Q & A with Terry McFadden

TERRY Cool

Terry McFadden came up through the ranks as a playwright having been produced
throughout the United States, the UK and Australia and winning several awards. From there he worked as a script consultant for ARD Television, Radio and Films and Eternity Pictures before starting off on his own. He has had the good fortune of giving studio notes to producers on scripts that got made such as THE GOOD GIRL, CONFESSIONS OF A DANGEROUS MIND and THE TRUTH ABOUT CHARLIE.

As the founder of Story Builders Script Doctor & Writing Services, he has covered, analyzed, given notes and consulted on hundreds of screenplays, TV pilots and story ideas and is dedicated to helping writers find and hone their own unique voice.

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

JOKER. Without question. The absolute best script of 2019. From the very first page I loved the writing. Now, a lot of it is because I so identify with the charm and depth, the way it was done, the thematic and stylistic elements hit me right off. Not only was the lead character great and unique but he starts out as a very human but weird guy who has issues—issues that are clearly foreshadowed and then evolved. The story makes clear and piece by piece layers in not only his mental and delusional maladjustments but the idea that the way things turn out, as a result of his upbringing and belief systems and how he sees himself and world, is the only way it can end. This is developed wonderfully.

Screenwriters are taught to look at story, the characters and their arc, the twists, the spins, the reversals, the progressive development and surprises; a solid and rising structure with the catalyst plot points, midpoint, and the rest. All of that was there in JOKER but what kept me turning pages was the way it all weaved back in—supporting and commenting on what is already going on adding dimension. A real fresh slant on how he becomes not only his own hero but also the hero of those in need of such a person. The metaphors, the allegories, the songs, the running symbolic commentary—all snaking back and endorsing what is going on or will be, was both unpredictable, cool, necessary yet not seen coming in that way. Very well done.

How’d you get your start in the industry?

I started as a musician. Eight years old, I’m taking guitar lessons and my Dad tosses me onstage with “Tommy Schaefer’s Country/Polka Band at Jim Thorpe Memorial Park”. Music is a big part of everything I do. Writing is music. I came to formal writing at Penn State, penning funny essays about people and teachers. But it took off in Los Angeles in 1993 or so, when I began to write short scenes and monologues for the theatre. I became a member of Actors Art Theatre in Hollywood and remained there for four and a half years—this is where I really developed my style of writing.

Writing scenes progressed to ten-minute plays, short plays and one acts. The director and founder of the theatre was a real mentor to me and a great means of support. From there I studied at UCLA and AFI, did coverage and analysis for several production companies for a while, continued to write, act and produce plays and scripts. I then went out on my own as a script doctor.

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

Absolutely – for both. The “craft”, to me, comes first. Learning about story, character development and structure–how to turn an idea into 110 pages of course, is the gig here. So in order for me to recognize it, I had to learn it. I had to discover what structure does, why and how–what makes great story points and all of the rest. When you are reading tons of scripts and attending workshops and seminars by a lot of the great teachers like I have, the recognition of good writing becomes second nature because you’re also seeing bad writing and discovering why.

Writers who want to grow and become better intuitively know they need some help. My job is to provide that while showing them their promise as well. Their promise is what we develop. Writers who are open to and then apply good notes will see right off how it betters the work—this is “being taught”.

What do you consider the components of a good script?

A memorable story, clear and fresh characters and building structure as I mentioned above, but for most of us, that’s a given. Good scripts need to be engaging and surprising too.

Stories that emotionally move you as well as make you feel that you are there. The mark of great writing is a piece that has the reader or audience invested and rooting, one way or the other – eliciting an emotional response. Even though readers may not identify with the situation they will identify with the emotional life of what the character is going through, the actions and the way the characters behave, and this is because of the human experience.

What I consider the most important component of all of this is that the writer tell the story in a fashion that only her or she could—their own unique voice. This is who they are and how they see the world that nobody else does. The first thing I look at when reviewing a script is the description and I ask myself, “is this textbook or is this from a perspective that I’ve never seen before?” A script that has a unique and personal voice to it is already leagues ahead as the writer understands not just story, but “their” story and how to get that across.

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

Lack of prep and what’s worse, thinking that you don’t need it. Okay, great ideas make great stories but only if the idea is turned into a script that encompasses the story and structural elements to evolve, build, grow, sustain and resolve in 110 pages.

Another mistake is writing “pot-boilers”, that is, trying to copy what is out there without having a believably sustaining basis for the human aspect. Without a strong and personal character take, motivation, true want and need, you’re writing purely externals. Externals don’t get it for me. I need to know why.

Another mistake is that Act Two putters out and the scenes begin to get episodic and meandering. Biggest one is protagonist trade-offs: The protagonist, because of lack of drive, stakes, want and need is passive so the action is progressed by secondary characters thus confusing the lines and creating tangential sub-plots that do not correspond with the concept or original goal of the protagonist. I am a big proponent of using an outline. Sure, you could waver from it, but, do so in the context of the story that you are now familiar with—this is true and correct inspiration. Write an outline or treatment and get notes on that first. You’ll save yourself not only time but ego deflation and bouts of self-doubt. All comes down to execution on the page.

What story tropes are you just tired of seeing?

I’d have to say voice-over as it’s so overused. If you’re going to use a narrator, and this goes for all devices and conventions, ask how is this still serving the story yet different, adding, and, could it only come from me? Is the narrator a character? Do they know the ending? Are they commenting in a way that goes against the cliché? Are they oblivious, dumb, judgmental? Are they an active character? Also, mentors who are older and have it somewhat together.

Photos on the wall or mantle showing who the characters were and what they did before we see them. I feel that exposition should be meted out when essential and in story forwarding form in crucial times and scene beats.

Lastly, villains that are too dark and mean. My take is that antagonists and villains are the protagonist in their own story; they’re just at cross-purposes with the hero. If you can show why antagonists do what they do and their reasoning, it’ll be more interesting. Watch the original FRANKENSTEIN bopping and stumbling all over the place, and tell me you don’t feel for him.

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

Write dialogue that differentiates the character as per who they are, their world, POV and experiences. Dialogue that only they could say.

Make sure it’s your world; your voice; your take—only you could have written this. The hook, the take, the scenario and the point of view could have only come from you. Not just overall conflict but inner scene conflict between the characters needs to be present evolving and resolved in some fashion, especially if they’re on the same side. Individual stakes and progressive character function is vital.

Do not have a character if he or she does not only have a role but also a function. How are they influencing the story and the hero? What happens to turn the story because of them?

Keep us guessing. Great scripts set up surprises, twists and reversals that catch readers off-guard yet make sense as per the foreshowing early on. There is no such thing as “out of the blue” (some comedies and farce exempt) even if you think it is. Everything that happens in Act Three is foreshadowed in some way and credible to this story.

Be open to changes; be open to collaboration; be open to notes that are going to improve the vision overall. Screenwriters are subjective and we need another pair of eyes that are not our own. We need to understand that getting sold, published and produced demands active collaboration. Get notes, shut up or drive a bus. Keep writing. This is a process and you learn as you go. Will you get better at it as you go? Probably. Will you evolve as a writer? Absolutely.

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

Yes. I reviewed a coming of age drama, a TV pilot, that looks at one night in the lives of several late-teen/early 20’s pizza delivery-service workers, concurrently and from all of their points of view. So different were the characters yet all dealing with their own private teen angst. Phenomenal use of subtext; great devices and conventions that were imaginative, unseen before yet fell right in line with the voice and concept.

This slice of life story very convincingly depicted the trials of young adults searching for love but settling for sex and left me with the feeling of hope and the promise of their journeys to come. Because this pilot opened up so many possibilities for all four of the leads, I felt it could go for many episodes and progress uniquely as well. Great writing.

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

Only if you do well. Screenwriting contests can help leverage a career but again, you need to have a good script that is recognized by the contest. Bigger question is how are you going to get your script out there? Contests are simply one road and not for all of us.

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

You can check out my website at www.storybuilderswrite.com. I’m also on Twitter at @Storybuilderz and on LinkedIn at  https://www.linkedin.com/in/storybuilders/

I also have a new e-book entitled, “That Sounds Like Me’ – ‘Implementing your Own Unique Voice into Act I of your Screenplay or TV Script’. The book takes a comprehensive approach to the usual refrains on getting your life and slant on the page. By delving into how the writer’s natural voice need influence all aspects of the process, it demonstrates how story tools such as Opening Image; Character Construction; Backstory and Exposition; Hooks; Allegories, Metaphors and Themes work together, complement each other, are part of the same world and why. Go to my website and sign in and I’ll send you the book for free, as a gift to you.

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

Ha! I’m going to bend the genre here and go with New York Cheesecake – graham cracker crust and bottom.

new_york_cheesecake

Q & A with Paul W. Cooper

Paul7

Paul W. Cooper has been a working freelance television and motion picture screenwriter for more than thirty years. With over 60 television credits and one feature film, his awards include three Emmys, the Humanitas Prize, Writers Guild Award and the Kairos Prize.

He wrote the critically acclaimed film ONCE UPON A TIME…WHEN WE WERE COLORED winning Best Picture honors at the Movie Guide Awards. His television credits include MURDER, SHE WROTE, HIGHWAY TO HEAVEN, LITTLE HOUSE ON THE PRAIRIE and THE WALTONS. He served as Story Editor on Oprah Winfrey’s dramatic series BREWSTER PLACE, and has instructed Film and Television Writing at Pepperdine University.

Paul has written 21 ABC and CBS AFTERSCHOOL SPECIALS dealing with subject matter exploring every significant social issue including incest, alcoholism, physical abuse, homosexuality and racism. A number of these projects won Emmys as Best Television Specials for their significant social and dramatic impact.

Paul has written a number of films for cable television, which have appeared on Showtime, Disney, the Animal Planet and Family Channels. He wrote THE MALDONADO MIRACLE for Showtime, produced and directed by Salma Hayek. It earned 5 Emmy nominations and won the Writers’ Guild Award. His film for the Hallmark Channel, THE NOTE was the highest rated Hallmark movie of 2007 and 3rd highest rated of all time.

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

BEASTS OF THE SOUTHERN WILD. Visually stunning. I ached for the characters.

Two of my favorite genres to write in are straight drama and crime. There are two screenplays I constantly refer to so I’m certain the last material I read are one or both of these screenplays. The first is TERMS OF ENDEARMENT by James L. Brooks. It’s the only screenplay that actually brought me to tears while reading. The second is the crime drama SEA OF LOVE by Richard Price.

Here’s my practice. After I’ve written ten pages, I will pick up my dog-eared and worn copy of SEA OF LOVE. I’ll read ten pages (any ten) then come back to the last ten pages I wrote. Now I find myself re-writing those pages with a different tempo. I’ll knock out words from the dialogue to give it a more staccato and street feel. My shoot-outs become more cinematic because now I’m trying to write UP to Richard Price’s standard. And the more I do that, the better writer I become.

When I write a drama-charged relationship story, I use Terms of Endearment the same way. Again, I’m always trying to write UP to the standards of the masters. So those are two works I refer to constantly and believe are incredibly well-written.

Were you always a writer, or was it something you eventually discovered you had a knack for?

I learned I had a knack for writing when, in the 8th grade, the class was assigned to write a short story. Once I started, I couldn’t stop and the world of fiction opened up before me. From that time on I wrote stories, plays, songs and poetry. But I never considered pursuing writing as a career. I was eminently practical and got my degree in business administration.

How’d you get your start in the industry?

There was a war raging in Vietnam when I graduated college. Rather than being drafted, I joined the Air Force, attended Officer Training School, then pilot training. I was a pilot in the Strategic Air Command for six years. I got assignments all over the world including three tours of the war zone and came back registering 61 combat sorties. As a crewmember in SAC, I was also required to sit alert for seven day periods. The Strategic Air Command was our first line of offense in the event of a nuclear war. So we had to be ready. And that meant living in an underground alert facility (mole hole) for those seven-day tours. There’s not a lot to do while waiting for the horn to go off. Guys played poker, shot pool or watched TV.

One night I was watching an episode of MEDICAL CENTER and thought “I can do that”. So I went to my little bombproof room, took out a spiral notebook and started writing. I had never seen a film or television script and had no idea about formatting. So I wrote my story like a play, drowning it in terms like cut to, fade out, dissolve etc. When finished I was optimistically excited and immediately began writing another episode. Then I branched out and wrote for other series popular at the time; MARCUS WELBY, THE WALTONS, SANFORD AND SON, MCMILLAN AND WIFE, and others. Now, none of these scripts was very good, but that didn’t matter. What mattered was I was writing stories, creating characters, giving those characters words to speak. And I loved the sensation, the power I had over these fictional “people” and their lives.

After a year or so of writing television “scripts” I thought it was time for the entertainment world to be exposed to my heretofore undiscovered talent. I wrote to the Writers Guild of America and they sent me a packet of useful information, including a list of agents. So I began firing my material off to agents who would summarily return fire with a politely worded rejection letter and my envelope unopened. Dissolve to a year later when I met my future wife, an Air Force nurse. On a blind date, I discovered she had lived next door to the sister of Earl Hamner, Jr., creator of THE WALTONS. What do you know, I had written two Waltons episodes. Through that connection I contacted Earl and he graciously agreed to read my scripts. I sent them and a week later, he called me and said I should be in Hollywood writing for television. So off to Hollywood I went, Earl became my mentor who put me in touch with an agent, and I was on my way.

Sad to say, my story only reinforces the notion that you have to know someone in the business in order to get into the business.

What do you consider the components of a good script?

People ask, what is or are the most important elements of a screenplay. Some will say character. Others say story. But the answer is – structure. You may have the most beloved character since Hoke (DRIVING MISS DAISY) and an absolute jaw-dropping story (THE RIGHT STUFF), but unless the pieces are stacked properly, the whole construct collapses.

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

The thing I see most often is that a story is derivative. Nothing new. All the same old plowed ground. And this, of course, makes stories predictable. I believe it was William Goldman who said, “Always give the audience what they want, but in a way they didn’t expect.” If it’s true there is no story new under the sun, then at least get us to the desired ending by way of a different road.

Too many words, not enough story. I will often tell a student, “You have a 105-page script here but it only contains 65 pages of story.”

My pet peeves are typos, misspellings and grammatical errors. There’s no excuse for these infractions. They label the writer careless at best and illiterate at worst and create an unfavorable impression for the reader.

Other mistakes are what I call re-hash and deadwood. Never tell the reader what he already knows. And omit anything that doesn’t relate to the premise. Keep the story ever moving forward.

What story tropes are you just tired of seeing?

I’m not a fan of superheroes. It always comes down to the hero battling with an equally powerful villain in an epic cinematic struggle only possible with CGI. Yes, it’s visually impactful, but for me, cartoonish. No matter what the bad guy throws at the hero, he/she
always recovers and comes back for more. After ten minutes of lightning bolts being hurled and mushroom clouds rising over the city, I’m bored.

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

-Determine what your premise is. This is found by asking who your hero is and what does he/she want, need or desire. You should be able to state your premise in ten words or less. The premise of Romeo and Juliet is Romeo desires Juliet (boy wants girl). Indy wants to find the Lost Ark of the Covenant. Rocky needs to go the distance. The premise is your searchlight that must always be in view as you write the story. If it disappears, you’ve taken a wrong turn.

-Be aware of the third question — why do we care? We must be endeared to the hero (or despise the villain) and the hero’s goal must be worthy and important. The implication is obvious. If we’re not emotionally attached to the hero, we won’t care what happens. And if his goal isn’t both worthy and important, we won’t care if he attains it.

-Until the premise is revealed, the story is pointless. In other words, until the audience knows what the hero WANTS, the story has nowhere to go. Example: In Raiders of the Lost Ark, we open with Indy in an Amazon jungle cave stealing some artifact. He barely
escapes with his life and manages to return to his work as a professor at Chicago University. Now what does any of that have to do with the Lost Ark? Nothing. Indy has stated no particular goal so the story is nowhere. But then… he learns of the existence of
the Ark and decides to find it before the Nazis get hold of it. Now the premise becomes, Indy WANTS the Ark. And everything he does from that point on is aimed at achieving his goal. I like to see the premise revealed within the first 20 pages.

-Love is a process. You can’t just put two people together in a story and tell us they’re in love. We may believe it but we won’t feel it. You MUST give us the scenes showing us the behavior that causes one person to fall in love with another. What is it in her that he needs? What does he have that makes her desire him? And it can’t be only physical attraction. We know that people in bars can be physically attracted, fall into bed and the next morning regret it and never see each other again. That’s lust, not love.

-Once the hero has attained his goal… THE STORY IS OVER. Think of it this way. You’re watching a film full of danger and intrigue keeping you on the edge of your seat as the hero hurtles ever onward toward his worthy and important goal. The drama builds. Tension is unbearable. Then, in the exciting climax, the battle between good and evil is waged and the hero wins (or loses as in a tragedy). At that moment, all of the dramatic tension that was built is released like air out of a balloon. At this point, the audience is ready to rise and file out of the theater. THE STORY IS OVER. A common mistake these days is for a writer to keep going with the story even though there is no more tension to be derived. Yes, you often have to spend time to tie up loose ends but this must be done
quickly so you can get out and fade out.

-Think about what the audience is seeing onscreen. I often read a scene wherein two people are at a restaurant. They order. The waitress leaves. The two people converse for about thirty seconds and the waitress returns with their chateaubriand.

-Think of a script as a document of information. Something happens. And that something is first registered in the brain, right? We see and hear the event. Now if that information stops in the brain (intellect), then you’ve failed as a writer. Once it registers in the intellect, then it must go further into the heart or the gut. Those are the places emotion comes from.

-Character development occurs when we create the scenes that show the character behaving in the manner we want him identified with. Don’t tell us Joe is wonderful, he’d give his shirt off his back. Give us the scene where Joe gives the shirt off his back or “Saves the Cat.” Don’t tell us Sam is so evil he’d stick a knife in his grandma’s back. Give us the scene where Sam not only stabs his grandma in the back, but then twists the knife. Those scenes hit straight at the heart and gut.

You’ve written for both TV and film. How does writing for one medium compare to the other?

No difference unless you’re writing for a series. Then you have time (page count) considerations. I’ve written a number of movies for cable television and every one I wrote as though writing a feature film

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

Yes. And the reasons are hard to explain. First, it followed all of the requirements listed above concerning proper mechanics, economy, etc., but beyond that it grabbed my interest on page 2 and never let me go. It had complication, conflict and invention. It gave me the satisfying ending I wanted but in a way that was unexpected.

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

Go to my website at www.PaulCooperScreenwriting.com or my IMDb site: http://www.imdb.me/paulw.cooper

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

Coconut cream. The best I ever found was in a little diner/pie shop in Williams, Arizona. My wife and I always stop there on our trips between California and Oklahoma.

coconut cream

Q & A with Ethan Ransom of Screenwriting Is Hard

_GJP6054 CROPPED

Ethan Ransom began writing at a young age, but didn’t find his way to screenwriting until college, when he had a glorious realization that people actually made a living writing the movies that he loved. Right then and there, screenwriting became his discipline. After finishing two feature scripts, getting married, and moving to LA, Ethan completed the UCLA Professional Program in Screenwriting, and then the Screenwriting MFA at The American Film Institute.

He was very fortunate to get repped right out of school, and has been hustling ever since. In 2016, he realized he needed to give back to newer screenwriters who were still struggling to learn what he had and began mentoring and coaching in earnest. He lives down the street from the Walt Disney and Warner Brothers studio lots in Burbank, California, with his incredible wife and three vivacious children.

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

THE STANDOFF AT SPARROW CREEK. Great dialogue and characters, great twists, gut punch of an ending. It puts you so squarely in the perspective of the characters, who are isolated, without information, operating on instinct, and doing the best they can, only to have rug pulled out from under them — and thus, us. Not a wasted word in that movie, and great performances to boot! Anyone looking to write a contained thriller should give it a watch and study why it succeeds!

How’d you get your start in the industry?

I made the move to LA after writing a couple screenplays, getting engaged, and getting invited to the UCLA Professional Program for Screenwriting (UCLA’s and USC’s grad programs declined my application). From there, I’ve worked a number of different day jobs — reality TV vault manager, post-production assistant, marketing production coordinator and writer-producer — all while continuing to write.

But my big boost was the screenwriting MFA at The American Film Institute, and specifically the two acting seminars that they made us take. That opened up my world as a writer and gave me a way into my craft that I hadn’t had up to that point. It helped me understand what I was actually trying to achieve on the page: a framework for real, performable emotion, created by the story I would write. I tell people that AFI made me three times the writer I was beforehand. From there, I was fortunate enough to find a manager thanks to my thesis script, and have been on the hunt ever since.

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

I think everyone recognizes good writing intuitively. They feel it — they know it’s good, whether or not they can explain why. I think the ability to recognize why writing is good and to reproduce that in your own work is what’s difficult to learn. I think it can be taught and learned to some degree, but if you don’t have an innate writer’s instinct buried somewhere inside, all the classroom time in the world can’t teach you how to write well.

What do you consider the components of a good script?

Far and away, the most important component of a good script is compelling action lines and a rhythm of dialogue that creates the mood and flow of the story in the same way that the movie/TV show will. That’s what sets professional scripts apart: the action lines feel masterful, artful, and they take you through the movie in your mind’s eye in a specific and calculated way to mimic the feeling of watching the final product in your head. That’s the most important thing. That’s what makes for a compelling read, a page-turner, which to me is the best description of a good script.

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

Beyond bad grammar, bad spelling, typos, and improper format, the most common screenwriting mistake I see is action writing that describes the visual moments out of order, where we have to interpret the prose to figure out what we’d actually be seeing if we watched the filmed version of the script. That’s what screams “amateur” to me.

Second to that, I often see dialogue that doesn’t factor in character reactions — as in, the emotions of the lines don’t follow each other moment to moment. One character says something, and then the other character says something that simply would not follow from what the other character said, but is rather what the writer wants or needs to happen. That takes the reader out of the scene, out of the script, out of the story. You just can’t make that mistake and expect your script to work.

What story tropes are you just tired of seeing?

None, really. I love tropes, as long as they’re executed in an original, fresh way. I think tropes exist because certain types of stories just work, but with how much content is being created right now, when you use a trope, you better put a spin on it, or it’s going to be absolutely dull, no matter what trope it is

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

You never need as many words as you think. Cut as much as you can.

Find your writing routine and stick to it. Defend it zealously.

Let early drafts be bad — no one will see them but you! Don’t try to be perfect on the first pass, it’ll just slow you down, and no matter WHAT you do, the first pass will suck!

Ultimately, don’t ascribe to anyone else’s method for writing. Take in their ideas, experiment, and find your own.

Don’t get too caught up with prep work or logistics work — the finished script is what you’re aiming to create. Everything else must serve that goal. Set aside anything that isn’t.

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

Sadly, I haven’t, but the elements that might earn a script a “recommend” are as follows: a unique concept and point of view, stellar writing, a tight and compelling plot, rich characters, and as a bonus, the subversion of genre conventions.

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

As long as you know that winning a contest will never get you a career — you’re basically paying for the chance to, at best, be rewarded with prize money and exposure, and at worst, be told your work isn’t good enough yet — heck, go for it. I think it can be helpful for exposure purposes and getting read in certain places, but like this business, there are no guarantees. Only spend what you’re willing to lose.

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

Email me at ransomwriting@gmail.com, or find me on the socials — @ransomwriting (Screenwriting Is Hard) on Facebook (my services are posted on this page).

People can also follow me on Instagram (@ransomwriting), Twitter (@ethanwransom), and subscribe to my YouTube Channel Screenwriting Is Hard.

I also do mentoring sessions as well as notes on completed work, and am always posting helpful info and links!

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

French silk. Mmmmm. Oui, oui.

french silk pie

Q & A with Lisa Gomez

IMG_4867

Lisa Gomez is a Los Angeles-based singer/songwriter, aspiring screenwriter, novelist and professional story analyst. She writes screenplays, songs and novels with her twin sister. Together they are writing a Barry spec, a 30-minute dark comedy, a period drama pilot, and a feature based on their father’s life as an immigrant and his pursuit of the American Dream. She is currently obsessed with Disneyland, matcha, the tv show Barry and reading as many books as she possibly can. You can visit her script consulting website at geminiscriptconsulting.com.

What was the last thing you read/watched you considered to be extremely well-written (any medium)?

The pilot of Barry. It has everything that makes a story compelling and unique. Professional screenwriters have always given aspiring screenwriters these three bits of advice when setting up a character and a world: 1) Start the story with your main character doing something interesting.  2) Show the main character’s day to day, show the audience what a typical day in the life of this main character looks like. 3) Show the audience the main character’s problem. Well, in a whopping 30 minutes, this show delivers all of this and sets up the promise for more.

[Spoilers for the pilot of Barry ahead]. The very first moment of the show shows Barry walk into a hotel room, holding a gun while the camera mostly focuses on the dead body that’s lying on a bed with a bullet through his head. Immediately, this sets up the main character doing something interesting… okay, so, he’s a killer. Possibly a hitman. Whoa, that’s interesting. Then, it shows Barry’s day-to-day. We see him fly home on an airplane, get annoyed at a fellow passenger that opens a window to let the light in (a subtle but effective metaphor), then he plays video games, alone, and takes a shower, alone. Immediately, we get it. This is one lonely and depressed dude that gets no fulfillment from killing.

So, within the first five minutes (and theoretically the first five pages of a screenplay), Barry sets up the main character doing something interesting (killing someone), shows the main character’s typical day to day (he flies home after a hit, he’s alone, bored and does nothing substantial besides killing) and sets up what his problem is (that he’s depressed and gets no fulfillment from his job). It’s a pitch-perfect setup to a show. One could argue that the set-up is traditional and therefore cliché. But because this is a unique character and the premise is so bizarre, Bill Hader and Alec Berg made this setup interesting and makes the audience clamoring for more. And this is all just the first five minutes… if you haven’t seen this show, please do. It’s a masterclass in writing.

One of your job titles is story analyst. What does that job entail, and what are your responsibilities?

A story analyst is essentially someone who gives script coverage for studios, production companies and agencies. In other words, someone who receives a script and has to write notes on that script, on what’s working and what’s not working with the script, if I would pass, consider or recommend the script for the agency/studio/company. I have to read the script in its entirety, write a synopsis of the script, write a logline, describe the main characters and then write comments on why I would pass or recommend the script. Occasionally, in my notes, I offer solutions to story problems.

How’d you get your start doing that?

This is a fun story. My sister actually found an internship listing for a script coverage reader for a literary agency on entertainmentcareers.net. I applied and got the job. I did that for about a year. Then, as luck would have it, a Nicholl fellow walked into my retail job and I recognized him because he spoke at one of the classes that I took at UCLA Extension. We got to talking and he said he could refer me to a low-paying but highly regarded script coverage job. I applied, had to do test notes on a script and then got that job.

Once I started getting more and more experience, I had screenwriting friends I’d met in various networking events in LA refer me to different script coverage jobs. Every friend I met through networking was an aspiring screenwriter that eventually got a job in the entertainment industry and either reached out to me about the script coverage job or I would ask if they knew about any script coverage jobs. This is truthfully the first time I finally understood the importance of networking in this city.

When you’re reading a script, what about it indicates to you that “this writer really gets it (or doesn’t get it)”?

First and foremost, the grammar. I know, that seems like such an obvious answer but it’s true. You would not believe how many scripts I read that have beyond atrocious spelling and grammar. Sometimes the ends of sentences don’t have periods. I wish I was joking.

Secondly, clarity. What do I mean by that? Clarity is probably the easiest and the hardest aspect of writing a great screenplay. Easy because once you put on the page exactly what you want the reader to know, you’re done. Hard because putting exactly what you mean on the page is very very difficult. This is why script coverage or having someone read your script is helpful. It can point out the areas that the writer thinks makes sense but in reality, it doesn’t and it only makes sense to the writer.

Clarity, for me, means a few things. One, that the writing makes sense. For example, if you’re writing an action scene, please write description that is easy to follow and easy to read. The worst thing you can do for a script reader is make them read lines of description a few times in order to understand what’s going on. We get bored and frustrated.

Secondly, that the character’s arcs, story and plot is clear. It sounds simple, but again, most scripts don’t have this. I think it’s because the writer knows the story so well that the writer forgets to put in important and obvious things. For example, I was doing coverage on this script where the main character was queer. It was a very interesting main character, but I didn’t understand why this character’s queerness affected their journey because every character that interacted with this character loved and relished their identity. The writer then told me “Oh, because this story takes place in 2010.” BAM! I now understand the context of the story. But that date was nowhere in the script. It could be little details like that that can make a script clear or unclear.

What do you consider the components of a good script?

Clarity/conciseness. No one wants to read a script that doesn’t make sense, or rambles on too long. Make it sweet and to the point. And make it fun and interesting to read.

An interesting main character that has an interesting and relatable problem. So many scripts I read don’t have this in its entirety. Especially the relatable part. The main character might have an interesting problem, but it’s something that literally no one on this earth can relate to.

When the main character has a goal that’s actually attainable, but also difficult. This is something I don’t see all the time. What’s really important is that your main character has the skills to defeat their problem/the antagonist but it’s still difficult. A great example of this not happening is Star Wars: The Rise of Skywalker. Sure, you know that Rey is strong, but you don’t know specifically how Rey will be able to defeat Palpatine. This makes the story boring because the audience can’t participate in her journey in how she can do that. She just defeats Palpatine. It’s not set up how she can. It just happens. This is story suicide.

The script is great if it has something to say. What is your theme? What is your unique point of view on the world? Not only that, but what is your unique point of view on a specific theme? For example, everyone writes about redemption, but what are you trying to specifically say about redemption? Are you saying it’s not possible (Barry), that it is possible, but a very hard road (Bojack Horseman), or are you saying that it is possible (Star Wars: Return of the Jedi)?

Interesting situations/scenes. If you have a scene where two people argue, that can be boring. If you have a scene with two people arguing in the middle of a mall, that instantly makes it more interesting.

Great dialogue. If you have dialogue I’ve heard before, that makes me cringe. If you have dialogue specific to the character and only that character can say it, it makes me happy.

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

The way screenwriters describe women as beautiful, sexy, or simply defined by their looks. It’s disgusting, objectifying and just plain terrible. It’s 2020. Women have always been complex. It’s time to write us as such.

Too much description. Description writing is very hard, but please don’t have paragraphs and paragraphs of description. Try to write what only needs to be in the script but as simply and concisely as possible.

Cliché dialogue. A lot of the scripts I read have the following lines: “It’s too late!” “You really don’t get it, do you?” “Hi, my name is [blank].” “So, are you new around here?” It’s exhausting. We get it. You’ve seen a lot of movies. Please prove it by not giving us these lines that we’ve all heard a million times. Sometimes it’s inevitable. You have to. But please try to the least you possibly can.

What story tropes are you just tired of seeing?

One-dimensional women. I promise you, women are human beings that have ambitions and feelings that don’t revolve around men.

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

Write from the heart.

Write with something to say.

Get your first draft out as quickly as possible.

Even if you don’t like outlining, do it.

Read screenplays. They’ll help you write screenplays.

Live life.

Enjoy the process of writing.

Show your writing to people who will give you honest feedback.

Have a clear structure in your story.

Pitch your show/movie idea to your friends. If they don’t like it, either fix what’s wrong with the premise or think of another idea.

Screenwriting contests. Worth it or not?

Yes. Contests are great for deadlines and keeping yourself accountable. Because, if you’re paying that submission fee, you want to submit the best work that you have. However, don’t make your entire screenwriting identity about contests. I did and that got me nowhere. Use them for deadlines and don’t think about them after you submit. Just write the next script.

Follow-up: You’ve placed in the top 50 of the Nicholl. What was the script about, and what happened for you and/or the script as a result?

The Academy Nicholl Fellowships in Screenwriting are amazing. I’ve had friends become Nicholl Fellows and I’ve had friends in the top 50. We all have similar experiences.

That script was co-written with my writing partner, my twin sister. It’s a biopic about the nine weeks that Vincent van Gogh spent with fellow artist and rival Paul Gauguin. What started off as a friendly rivalry between them ended with Vincent cutting his ear off. It was my sister’s and I’s first screenplay… and it was the first draft. When we were announced in the top 50, we got about a dozen e-mails from huge agencies… I’m talking, CAA, WME, Anonymous Content, you name it… we sent them our script and then… crickets. I believe this script wasn’t ready and I also don’t think we sent them out to the agents and managers that would respond to our type of script anyway.

Here’s my biggest piece of advice if you place highly in a reputable script contest: contact the managers and agents you want to or agents that represent writers that write similar scripts to you. If my sister and I did that, I think we would have been represented by now.

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

I recently began my own script coverage service. If you would like quality script coverage with an affordable price, please visit my website at geminiscriptconsulting.com.

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

Aye, there’s the rub. Unfortunately, I have a gluten and lactose intolerance, so I can’t have pie unless it’s gluten-free and dairy-free. I know, it’s a sad existence. However, if I could have any pie, I personally love apple pie. Maybe because when my stomach could handle those pesky ingredients, I would always love getting apple pies from McDonald’s during my youth and that taste just brings back good, happy childhood memories.

apple pie

 

Q & A with Bob Saenz

BobNHS

TNIWIT cover1a

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