theme

Ask a Script Consultant who’s also a Working Writer!

Maximum Z agent, blog, characters, contest, Doc Savage, feedback, format, goals, ideas, manager, Nicholl Fellowship, payoff, pie, reading, representation, rules, scenes, screenwriting, script, setup, spec, story, storytelling, structure, television, theme, writing , ,

mark sanderson

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape.

Mark Sanderson (aka @scriptcat) is a Los Angeles based screenwriter, script consultant, and sometimes actor blessed to be living his childhood dream of making movies with a spec sale and a dozen screenplay assignments that have produced seven films. Mark’s long association with award winning Hollywood filmmakers dates back to his first produced screenplay and has since worked with Academy Award® winning producers, veteran directors, and Academy Award®, Emmy®, and Golden Globe® acting nominees. He offers script consultation services on his website at www.fiveoclockblue.net and also offers advice on his screenwriting blog MY BLANK PAGE. Look for his upcoming book A Screenwriter’s Journey to Success coming out later this year on Amazon.

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

I don’t have much time to spend watching a lot of TV or movies, but the best writing these days is on television in my opinion. I manage to catch an episode here and there of shows, but don’t really spend a lot of time watching many series. When I watch movies, I tend to be really picky and very few films out there today don’t really draw me in—so I go for the classics. On television, I really thought the limited series Sherlock was excellent writing, Mr. Selfridge too, and I got hooked into the The Following for a while and that was good serialized writing. I’m just getting into the old pulpy Doc Savage novels from the 1930s and the writing is great and so visually ahead of its time. I read that Hollywood is planning on making a Doc Savage movie and if done right, could spawn a series of new films.

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

Well, I’ve had a professional screenwriting career for the past fifteen years and during the last few years I decided to open my consulting business on the side.  I’m always reading scripts even if I’m not consulting on them. I have a small group of writer friends and we trade our scripts back and forth for feedback.

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

I believe it comes from years of learning and studying the craft of screenwriting. When writers build a strong foundation of experience reading scripts, studying structure, character, writing scripts, executing notes and mastering their craft—this is when they can finally give experienced and critical feedback if a script is good writing or not. It also is vital to know the language of cinema. I’m aware that some consulting sites farm out the reads to “readers” and one never knows who is actually reading the script or their experience level when giving notes.

4. What are the components of a good script?

It starts with a compelling story and something that you can clearly see grew from the writer’s passion for the material. Too many times I read scripts that are trying to chase after Hollywood’s big budget blockbusters and they fall short because the writing is boring, clichéd and trying to emulate something that has already been created. The scripts read like a rehash and not something original. A good script showcases the writer’s unique voice and the best of their talents. It has interesting characters that we care about and written in a fluid, efficient way that includes only what is necessary to keep the story moving forward. A good script also has a rock solid structure and a series of reveals, surprises, setups and pay offs that keep us captivated to read until the end or sit through the film until the lights come up in the theater.

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

I’m shocked that many screenwriters still have no respect for the professional format of a screenplay. They believe the reader will look past the format and typos issues to see their genius idea and buy it for that alone. A script lives or dies by a thousand small details and considering the volume of scripts that bounce around Hollywood every year, the industry has no patience for unprofessionalism. Other common mistakes I see happen when screenwriters do not work from a solid outline or treatment before they jump into pages. Approximately three quarters of your work usually goes into the story even before you type FADE IN. Other mistakes come from overwriting and micromanaging the scenes. Aspirants need to learn what to put in a script—and equally as important what to leave out. I tell writers: “Stay the hell out of the way of the story.” Many are so eager to put their fingerprints all over the pages and that’s just ego. The best writing is when the screenwriter is almost is invisible on the page and the script reads as if you’re watching the film. I also find too many mistakes with structure and the story happening too late or not enough story to facilitate 100 pages. The set up in the first act many times is way too long. Hopefully these writers learn from their mistakes and focus on becoming better screenwriters by creating stories they are passionate about rather than chasing fame and fortune.

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

One big one that I can’t stand is the use of “Deus ex Machina” or using a contrived way at the end where a character or action saves the day. It shows lazy writing and ends the story on a weak beat leaving the reader unfulfilled. Another one is the “fall” or “twisted ankle” of a character escaping that is usually followed by the line, “Go on without me!” Another one I’m tired of seeing is the “I hate my job, my boss and do nothing but complain” routine.

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

1. Disrespect the craft at your own peril. You will never be bigger than your craft because screenwriting is an ongoing learning experience.

2. You must become a collaborator and ultimate team player because if you grimace at their notes, they will brand you as “difficult” and not work with you again.

3. You may have to write five, six or seven specs over a period of years to even get one optioned or maybe sold if you’re lucky. But if you’re impatient and looking for fame and fortune, you’re in the wrong business.

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

Well, I don’t give “recommends” because I’m not reading for a producer, but I do tell writers if they were successful in the execution of their idea. Screenwriting is all about the execution. Good ideas are a dime a dozen in Hollywood—they’re everywhere and it’s the execution of a script that’s vital to its final success. Yes, I did read a few scripts during the last year that were superb and written by experienced filmmakers—so that helped. I can’t give out the loglines as I have a non-disclose agreement with my clients, so I’m not allowed to discuss the elements of their projects with anyone.

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

Yes, many of the top contests are worth entering as a chance to “make some noise” and get noticed. Back in the day, I entered a spec in the Nicholl Fellowship and it ended up in the top twenty scripts out of thousands worldwide. They picked the top eight that year for the fellowship, but since I had placed in the next dozen, agents and mangers were willing to give it a read. Eventually it found a producer who championed the script and it was produced, played in film festivals worldwide, premiered on TV and distributed globally. But, be careful and read the fine print of the contest you are entering as some stake claim to your script if you win. Do your homework on the various contests and make sure you are putting out your best material that will properly represent your talent and ability. If it’s not ready, go ahead and miss the deadline because there is always next year.

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

Screenwriters can find more information about my consulting services on my website at: www.fiveoclockblue.net. I’m also on Twitter: @scriptcat

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

Oh that’s an easy one…definitely a tie between boysenberry and cherry. I could eat both with ice cream as a “last meal” and die a happy man. Apple pie comes in a close third, but all pie should be heated.

Ask a Nicholl-winning Script Reader!

Maximum Z analysis, appreciation, characters, contest, creativity, criticism, determination, feedback, genre, guidelines, ideas, loglines, Nicholl Fellowship, originality, pie, plot points, protagonist, rules, scenes, screenwriting, script, spec, story, storytelling, structure, theme, tropes, writing , , ,

1465249_10202485687454053_1139689699_n

The first in a series of interviews with some script readers who would be worth your while to work with if you want to get your script in shape.

Today’s spotlight on: Doug Davidson!

Not only is Doug Davidson a Nicholl Fellow, but his script LETTER QUEST has the distinction of being the only animation script to ever achieve that honor.

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

DAWN OF THE PLANET OF THE APES. The most compelling character to hit the movies in a while is an ape. Caesar is a textbook protagonist. An extraordinary individual doing extraordinary things under extraordinary pressure. When you can end a movie by zooming in on the lead character’s face, and not have it feel cheesy, you know you’ve done something right.

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

I started in a screenwriting group, a large group that lasted several years. Early on, we agreed on always giving each other formal written feedback, because if you don’t have to write your feedback down, then you don’t think nearly as hard about it. When you put your feedback in paragraph form, you realize you have to make sense, you have to be consistent and you have to justify what you say. It gave me the discipline to write constructive, reasoned feedback instead of just tossing out opinions.

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

Recognizing perfect writing is easy and intuitive. Anyone can do it. Recognizing the potential in a promising script that isn’t quite working yet, that takes more experience. And it takes a writer’s mentality. You need to study the craft for years. There are rules that are easy to memorize, but how to apply them, that’s much more difficult. Blindly applying the rules doesn’t lead to good writing, or good feedback.

4. What are the components of a good script?

The craft has to be there, and then there has to something else, a plus one. It could be funny comedy. It could be insight. It could be a new idea. That’s the “talent” part. You might think it’s this “plus one” that’s missing from most scripts, but I find the opposite to be true a lot of the time. Often a script has this amazing unique element, but the nuts and bolts of the story just aren’t in place yet. That’s when making the extra effort to put all the craft elements together really pays off.

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

One of the most common mistakes I see is writers thinking a plot point (or character trait or thematic element) is clear on the page when in actuality it’s really not. At least not clear enough. It happens all the time, even to seasoned writers. That’s why feedback is so important. It’s not about saying your vision is wrong. It’s about saying your vision isn’t quite visible. Yet. The trick is to make sure everyone can see it.

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

Just about any story idea could work with the right execution. That said, I’ve come across a surprising number of scripts about screenwriters writing screenplays. Autobiography finds its way into most scripts, but it really helps to disguise it just a little.

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

(1) Don’t (2) Give (3) Up.

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

Nothing is absolute, but I’ve read more than a dozen really excellent unproduced scripts that I would recommend. I won’t go into the loglines here, but they’ve spanned just about every genre. I love to stay in the loop with the scripts I’ve read, especially the great ones. Several are optioned, several have placed very well in major contests and two have well known actors attached. Many of the writers of these scripts have secured representation as well. It requires some grit, but first-rate work will eventually get you places in this industry.

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

Screenwriting contests are absolutely worth it. It’s not the only path to success or a guarantee of success, but I know a fair amount of writers who have benefited greatly from contest placements. If you get an opportunity to read for a contest, I recommend that too. I’ve done it and learned a lot from the experience.

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

My website is www.fourstarfeedback.com. I have a screenwriting blog there based on my experiences in the industry (and the numerous mistakes I’ve made). I’m also happy to answer specific questions via the email listed on my site.

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

I love pie too! I like to bake my own key lime pies. They’re pretty easy to do. I also love coconut custard, blueberry and anything with peanut butter. But my favorite would have to be . . . pecan. A great pecan pie has a sludgy quality – an intensely sweet sludge – balanced by a nutty crunch. Thanks for thinking of me, Paul! We’ll have to get together sometime for some coffee, and pie.

Roll up for the My Writing Process Tour!

Maximum Z action, adventure, analysis, Back to the Future, Beatles, blog, characters, creativity, Done Deal Pro, feedback, genre, ideas, inciting incident, Indiana Jones, mystery, Nicholl Fellowship, originality, outlines, plot, plot points, Raiders of the Lost Ark, representation, rewrite, screenwriting, script, setup, spec, Star Wars, story, storytelling, structure, subplot, theme, tropes, westerns, writing
Sorry, no walruses involved
Step right this way! Sorry, no walruses involved

I’ve been invited to take part in The My Writing Process Tour, which is kind of a blog/chain letter thing. One blogger asks another to take part and answer some insightful questions, then link to writers/bloggers we’d recommend.

I was nominated by Henry Sheppard, aka Adelaide Screenwriter, from the Australian metropolis of Adelaide. He’s always offering up some fantastic material, including articles, interviews and shorts. Definitely worth checking out.

As for me…

1. What am I working on?

Three items currently hold my attention: revamping the outline of a pulpy adventure spec, the rewrite/polish of a Christmas-themed mystery-comedy and resuming the hunt for representation.

2. How does my work differ from all others of its genre?

Even though I’ve written in several genres, the one thing I always try to convey is a sense of fun and excitement. It takes a lot more effort than people realize to really engage a reader that way.

I want you to enjoy the story beyond just “this is good writing” and more like that amusement park thrill ride you rush to get back in line for as soon you get off.

3. Why do I write what I do?

My formative years were the late 70s/early 80s, so I had the benefit of being heavily influenced by the likes of STAR WARS, RAIDERS OF THE LOST ARK and BACK TO THE FUTURE. To me, those are textbook examples of what smart storytelling should be, and it’s what I strive for in my own work.

I’ve stated before about being a fan of the genres I write, so not only am I trying to write something I’d want to see, but I try to create something I haven’t seen before.

4. How does your writing process work?

It all starts with an idea. Is there a story behind it? If so, what happens over the course of that story? How could I tell it in an original way?

Once I have a general idea about that story, including knowing how it starts and ends, I set up the plot points (statement of theme on page 3, inciting incident on page 10, etc), then fill in the gaps between them.

If it’s a genre-specific film, I try to incorporate elements that are part of that genre while trying to avoid tropes, or at least approach them from a different perspective.

I do a majority of my work in developing the outline, and it makes a huge difference. It gives me a better overview of the whole thing so it’s easier to keep track of character development, storylines, subplots, setups and payoffs. I won’t even consider starting on pages until I think the outline is solid.

Because of my schedule, I write when I can. When it comes to pages, I try to produce at least 3 a day. Sometimes it’s more. It’s gets easier the more you do it. They add up fast, and before you know it, you’ve got a completed draft to go back, edit and rewrite.

I’m also extremely fortunate to have several friends and trusted colleagues I can turn to for feedback. They pull no punches in telling me if something doesn’t work.

Lastly, I’ll rewrite and polish the script until I think it’s good to go.

Over there on your right is a list of blogs I think make for some excellent reading and advice. I’ve added three definitely worth checking out:

–The Single Screenwriter by Christie LeBlanc

–Writer of Fine Things by Evan Porter

–The Screenwriting Process from James (don’t know his last name) in the UK

Bonus! If you’re looking for some reasonably-priced professional analysis for your script, you might want to consider:

-Doug Davidson’s Four Star Feedback. Doug is the only writer to win a Nicholl Fellowship with an animation script (2004), but he happily covers all genres.

-Andrew Hilton aka the Screenplay Mechanic. His services have garnered extremely high praise on the Done Deal Pro forums.

Thanks for reading!

Put ’em through the wringer

Maximum Z adventure, aliens, analysis, characters, conflict, genre, ideas, obstacles, outlines, plot, productivity, pulp fiction, scenes, screenwriting, script, spec, story, storytelling, structure, theme, writing, zombies
Work on your script AND a load of laundry at the same time!
Work on your script AND a load of laundry at the same time!

As work on the pulpy adventure spec plods forward, one of the key components of a solid script is constantly reminding me to use it to its fullest potential.

Conflict.  Without it, you won’t have much of a story.

While each scene should be advancing the plot, theme and character development, there also needs to be some kind of conflict.

You know that analogy about structure that involves your character getting stuck up a tree and having rocks hurled at them? Being stuck and the rocks would be the conflict.

(I can just imagine the studio note – “I love it! But does it have to be rocks? And how about a bush instead of a tree?” But I digress.)

Characters need to keep encountering obstacles that prevent them from achieving their goal.  Your job is to make those obstacles tough for them.

Here’s where things get interesting and how to make your script stand out from the rest – those obstacles can be in the form of just about anything.

Conflict doesn’t mean there should be a major argument or a slam-bang, knockdown punch-fest; more like the confluence of two opposing ideals with some degree of intensity.

Say you’ve got a character who absolutely needs to be somewhere at a certain time. It’s up to you to think of different ways to make their journey anything but easy. Lost keys, flat tire, car won’t start, traffic jam, and so on.

As the story progresses, so should the levels of conflict. Start off on a small scale, and then build so things just keeping getting worse. This can also be combined with raising the stakes so the reader/audience can’t help but wonder “How are they going to get out of this one?”

Something else to consider: try to make the conflict organic. Don’t have something happen because the story needs it to; make it feel like it belongs. Going back to the earlier example of the character trying to get somewhere – it makes more sense they would get pulled over for speeding, rather than, say, abducted by aliens or attacked by zombies (unless that’s part of the story).

Simply put, you have to put your characters through hell before they can get what they’ve been trying to get the whole time. If you’ve done a good job in making us want to root for them, the more we’re going to want to see them succeed.

Greetings from No Man’s Land!

Maximum Z characters, conflict, continuity, creativity, goals, guidelines, ideas, monsters, obstacles, outlines, payoff, plot, plot points, problem-solving, protagonist, rewrite, rules, scenes, screenwriting, script, setup, spec, story, structure, subplot, theme, writing
Lost? Of course not. Just recalculating my position.
Lost? Of course not. Just recalculating my position.

It took some doing, but I finally managed to get to the midpoint of the rewrite of the monster spec outline.

As is required for this particular plot point, my hero is now firmly committed to achieving his goal, plus not one, but two new conflicts thrown into the mix to make it that much harder for him.

There’s still a little setup-payoff work that needs to be applied to some earlier scenes, but I really like how it’s coming along.

But for now, my attention shifts forward – further into the vast wasteland that is the rest of Act Two.

To some, a staggering task of herculean proportions.  For me – not too much.

Well, maybe a little.

Act Two can be incredibly intimidating. Your script can have a killer opening and fantastic ending, but if what happens between them isn’t as good, if not better, than you’re in trouble.

What takes place in those 50-60 pages can really make or break your story. A reader or audience wants to see things happen as the characters grow (or at least change).

With such a vast canvas to work with, you might lose track of a lot of elements – supporting characters, subplots, etc. I remember reading a script that introduced what I thought was going to be an interesting subplot, but after that initial appearance, it never showed up again. It’s possible the writer just forgot about it, or maybe didn’t know how to develop it.

Take your time to plan things out. Yes, we all want to get done faster, but in this case, that’s the worst thing you could do.

Let’s assume you’ve got your plot points in place, so now it’s a matter of connecting them.  What has to happen in each scene to move things ahead to the next one?

Remember: each scene, no matter how big or small, should advance the plot, theme and character, as well as contain some kind of conflict.

It’s easy to get lost in all the details. Maybe there’s too much focus on this part, and not enough on that one. Again, take your time to figure it out.  Besides, you’ll be able to make the necessary fixes in the next batch of rewrites.

It’s okay if you don’t have all the answers right now, but there are lot of details you’re going to need to fill in as you move forward. And always keep asking “Is this the best way to have this happen?”

The journey through Act Two can definitely be a challenge, but it can be a little less daunting if you go into it prepared and knowing where you want to go.