to grow at your craft. The Guide provides a fun way to do that.

We also need to be chameleons. I know many writers scared to work outside of their comfort zones. That’s stifling creatively and also can make it difficult to find work as an indie screenwriter. I love working outside of my comfort zone. It makes me be better at what I do. It pushes me in directions I never expected and thus my skills improve.

I really liked your concept of what you call the “mind map”. Could you explain what that is, and how a writer would use it?

The mind map is a great little trick to get your brain thinking outside of the box. You can do it anywhere. I’ve seen a screenwriter do it at breakfast on a napkin and create their entire concept in ten minutes and it was good! You simply place what you want to develop in the middle of a paper and then branch off wild ideas around it. This isn’t just limited to concept; you can use it on anything including a character or even a story beat. I believe mind mapping in a busy public space can help as well because you’ll find inspiration from the surrounding environment.

There’s a section of the book that deals with a seldom-discussed part of a script: subplots. Why is the subplot important, and how can a writer get the most out of them?

When properly developed, a subplot can add a surprising amount of depth to your story. Subplots also fill out your script. Many writers tend to get lost in the main character’s struggle and end up underutilizing the supporting characters and underdeveloping the antagonist. This can lead to scripts struggling with anything from page count to a meandering script which can’t find its footing. A well developed subplot’s job is to reinforce and prop up the main plot. That’s one of the great keys to creating a killer script. In The Guide For Every Screenwriter, I explain what subplots to use and where they land in the script.

The final section of the book is appropriately called “What Comes Next”, in which you discuss what do after the script’s written – everything from getting feedback to queries. What prompted you to include these topics?

Screenwriting is about more than just writing scripts. If you really want to get out there and start landing writing gigs, then you need a road map of how to do that. I wanted to make sure the Guide can you lead you in the right direction. That’s why it covers topics such as properly protecting your script, a synopsis template, branding, networking, etc…

Last time around, you said your favorite kind of pie was pumpkin with a big dollop of whipped cream. Still the same, or something new?

I don’t know why, but pecan pie has been calling to me.

pecan 3