Q & A with Ellexia Nguyen of The Script Joint

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Ellexia Nguyen is the founder of The Script Joint, an award-wining script coverage and editing company. Industry-wise, she started out as an apprentice film editor for producer Roger Corman’s company, Concord-New Horizons, and later as an assistant for Paramount Pictures’ Worldwide Feature Film Publicity.

After completing UCLA’s Professional Screenwriting Program for graduates, she launched her own business. Her company later won the 2016 award for “Script Consultants of the Year” and “Best Screenplay Editing Services”— which is showcased on the U.S. Business News website.

Ellexia works mainly as a script doctor/ghostwriter/story consultant on feature film scripts, TV pilots, TV series bibles, and novels. Some of her clients include directors, attorneys, CEOs of multimedia companies, indie producers, A-list producers, repped writers and some of Amazon’s best-selling authors.

Through her story consulting, editing and rewriting services, a handful of her clients, even new writers, successfully reached their goals by leaps and bounds, landing book deals, development deals, and multi-picture deals—some with major studios and streaming companies such as Netflix. Most notably, one of the feature film scripts that she script doctored for a client got picked up by Creative Artists Agency.

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

The Act, a gripping crime drama series on HULU. I was pulled into the story within minutes of watching the first episode at one of the TV Academy screenings. It’s an eerie dramatization of the true story about the murder of Dee Dee Blanchard, a single mom who suffered from MSP (Munchausen Syndrome by Proxy). For those unfamiliar with MSP, it’s a psychological disorder where the caretaker, usually the mom, makes up illnesses or does things to induce illnesses in the child under her care. It was a well-told story, and beautifully shot in a way to allow the audience to see and feel what the lead characters were going through.

How’d you get your start in the industry?

Some years ago, I was reading an article in a magazine about director Martin Scorsese and it talked briefly about how he had worked with producer Roger Corman.

After doing some research, I learned that Roger Corman’s company, Concorde-New
Horizons, was known for being an informal hands-on film school. After college, I reached out to the company and got an apprentice film editor position. That’s where I first came into contact with industry scripts and dailies. Over time, I became more interested in screenwriting.

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

Yes, if you have a patient script consultant or mentor who is willing to point out to you what makes good writing or not. To recognize good writing, you also have to know how to recognize not-so-good writing. As a script doctor/consultant, I’ve worked with clients who had little screenwriting and novel book writing background. But over a few months, after giving them proper guidance and extensive story feedback, they were able to dramatically improve their writing and storytelling skills.

As a result, even some new screenwriters and novelists were able to get book and development deals from the drafts we worked on. So, yes, it can be taught – if the person you’re teaching has the desire, drive and determination to learn.

What do you consider the components of a good script?

A well-constructed story. Everything has to work together seamlessly such as the cast of characters, dialogue, and the story stakes. For example, a car can have the best engine, but it’s not going to take you where you want to be if you have flat tires. In screenwriting terms, that would be like having a good story premise, but characters that can’t drive the story forward due to poor dialogue.

Everything counts in a script.

It must have good dialogue because dialogue creates plot. The scenes must be succinctly narrated, moving your story along in a meaningful and visually engaging manner. You want the reader to be able to easily follow and understand your characters and their struggles. Also, the script should be well-paced and filled with a good amount of conflict and story stakes. Secondary characters should also interact with the main characters without appearing contrived. Lastly, the script should have entertainment value.

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

Having too many secondary characters in the story that end up robbing screen time from the protagonist and antagonist. They’re usually secondary characters that interrupt the story and do random things to each other. This often happens in underdeveloped comedies.

In a time-travel story premise, a common mistake is flooding the script with countless arbitrary “time jump” scenes—chaotically jetting back and forth between the past and present. This makes it impossible for the reader to become emotionally invested in any of the characters or their journey.

In sci-fi, it’s not sticking to the rules of the writer’s own created reality and letting characters do things that contradict the rules of the writer’s created reality.

In action, thrillers, and horrors, a common mistake is having an anti-climactic showdown between the hero and the villain. For example, the hero effortlessly defeats the villain, which takes the thrill and momentum out of the fight.

What story tropes are you just tired of seeing?

Like I mentioned earlier, sci-fi stories where the characters have to travel back in time to face something or do something to correct the past in order to save the future. Often times, there are so many time jump scenes such that they interrupt the narrative drive of the story.

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

-Write visually engaging scene descriptions, but don’t over- or under-describe.

-Give the protagonist clear goals and something to fear. What do they need to overcome to achieve those goals?

-Make sure there’s a good amount of tension and conflict in the story.

-Reward the audience for following your story by making the ending satisfying.

-Let your characters speak in subtexts, but try not to be too vague or ambiguous. Script readers aren’t mind readers.

-Have realistic expectations. Don’t expect film investors to shell out millions of dollars to turn your script into a movie if you’re unwilling to invest the time and effort to get your script polished. Show them why your script – and not your competitor’s – is seriously worth the investment.

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

Yes, the story unfolded like a movie within minutes. Strong presentation of theme. I was easily able to picture the characters, who seamlessly worked together to serve the plot. Scenes were written in a way to allow me to really see and feel what each of the characters was going through.

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

It’s one of the ways to test out your script before pitching it to producers. It’s also a way to get discovered by literary managers looking for fresh talent. But be selective and don’t blindly submit to countless contests. Not all of them offer you the same exposure or “prizes” if you win.

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

They can visit www.TheScriptJoint.com, follow us on Twitter at @The ScriptJoint, or connect with me on Facebook – https://www.facebook.com/thescriptjoint

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

Old-fashioned apple.

apple pie

 

Q & A with Brooks Elms

Brooks W Stripes

Brooks Elms creates and consults on films big and small. He’s a proud WGA screenwriter who’s written over 20 scripts and directed a few indie features. He started at NYU and now has a blast teaching a class at UCLA Extension in addition to privately mentoring writers and filmmakers at all levels. He also runs the script consulting service FinishMyDamnScript.com.

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

JOKER. Because it’s difficult to build empathy for protagonists with flaws that lead to violence against innocent people, especially with all the mass shootings these days. I have ethical questions about whether this was a worthy screenplay to produce because the film can’t help but celebrate what it’s also trying to condemn. And I suspect it will inspire as much (if not more) negative consequences as positive ones – but that makes the screenwriting all the more impressive and skillful. Because this was a very popular film and the bar was VERY high for that level of success.

How’d you get your start in the industry?

Making movies with my friends in high school, which led to NYU film school, then making indie features. In the last decade I’ve mostly focused on screenwriting. I also teach a screenwriting class at UCLA Extention and I mentor writers when I have time. I love every aspect of making content and mentoring.

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

What’s the alternative theory – that people come out of the womb knowing how to write well? It’s a matter of defining what you love about other stories and getting familiar with the craft choices that lead to those results. I teach this to everybody from beginners to veteran writers so…. yup.

What do you consider the components of a good script?

It’s about the harmony between components. The craft is taking elements (premise, hero, goal, conflict, structure, relationships, setting, theme, tone, etc..) and adjusting aspects of them (size, shape, style, amount, etc..) until we find the right collective balance which allows something bigger to speak through the parts.

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

Losing touch with the delight of the process. And stopping because of that.

What story tropes are you just tired of seeing?

Every trope has the potential to be powerful if created with authenticity. It only feels cliche when there’s too much emotional distance from the truth of the intention.

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

I stay away from language choices like what “every writer should know X”. Those types of words can be a distraction from listening to the subtle impulses of your voice. Instead, I invite people to follow their passion. What excites us about our current story? How can we play with elements to unleash more of that excitement? When we share material for feedback, what’s blocking other people from deeper levels of excitement? “Confusion” is the most common blockage followed by “tepid goals and conflicts.”

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

The Duffer Brothers’ HIDDEN, which they wrote before STRANGER THINGS. It was a masterful display of milking tension using minimal assets in a scene. I used that script to teach myself how to make a huge impact on the way I write tension.

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

ALL the paths toward advancing your career have you pitted against the odds. So just pick the paths that speak to you and your budget. Contests can certainly be helpful so have fun playing that game, and detach from the outcomes. It’s about enjoying the journey and welcoming those that come along that happen to love your work as much as you do.

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

Check out my website – FinishMyDamnScript.com

And if writers want professional support at a great price I invite them to check out my new tight-knit online community: THE FINISH MY DAMN SCRIPT WRITERS GROUP. It’s a collective of my favorite clients and UCLA students banding together for accountability and awesomeness. There are live group calls, a Facebook group and more! A link can be found on the homepage of my site.

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

Now we’re getting to the essential question. The answer is pecan. It’s rich, heavenly and it shines beneath a scoop of vanilla ice cream. Shout out to banana cream for a close second place. It can be spectacular when it’s baked well, but breaks my heart when it’s often messed up.

Q & A with Lisa Gomez

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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 Dominic Carver

Dom Carver

Dominic Carver is a screenwriter, script consultant, and script editor.

In 2008 his first short film, AGN, was produced by Split Edit in Norway and broadcast on Norwegian TV. His second short film written in 2010, the mystery thriller THE TRAVELLER, was a collaboration with Dubai-based director Musaab Ag. In June 2011, Dominic won the Prequel To Cannes Feature Screenwriting Prize for FAITH, a bleak unflinching look at the life of a London street prostitute.

Dominic has since been commissioned for six feature screenplays and has also worked as a script editor on other projects, including the feature THE DYING EYE (2013).

Dominic continues to place highly in many competitions most notably the FINAL TEN of FINAL DRAFT’S BIG BREAK 2016 FEATURE COMPETITION – FAMILY/ANIMATED, the FINAL TEN of STAGE 32 TV WRITING CONTEST 2017 and the FINAL TEN of Idris Elba’s GREEN DOOR, GREEN LIGHT INITIATIVE 2017.

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

DUBLIN MURDERS by Sarah Phelps. Utterly spellbinding, a haunting examination of loss set in and around the search for the murderer of a young girl. Sarah’s work is wonderfully paced and her dialogue frighteningly good. She writes beautifully dark, complex characters, and with THE ABC MURDERS she breathed new life into the well visited character of Poirot.

How’d you get your start in the industry?

I have always loved stories, often reading a novel a day during my teens. On one particularly slow and boring day at work, I decided I’d had enough and needed to do something other than rot away in a dead-end job, so I signed up to do the Scriptwriting for Film & TV degree at Bournemouth University. Skip forward a few years and I won the Prequel To Cannes Screenwriting Competition, and one of the judges recommended me to a producer, who offered me my first feature commission.

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

A very interesting question. I believe that to be a truly great writer you have to have a certain amount of natural storytelling talent. You can be taught how to create characters, develop ideas, write characters and dialogue to a reasonable level and to recognise what works and what doesn’t, but if that natural storytelling ability isn’t there. you’re going to struggle and will only ever be average.

Good storytelling is instinct; getting to the emotional core of your characters and their journeys and being able to put that on a page to move and manipulate your audience in ways they weren’t expecting. It’s easy to spot a good screenwriter – they stand out from the crowd. From the hundreds of scripts I’ve read over the years, only four really made me sit up and pay attention and go, ‘This writer has real talent!’

What do you consider the components of a good script?

The characters and the journey they’re on. If your audience doesn’t feel for your characters or their journey, then you’ve lost them before you’ve even begun.

The film JOKER is the perfect example. He’s the most despicable character, a psychopath you would go out of your way to avoid in real life, but on the screen we understand and can empathise with the circumstances that made him. Even when he goes on a killing spree at the end of the movie, regardless of how horrifying and distasteful it is, we understand why and empathise with him. If, as a writer, you can make even the most despicable character sympathetic, that’s masterful writing.

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

Where do I start? Poorly developed characters. If you don’t know who your characters are, how can you expect your audience to? Generic storylines. A popular one at the moment seems to be the ‘mid-life crisis’ and the search for meaning in characters’ lives.

If you don’t approach it from a unique angle, give the audience something they haven’t seen before, then why bother as your screenplay will be lost amongst a sea of similar scripts. Static scenes where characters share their secret feelings around a table and a cup of tea. It’s a visual medium, people sitting around chatting about their feelings is boring to watch. Busy those static scenes up. And when have you ever opened up to a stranger and told them your inner most feelings? Never! People just don’t do that, unless verbal diarrhea is a character trait.

If new writers took more care in developing their characters and their stories, rather than copying what has come before and populating those tired stories with generic characters, there would be a lot more interesting stories out there.

What story tropes are you just tired of seeing?

The mid-life crisis. The hero whose family is murdered and they go on the hunt for revenge. And that’s just two. There are so many more, I’d be here all day listing them. Dig deeper, people!

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

-Spend time on developing your characters and ideas.

-Don’t write great chunks of dialogue or scene description. Less is more. You’re writing a screenplay, not a novel.

-Study people. Find out how people tick.

-Don’t try and write a Tarantino (or another writing hero) movie. Write your own, what appeals to you. Find and develop your own voice.

-Always, always, always have your work read by a professional screenwriter before you send it out into the wider world. Yes, it will cost you money, but you need to know if your story and characters work as it will save you a lot of time and effort. Far too many writers send work out before it’s ready and they wonder why they experience so much rejection.

-Write the first draft quickly without over thinking it too much. The following draft will be a lot better. Just get those ideas on the page and then worry about reworking them. A page of crap is easier to rewrite than a blank one.

-Don’t make a tit of yourself on social media. Be kind, be polite, be inquisitive but never ever pester others to read your work. If you are friendly, polite, respectful and get to know them as friends, people will start to ask to read your work or even recommend you to others.

-Rewrite! Rewrite! Rewrite!

-Network like your life depends on it… because it does.

-Never take rejection personally. It’s never about you, it’s just that your script isn’t a fit with that person at that time. If you get rejected, rework your screenplay and then send it out to two more people. Developing a thick skin is an absolute must for being a writer.

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

Yes, and it still puzzles me why it hasn’t been made. I don’t usually mention clients I read for, or their work, as it’s confidential, but in this case I’m going to name the script and the writer. It’s MINOTAUR by ADEWOLE ADEYOYIN.

I hate horror movies, I don’t see the point of watching something that you know is going to scare the poop out of you, but Ade’s script stood out because of its characters, story, themes and its depth. It took a well-explored genre and turned it into something original and compelling, a thrill ride from start to finish.

If any producer out there reads this and is looking for a cracking monster movie, get in touch and I’ll pass it on. It needs to be made!

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

Yes! Not only do they test your work, but if you do well they can help propel your career forward. A friend and I wrote a feature from conception to finished second draft in twelve days back in 2016. She wrote the first draft in seven days and I spent the next five rewriting. We entered it into Final Draft’s Big Break and made it through to the final ten in the family category. If it had been entered in the historical category, I think it would have gone even further. Every competition we entered this script into it made at least the quarterfinals, so we knew we had something special.

But which competitions to enter? Pick the well-known ones, the ones with an impressive lineup of judges or that offer access to industry players. Paying for feedback is a great idea, but how well your screenplay does in the competition will also be a great indicator of how good your writing is.

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

From my website at www.thescriptwriter.co.uk. It needs updating, but as usual I’ve been busy. I’m sure I’ll get around to it at some point. Maybe next year.

I’m also on Twitter – @DomCarver

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

Steak and kidney… nothing beats it!

steak-and-kidney-pie

Q & A with Allison Chaney Whitmore

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Allison Chaney Whitmore is a screenwriter, graphic novelist, and writing coach from Los Angeles. She loves to tell coming-of-age stories with a hint of romance, fantasy, or adventure, but also enjoys a good gothic horror story. She’s also the writer of the comic Love University.

As a coach, working with new writers with a passion for story is her favorite thing. Allison holds a Master’s degree in English education and has studied screenwriting at the graduate level. Outside of her work, she enjoys classic films, genre television, a good book, traveling, and spending time with family and friends.

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

The current season of This Is Us is really good. I love the way they weave together plot, character, and theme. I also got to watch all of Fleabag and Killing Eve this summer, both of which I found amazing. I’m looking forward to watching season 3 of The Crown, as it always has top writing, and The Haunting of Hill House, which I hear has incredible writing as well. I can never pick one thing.

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

I’ve always been a dreamer and a story enthusiast. I wanted to be an actor from a young age and started writing skits in elementary school. Long-form prose came in high school, and I wrote my first screenplay in a pink composition notebook with graph line paper the summer after graduation. So, if I haven’t always been a writer, I’ve been one for a pretty long time.

What inspired you to write your comic Love University?

The concept came to me many years ago. One Friday after work, I was stuck in traffic on Sunset behind UCLA and just randomly thought — What if there was a school for cupids,  called Love U? I thought it was funny at the time, but also strongly felt it was something I could see on television. When the opportunity came up to write a comic book series, I pitched it, and they really liked it.

What was your process for writing it?

This particular story just had a concept, no character to start. That’s not usual with me. Both typically come to me at the same time. This one I had to take the idea and pull the story out of it. I found the main character, Lucy, then I began thinking about the journey she might take over several issues as the world around her began to populate in my mind. I wondered about her day-to-day struggles, her lifelong personal wounds, and her hopes and dreams. From there, I just let the story unfold. After that brainstorming phase, I went through my usual process of theme, logline, beat sheet, outline, and script. Then it was notes, revision, and so forth.

How did you connect with the publishing company for your comics, and what role do they play with your projects?

I was working with another writer on a web series who was also a comic book writer. I’d recently been hired to write a couple of comics for a pair of independent creators. They were looking for screenwriters to complete the work. I was sort of lost in terms of what to do, so I asked my colleague to take a look at what I’d been working on. He really liked my work and sent it on to his publisher, who asked if I’d like to write a series of my own.

A key component of writing (for both film and comics) is to make the stories and characters relatable. What sort of approaches do you take to accomplish that?

To me, my characters are reflections of the human experience. I simply remember the human sides of their experiences — wounds, worries, hopes, dreams. I think about the way they speak, and why that is. I think about the way they dress, their favorite music, how they navigate through the world. Everyone has a specific journey that makes them uniquely who they are. I realize that should be the same for my characters, and that helps bring them to life, as well as making them more relatable to the reader.

As a writing coach, what are some of the more common mistakes you see?

Most of the mistakes come from finding the core of their stories, hitting plot points, and formatting. Sometimes it’s tough for people to figure out whether they have just an idea, or enough to make an actual story. That’s what we work on. It’s actually a lot of fun.

There are a lot of writing coaches out there. What’s unique about you and your methods?

I come from a teaching background, so my approach is about building skills from the ground up, but also starting with the big picture in mind. I like to help people work through their creative blocks and find the stories they want to tell. I’m much more of a coach than a consultant. I’ll give notes and focus on that type of thing, but I’m often looking to help writers become the best version of themselves. Working with me is like having your own personal teacher. Not everyone needs that, but it definitely works for some people.

What do you consider the components of a good script?

Strong character arcs, relatability, clear concept, emotional hook, and an identifiable theme.

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

-Always plan to write more stories. Don’t put everything into just one script. Move on. Write more. Keep getting better.

-The writing process is different for everyone. Just like we have different ways of learning and absorbing information, the way we get to a story can vary. Give yourself time to find your way.

-Your first draft is not going to be perfect. Ever.

-Plan if you can. It saves you time.

-Make time for both writing and living.

-Be observant.

-Read as much as you can.

-Stay committed.

-Be open-minded.

-Think outside the box.

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

Email me at: allison@theophilusfilms.com or go here: https://allisonchaney.typeform.com/to/c5PFJC. You can also get a digital copy of Love University here, and check out the Facebook page here.

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

Cheesecake could be considered pie, so…cheesecake. In terms of actual pie, probably pumpkin! Perfect time of year for that. Happy holidays!

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