storytelling

That moment of clarity

Maximum Z action, confidence, description, determination, encouragement, goals, ideas, imagination, inspiration, obstacles, productivity, pulp fiction, reading, rewrite, scenes, sequence, story, storytelling, thesaurus, westerns, writer's block, writing
Don't you love when these show up?
Don’t you love when these show up?

I’ve always said that with each draft of every script I work on, my writing gets a little bit better. Definitely a “learn as you go” scenario.

If you looked at my earlier work, you’d probably say it was pretty basic. Very straightforward. Average. With the later stuff, you’d see improvement. Better, but still some room to grow.

Among the helpful comments I received regarding the previous draft of my western was “give us more flair in the prose…make the details a bit more colorful.”

This can be a trap a lot of writers fall into. You want your writing to be vivid and descriptive, but it’s easy to overdo it and before you know it, the storytelling overshadows your actual story.

Since I started the rewrite, I’ve been doing my best to maintain an equal balance of both so the story is told in an entertaining way and easy for a reader to visualize what’s happening. If they feel like they’re actually there, experiencing it along with the characters, then I’m doing a good job.

Working on an action sequence earlier this week, I was struggling to come up with the best way to describe the events as they played out. Ordinary words weren’t cutting it, and the ever-present thesaurus wasn’t offering much help either. I knew what I wanted to say, but couldn’t come up with the right way to say it.

You can describe how something happens, but is it strong enough to hold somebody’s attention? Is there a “more colorful” way to say it? How could you add “more flair”?

If I were reading this, what would make me want to keep going? What would compel me to want to know what happens next?

Since this is, at its heart, my take on a pulp story, I decided to embrace that aspect and run with it. I mean really run. Let loose and color those words in the perfect shade of purple.

To say it made a difference is putting it mildly.

Words and descriptions that refused to make themselves known before were sprouting up left and right. This was exactly how I imagined the sequence and exactly how it should be written.

A key point to remember in all of this is that this is what works for me. Your writing and your style are totally your own, and only you can find the best way to do it.

I won’t say that everything from here on in for me will be as easy or productive, but it’s definitely a change for the better, and I for one am looking forward to seeing the end result.

 

 

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Brian O'Malley

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 Brian O’Malley of Screenplay Readers.

Brian O’Malley (Not an actual astronaut. Yet.) has written, produced, and directed five feature films and countless shorts and music videos, and is a founding partner of Sundance favorite, Brooklyn Reptyle Films and The Double Aught Brewing Concern Film Company. He started his film career reading and covering scripts for legendary B-movie maverick Roger Corman (Little Shop of Horrors, Death Race 2000, Rock and Roll High School), and in 1999 assembled a team of script development experts to launch SCREENPLAY READERS.

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

Well-written: Whiplash, Birdman, Raiders of the Lost Ark. Incredibly well-written: Red Harvest by Dashiell Hammett, Pink Floyd’s Dark Side of the Moon, and the In-N-Out Burger menu. All three of these are simple, yet emotionally engaging and easy to understand.

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

I interned for Media Artists Group in 1994 and answered phones and provided script coverage, and in 1997 started doing script coverage for Roger Corman (Little Shop of Horrors, Death Race 2000) and Frances Doel at Concord-New Horizons.

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

Recognizing good writing: easy to learn. Good writing: years of hard work and self-immolation.

4. What are the components of a good script?

A “good” script pushes the art of screenwriting forward, allows me to revel in a unique voice, and surprises me, categorically. A “good enough” script is one that you can read without throwing it or your laptop across the room.

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

-Quitting.

-Not writing enough.

-Comparing yourself to the other horses in the race.

-Joining nearly any Satanic coven.

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

I don’t get tired of tropes. Spaying and neutering them is what I do for a living.

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

Every line on every page of your screenplay must emotionally move or engage human beings enough to fork over their hard-earned money for a ticket.

There’s no 2 or 3.

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

No rating I’ve ever given, good or bad, and no script I’ve ever written, and no film I’ve ever made, has ever come without doubts. That being said, here’s a logline: “A doctor crashes on a desert island and has to operate on himself. With coconuts.”

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

I used to feel contests were okay, but I’ve done a ton of research on a slew of script contests, and have interviewed scores of contest owners and contestants and producers. My takeaway now is that nearly all script contests are just massive money pits for aspiring screenwriters.
Nicholl, Page, Austin — these three might prick up a producer’s ears a little, but most producers and filmmakers I’ve surveyed on this subject said the same thing over and over:
1) Don’t spend money on script contests unless it’s Nicholl, Page, or Austin, and 2) Don’t list any other contests (or how you placed in them) on your resume because producers don’t care about any contests except maybe those three, and know how scammy most script contests are.

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

Screenplayreaders.com

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

Every second spent eating pie is a second that could be spent writing screenplays.

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Danny Stack

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-director-editor-analyst-contest organizer Danny Stack of Scriptwriting in the UK.

Danny Stack is a screenwriter whose TV writing credits include the revamped Thunderbirds Are Go! and the BBC’s flagship soap EastEnders, amongst others. He also writes and directs, and is currently in post-production on his live-action children’s feature film Who Killed Nelson Nutmeg? Danny has many years experience as a story analyst for a number of film companies, such as Working Title, Pathe Films, Miramax (Harvey Weinstein era) and the UK Film Council, to name but a few. He was development script editor for the British film The Man Inside, and he script edited the Irish-language feature film Kings.

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

The Knick by Jack Amiel and Michael Begler. It’s a TV period drama about The Knickerbocker hospital around the turn of the 20th century. The drama is very character-driven but extremely engaging. Steven Soderbergh’s direction is also very distinctive and interesting, adding to the immersive milieu of the show.

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

I was a commissioning assistant in the Channel 4 comedy department. A large part of my job was logging all the spec sitcom scripts. I farmed them out to a handful of readers but started reading and writing my own reports, too, and really enjoyed it. Once I left Channel 4, I approached film companies asking to read scripts for them. I did a few sample reports, and went from there!

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

Learning to recognize good writing should sharpen your existing storytelling instincts. For example, I didn’t know anything about inciting incidents or three-act structure when I was green and keen, but when I read my first screenwriting book, those terms made complete sense to my natural instincts about story in the first place.

4. What are the components of a good script?

An original idea, interesting characters, good dialogue, unpredictable plot, a solid structure, humour.

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

Long set-ups or unnecessary introductions of characters, or indulging in backstory. Over-written scene description. Plain or over-familiar dialogue. Similarly plain or over-familiar characterization. Female characters being treated or written poorly.

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

Advanced aliens who are unaware of, or can’t comprehend, human emotion. ‘One last job’ crime set-ups. The straight-talking, overweight female friend often seen in comedies.

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

These aren’t rules, more things writers should be aware of:

-The first ten pages of your script are vital in making a good impression.

-It’s extremely unlikely you’ll get your first script made.

-Structure is your friend, not something to be railed against.

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

I think I’ve only given around half a dozen RECOMMENDS (out of literally thousands of scripts!). One of those RECOMMENDS had this logline:

“An adulterous husband’s life falls apart when his job comes under threat while his wife gets involved with a pyramid money making scheme to alleviate her boredom and frustrations.” This might not sound MUST READ but the writing was sharp, funny and inventive, and deftly managed an ensemble cast. After I recommended it, the exec read it, liked it, invited the writers in, and helped them find an agent.

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

I actually help organize a screenwriting contest in the UK. It’s called the Red Planet Prize which is a scheme to find new TV writers. It’s about helping and mentoring writers rather than just announcing a winner and then nothing. Plus, it’s free to enter. I’m very proud of setting it all up, and it’s helped kickstart a few careers, most notably with Robert Thorogood and his BBC series Death in Paradise. So yes, screenwriting contests are worth it, but don’t be sucked in by every single one; weigh up the pros and cons (is there a entry fee? Do I get feedback? Is the prize any good? etc.), and roll the dice!

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

On my website dannystack.com

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

I have an annual Pie Night with my friends where we cook 5-6 varieties, and then choose a favourite. Last year’s special was a traditional steak & ale pie, delicious! I’m quite partial to a hearty fish pie, too. And lemon meringue pie for dessert. You’re not going to make me choose one, are you? NO FAIR.

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John Lovett

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 John Lovett.

After leaving the military in 1992, John went to work as an associate producer for a small production company that produced movies for Cinemax. In 1996, he started The Hollywood Military Advisor and L & M Productions to provide military technical advice to the motion picture industry and produce military documentaries. THMA contributed to numerous military movies and documentaries including BAND OF BROTHERS, PEARL HARBOR, and several military video games.  Now based in the Pacific Northwest, John teaches screenwriting and creativity at a local college, works with emerging and veteran screenwriters as a career coach, and is heavily involved in the local film making community.  John is also the screenwriter behind two produced films: CATHY MORGAN, a science fiction drama, and TWO WEEKS, a tween comedy.

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

Akiva Goldman’s ‘Winter’s Tale’, from the book by Mark Helprin. Regardless of the changes from the book, the movie read and played well. The quality of Goldman’s writing came through in how the actors executed against a fantasy/reality setting.

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

I worked for a small production company starting in the early 1990’s and had to learn all the aspects of movie production from lighting to camera work, which included being able to read and evaluate scripts for the producer/owner. Also, I took a script reading class from Pilar Allesandra and independently read for various studios for many years.

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

Yes, but with a caveat that while the characteristics of good writing can be taught and instilled, the skills of recognizing good writing are learned by reading, reading, and reading more. In addition, mentoring by experienced readers and writers helps considerably.

4. What are the components of a good script?

Besides following the rules regarding script appearance; structure, structure, and structure.

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

Mechanically, the most common mistakes are misspellings, word misuse, and grammar errors. And yes, all of that is important to good writing.

Artistically, the most common mistakes are not having a consistent through-line, long-winded exposition, and on-the-nose dialogue.

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

I look for the heart of a story. If the story is well written, I can look through the genre or internal tropes. To that end, I have seen some B-films that went DTV or direct to Netflix that told effective and emotionally engaging stories whilst the core genre or trope had been significantly overdone. Were I to pick one trope, it would be the ex-GI who witnesses some evil deed and becomes a ‘super soldier’ who knows how to handle every weapon and every karate move.

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

-If you are writing, stay off the ‘Angry Birds’ and Facecrack.

-Develop business and writing goals and stick to them. As you write and continue to improve your writing, you will modify and update your goals, but at least have a starting point.

-A writer should also know what life is about. Copying over tired ‘Transformer’ or ‘Twilight’ scripts is not going to lead you to new writing truths. Living a life is. Get out from behind the computer and join the Peace Corps or the Army, travel, get a job scraping boats in Florida. Do something, anything, that is not directly writing but is a life experience.

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

While I was a reader for a small production company specializing in DTV material, I wrote a “recommend” for ‘Dark Secrets’ written by S. Tymon. The logline was “An aspiring young reporter becomes involved with the subject of her investigation; a millionaire businessman who runs an underground SM club and is rumored to be involved in the murder of a fashion model.” For the intended audience, the movie turned out okay.

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

I don’t participate in screenwriting contests. I figure if you’re going to be a writer, then write and sell your work. Contests are great and you get lots of compliments, mostly. The truth of the matter is that we’re writers because we love to write, but we still need to pay the mortgage, buy diapers, and put food on the table. So, write your material well enough to sell, and not win contests.

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

My email address is twoscriptguys@gmail.com. My site is www.twoscriptguys.com. My Facebook page is Screenwriter John Lovett.

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

Shepherd’s.

Unstoppable force, say hi to immovable object

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There is something in this man's way
There is something in this man’s way

Pop quiz time!

Apart from advancing the story, theme and character development, what is the one key component every scene should contain?

Okay. Pencils down.

A big ol’ piece of pie to everybody who said “conflict”. Without it, your script’s on a one-way trip to Boringtown.

I recently became involved in a discussion with a starting-out writer who asked about the best way to describe how a sequence in his script could play out. After looking at the source material (based on true events), I said if he only writes what happens, there won’t be any drama to it. It needs conflict.

“Conflict how?” he asked.

That’s what it come down to, isn’t it? A lot of newer writers hear “conflict”, and they immediately think two characters are supposed to be arguing. Sometimes that might apply, but it’s not necessarily what it means.

Conflict is two opposing forces going up against each other, and those two forces could be anything (within the limits of your story, of course). Most of the time, one side will be your character and the other will be something or someone standing in their way of achieving their goal, be it immediate or overall.

Which would you rather watch? A story where everything goes just fine for the main character, or one where they’re always dealing with some kind of problem?

One of the great things about conflict is that it can come in any shape or form.

“What if a character opens a window?” was the follow-up question. “Where’s the conflict there?”

There isn’t any. If you’re reading a script and get to a scene that only involves a person opening a window, you’d think “What purpose does this serve?” and tell the writer to cut it.

The conflict would be if it won’t open. There’s a story there. Your curiosity is piqued. Questions are raised. Why won’t it open? Why do they want it open? What are they willing to do to get it open? What’ll happen after they get it open?

Conflict helps move the story forward. Part of our jobs as writers is to come up with new, original and imaginative ways to portray that conflict. The way I have the character open that window is probably totally different than how you would.

Even the central question of your story shows conflict: Will the main character achieve their goal?

While you work on your latest draft, take the time to examine each scene, even the ones only a line or two long. Is there conflict of some sort?

If there is, great. If not, you need to get some in there.