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Signe Olynyk

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is especially significant for writers ready to pitch their material, as it features an interview with ScriptFest/Pitchfest co-founder Signe Olynyk.

Signe Olynyk is a writer/producer, as well as the co-founder of ScriptFest and www.pitchfest.com, which includes the Great American PitchFest, the Great British PitchFest, and the Great Canadian PitchFest.  She is also the co-founder of the Ultimate Logline Contest, and Your Career In A Day industry workshops. She lives in Canada, and runs the highly regarded Sooke Writers Retreat from a secluded, oceanfront home, where dozens of select writers join her each year for their personal writing retreats. In addition, Signe has written and produced a number of television pilots, series, documentaries, and feature films, and works in the industry. She has professional credits on more than 120 productions, including her two latest feature films, Below Zero and Breakdown Lane. Her work has been seen around the world on the CBC, Discovery Channel, Scream Channel, Fox, the BBC, and various others.

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

Great first question. There are so many. The ‘smartest’ movies I can think of right now include Christopher Nolan’s The Prestige, and The Disappearance of Alice Creed, which was incredibly smart and well written. These two films were dramatic thrillers, but I actually feel that comedy is some of the most difficult to write – it has to be smart and well-written, and generally, a brilliant mind must be behind a comedy to successfully pull it off. Creating original characters, situations, and dialogue that makes us laugh, and that we haven’t seen before, is an incredible feat.

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

I got my start reading scripts by writing scripts. For years, I was writing and sharing my work with others in my writing groups. At the time, I didn’t understand the value in reading, but the group I joined took turns reading a screenplay each week for a film that had been recently produced. Reluctantly, I started to read other screenplays. I just wanted to create new material and share script notes by reading each other’s screenplays, not spend my time reading the screenplays for movies that had already been produced. I thought it was going to be a waste of time when I could just watch the films. But that was when my world changed.

When you read scripts, you learn a rhythm and start to see the style in which a writer puts their words on the page. You see how evocative language and onomatopoetic words like ‘sizzle’ and ‘slap’, make your script come alive visually on the page, and in your mind’s eye. When you read other scripts, you discover and absorb lessons that you automatically start applying to your own work. And you are a better writer because of it, thanks to the work of other writers. It’s invaluable to your own development as a writer.

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

Physical limitations are an interesting thing. I love to play soccer, but I know I’m not the best player on the field. My coach can make me run drills, and practice for hours, but my skill level is only going to get me so far compared to others, because there are others who are simply more skilled and talented than I am.

Writing is the same way. Same with math, with physics, with music, art, or sports, or anything really. Someone’s physical brain or body has developed in such a way that they are stronger at a certain skill than someone else.

What really matters is attitude and perseverance. Good writing can be taught or learned, but there has to be a certain level of natural ability and talent in the first place. And then there has to be a passion behind whatever skill you have to really drive success at anything.

As an aside, I have been very frustrated by some of the ramblings of some who like to criticize consultants and say that ‘those who can’t, teach’. What a hugely unfair, offensive and dismissive thing to say. I am the founder of the annual screenwriting conference ScriptFest, which is held each year in Los Angeles. We have had hundreds of speakers teach at the conference, and they are educated, brilliant, and generous people who give back to the community and help writers become better at what they do. Since when did we decide it was okay to criticize teachers? It is not an easy task, and great teachers are a huge gift to those of us who are still learning – which is all of us, isn’t it?

Yes, teaching can be taught. I’m incredibly grateful to all of those who have mentored me in my life. It is the moral obligation of each and every single one of us to share what we have learned with others, so that we can all learn from one another.

4. What are the components of a good script?

I want to see characters I care about in situations I haven’t seen before overcoming outrageous obstacles in the singular pursuit of their goals. I want to feel something, and root for them to achieve their goals. I want to go on a ride with them, and experience an emotional journey as they give everything they have towards reaching their goals, being beaten down and nearly defeated as they pursue an eventual triumph. That doesn’t mean a character must always reach their goal – and by triumph, I mean they’ve learned something meaningful that has changed them forever, for better or worse.

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

Many writers write characters and stories they think people want to see, hear, or read. They cling to stereotypes, which does nothing to create originality or anything of interest to an audience. Finding your own voice as a writer is something that develops the more you write, because your confidence grows as you do.

I also see many writers fall in love with their first script or book, then spend years and years rewriting and tweaking it, and doing rewrite after rewrite. If you want to be a professional writer, you must generate new work. This is important not only because you are creating a body of work, but because you get better with everything you write.

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

Cats leaping out at people in horror stories. The guy who develops a cough, dying part-way through the story. Girlfriends who go after the girl their boyfriend cheated on them with – how stupid is that? Go after the ass who cheated on you! I want to see characters pushed as far as they can in directions and towards goals I haven’t seen before, and making decisions that are real for that character and that people can relate to. I want to see characters overcome their obstacles by making choices that only they would make. Story comes from your characters. Make your character’s reactions realistic for who they are, and have them respond in ways that only they would. Just as each of us has our own backstories, and these experiences shape who we are, our characters need to be developed the same way. Then you create characters and situations that are as real as each of us.

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

-First, don’t miss out on your life because you feel a need to be writing or working all of the time to create success. You must have a life in order to be a great writer. Every experience you have helps to shape you, and you need those experiences to shape your characters and their worlds.

-Second, take care of your health. Watch your posture and get a good chair to support your back. Go on long walks so your characters can speak to you, and you’ll be amazed how ideas will come to you when you’re least expecting it.

-Third, go to every event you can and constantly educate yourself on your craft. You never know who you will meet, or what you will learn that will inspire you, enlighten your work, and help you to create your best work.

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

I’m still seeking that script. I find lots of screenplays that are ‘recommends’, sure. But even then, rarely do you find any script that doesn’t need work, or still has tweaking or ideas, characters, or dialogue that need to be finessed a bit more. There are tons of loglines I read that make me smile and that I get super excited about, and keep visualizing the various scenes, and putting my producer hat on to think about logistics. Although I can’t give a logline exactly, what I can tell you is that they all have certain things in common:

  *TITLE: The title of the script captures the full essence of the story. We know what it is about, just from the title, and the theme of the story is also hinted at. JAWS. UNBROKEN. WILD. UP.

  *CHARACTER: They have a protagonist who is interesting to me, relatable, but who is someone I haven’t seen before. They pursue goals in a way that only they can do, and their backstories make their actions real and believable.

  *PURSUIT OF A CLEAR, IMPOSSIBLE GOAL: They have a goal that seems impossible, and the journey of following this character as they pursue that goal becomes irresistible to me. I must watch them pursue their goal.

  *OBSTACLES: They overcome increasingly serious obstacles in pursuit of their goal. The stakes get more serious as the story progresses.

  *NEMESIS: they have a formidable foe. A Goliath for every David. Goliath keeps putting obstacles in David’s way

  *LESSON LEARNED: the character is different by the end of the story than who they were at the beginning. By going on this journey with them, I am also changed in some way. It is the magical, emotional moment in a movie when your character becomes who they were meant to be, regardless of whether their goal is achieved or not.

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

Anytime you have an opportunity to get your work in front of someone who can make a difference to your career is worthwhile. It’s always a bit of a crapshoot whether your work will resonate with a particular judge. However, a lot of industry people find scripts by judging contests, and really, it’s a matter of the right script finding the right producer at the right time. If that’s the situation, then it behooves any writer – especially without an agent – to get their work out there and in front of as many eyeballs as possible.

Writers may also want to really examine the prizes. What is the real opportunity? Is it just to win a cash prize? Or is it industry exposure? What is more meaningful?

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

I would encourage writers to check out ScriptFest and the Great American PitchFest. It’s an annual, 3-day conference with more than 40 classes, panels, and workshops offered. Writers who’ve written a book or screenplay can pitch it to more than 120 agents, managers and production companies. Visit www.scriptfest.com to learn more.

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

That’s like asking my favorite ice cream! So many kinds, so many flavors! Lemon meringue, pumpkin, butter pecan, coconut cream, banana cream, apple with cheddar…If I have to choose only one kind, I would probably say blueberry-rhubarb. I like the sweet with the tart (kind of like my favorite movies).

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OLYMPUS DIGITAL CAMERA

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on writer-consultant-contest reader Jim Sarantinos.

Jim Sarantinos is the Editor-in-Chief of Creative Screenwriting Magazine, and writer of Gideon’s Way, a highly popular and acclaimed screenwriting blog which he started in 2009. He’s guest blogged for MovieBytes and other sites, and placed in various high-profile screenwriting contests including Scriptapalooza, Fade In, and most recently, Happy Writers with a TV sitcom pilot.

Jim has also read for various screenwriting contests and is currently developing several film and TV projects.

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

I’d have to say Nightcrawler, and I’m still mad it wasn’t recognized at the Oscars. TV-wise, I just watched my first episode of The Americans. Riveting stuff.

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

Going through film school, it was considered vital to our training; perhaps even more important than watching films themselves. I decided to consult because I was getting too many random scripts flooding my inbox demanding/requesting I read them and provide feedback within 24 hours.

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

You can teach the basic building blocks of screenwriting, but recognizing good writing is learned from experience, intuition and taste.

4. What are the components of a good script?

Style and character. I love deeply flawed characters that straddle good and evil simultaneously. There’s so much scope for them to grow and interesting places to take them. I also love worlds I’m not familiar with; not necessarily fantasy or supernatural. A wonderful story can be set in an abattoir, a funeral home or a country club.

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

Lack of story focus. Know exactly what you want to say before you start writing. Sure there is some discovery during writing, but know your theme and central message early on.

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

Car chases, explosions, shootouts. Give me a cop disarming a criminal solely with his/her mind and wit any day. You can only paper over the story cracks with CGI for so long.

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

-Know yourself.

-Know your story.

-Know the audience.

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

I can’t give you a logline, but I recently read a contained thriller about a heist gone wrong. Two-thirds of the movie was set in an office where the hostages and criminals were barricaded in. It was so vivid and real, which made it easy to visualize it.

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

They’re a double edged sword for me. I’ve heard of success stories which have launched careers and also stories of writers winning major contests and not getting anywhere. There are also too many cash cow contests with dubious readers. If you enter a contest, go big or go home. Preferably enter one that gives notes, so you know the reader has actually read your script. Practice due diligence.

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

My blog Gideon’s Way is at www.gideonsway.wordpress.com and Script Firm Consultancy is at www.scriptfirm.wordpress.com

11. Readers of this blog are more than familiar with my love/appreciation of pie.

What’s your favorite kind? Humble. Preferably organic, sugar and gluten free.

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Greg Rodgers

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on creative exec-turned-consultant Greg Rodgers of The Script Therapist.

A Southern California native, Greg Rodgers knew at an early age he wanted to work in the film industry, and he knew the best way to get there was through UCLA’s School of Theater, Film and Television. While completing his senior year at TFT, Rodgers was hired by award-winning director F. Gary Gray to assist him on the Paramount feature The Italian Job. Rodgers transitioned to the world of independent film, taking a job at Alcon Entertainment, working directly for co-presidents Andrew Kosove and Broderick Johnson. It was at Alcon that Rodgers discovered his passion for the development process. From there he became a Creative Executive at Mutual Film Company, where he was the Director of Development.

While at Mutual, Rodgers worked on such films as Snakes on a Plane, Jack Reacher, and the independently financed Deadfall. With the help of Rodgers, the company moved into the world of television, selling a pilot to Sony TV, and setting up miniseries at Entertainment One and HBO Asia. On the feature side, Rodgers played a major role in shaping the 2014 slate, including a contained action-thriller titled Dead Loss, an epic four-quadrant family film based on the Newberry Prize-winning novel King of the Wind, and the next entry in Paramount’s Jack Reacher series. He is the former operator of the now-defunct Script Therapist script consultancy.

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

WHIPLASH. I just can’t shake it from my head. There were a lot of things that came together to make it work so well – Chazelle’s direction, the tone, the performances, etc – but none of that would have made nearly as much impact without such a great script. The writing is just so tightly focused and a testament to how important character is in a screenplay. We care deeply about Andrew and what becomes of him, not because he’s a nice guy – he’s actually quite selfish and anti-social – but because the script gives us reasons to become invested in him. Right off the bat we learn what he wants, how badly he wants it, we see his relationship with his father, we meet a girl he likes – all these things that make him feel like a real person. There’s a lot going on in that script, but when you strip it down, it’s a really simple story about this kid and his relationship with a teacher who changes his life – it’s all character, not plot, and that’s refreshing.

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

My first job was working as an assistant for a director on a big studio movie. Right off the bat I could tell that production wasn’t for me, but after the movie wrapped and we started looking for the next project, I started reading more and more and being exposed to what was out there. My next job was at a production company, where I really learned the nuts and bolts of development: what to look for, how to work with writers, etc. From there I was hooked and I knew it was not only something I wanted to keep doing, but something I had a real knack for as well.

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

Though there are things you can learn about screenwriting and what makes a good script – because it is such a specific medium – being able to evaluate the quality of creative writing is largely innate. When you come across good writing, sure, you could stop and dissect the technical reasons why it’s good and why it works. But if you have to stop and think about that kind of stuff when you’re reading, or if you find that you’re asking yourself those kinds of questions (is the character and his/her goal established clearly? is there an inciting incident? etc), then you’re not really “getting it.” Good writing is just good writing, and someone who can recognize it will do so right away without even thinking about it.

4. What are the components of a good script?

The #1 thing is character. You can have the most intricate, well-thought-out plot in the world, but if it doesn’t involve characters that people are going to care about, then it’s all for naught. And then does that character have an arc or clearly defined emotional journey – i.e. has the character we’re left with at the end of the script changed from the character we met in the beginning? Also, is there conflict? There needs to be some sort of clearly defined antagonistic force in the script that creates conflict.

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

I feel like too many writers just starting out try and write a scrawling epic that spans decades and has three dozen speaking parts. I just can’t stress enough how much I advise writers to keep it simple. Better to tell a small story really well than to tell a big story poorly. It also seems like a lot of young writers try and write scripts in certain genres based on trends in the industry. You can tell when you read a script if it was written from a cynical place rather than being genuine, no matter how talented the writer is.

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

It feels like the world-weary detective/cop with the haunted past has been popping up more than ever. I’m also pretty tired of the entire modern rom-com formula – that’s a genre that’s just exhausted and needs to be reinvented.

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

-“write what you know” doesn’t mean you should create a main character who is an aspiring writer and terribly misunderstood

-in every scene you should be thinking about how that scene is moving the story forward, not just in terms of plot, but the main character and his/her arc

-make sure that whatever you write is something that you yourself would want to see. i.e. don’t write what you think other people want to see.

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

I’ve read quite a few over the years, some of which went on to become movies, others which didn’t for any number of reasons. If there’s one thing those loglines have in common, it’s that they describe a movie about a character(s) and not plot points. I always encourage writers to strip their logline down to what the script is really about – is it about a boy losing his innocence, a man overcoming his grief, a woman starting over? . . not just what happens in the plot.

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

They can absolutely be worth it, in that it’s always a good thing to get as many eyeballs on your script as possible. I encourage writers to not just blindly submit their script to every contest under the sun, but to do a little research and determine what one or two contests might be the best fit for their script and experience level. For instance, the Nicholl is known for being friendly to historical dramas and the like, so your horror script might not be terribly well-received there.

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

Greg no longer does script consulting.

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

Oh man, do I have to pick just one? I’m gonna go seasonal on you: in the fall/winter, I’ll take pecan pie. In the spring, strawberry pie, and in the summer (or anytime, really), key lime. Mmmm, pie.

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Erin Whittemore

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on agency reader-turned-consultant Erin Whittemore of Red Pen Script Consulting.

“I have a B.A. in film and screenwriting from the University of Michigan, and am also the proud recipient of the Hopwood Award in screenwriting that boasts such alumni as Arthur Miller and Lawrence Kasdan. After graduating, I relocated to Los Angeles, where I worked for United Talent Agency as a freelance script reader. Two of my own scripts have been produced as short films and premiered at film festivals.”

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

I loved Nightcrawler and The Lego Movie as scripts. Nightcrawler’s story was really lean and mean and practically seamless, and The Lego Movie was not only a great narrative in itself, but was also incredibly cheeky and self‐aware at the same time. In terms of TV, Marvel’s Agent Carter put other network shows to shame. In my humble opinion, of course.

2. How did you get started reading scripts?

After spending two arduous years as a pre‐med undergraduate, I finally became so miserable that I switched to film and never looked back. I learned to do coverage through screenwriting courses, and was lucky enough that UTA was hiring part-timers after I graduated. Full disclosure: I did know somebody in the story department, but even then I almost didn’t get the job due to the amount of competition for the position. It all comes down to your “test coverage.” (When an agency gives you a sample script to cover.) If you’re aiming for reading professionally, make sure you have your own sample coverage ready to go as well, preferably showcasing two different genres.

Eventually, though, I needed a better‐paying and more stable job, but I wanted to continue reading scripts as well. Having been a part of “the system” I knew it could take up to three months for writers to get any feedback on their submissions, which is kind of agonizing, especially if the writer ends up getting rejected. I figured, why not give writers a chance to see what a professional script reader would say about their material before sending it out to agencies and production companies? Thus, Red Pen was born!

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

I believe if you’re willing to be taught, you can learn. You have to watch a lot of movies and read a lot of scripts, and you have to learn to think critically about what you ingest. It’s not enough to say “I like this” or “I don’t like this,” you have to think about why. If it doesn’t come naturally to you, you have to ask questions like “why does this work” or “why doesn’t this work?” and “how could I make it work?” Some people naturally think this way, others have to train themselves to make it a habit.

4. What are the components of a good script?

A good script generally has an intriguing premise, strong characters, and an original and compelling execution. As a script reader, I look at character, story, theme, dialogue, visuals, and tone to determine what areas need work. In general, a great script knows exactly what it is and what it’s trying to achieve

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

-Unlikable, uninteresting characters that do uninteresting things. This doesn’t mean your protagonist can’t be an unlikable character, but they must be at least be interesting and do interesting things. (See There Will Be Blood, Nightcrawler.)

-Exposition in dialogue. The golden rule of screenwriting is “SHOW, DON’T TELL.” A little exposition is usually necessary, but too often I see writers trying to cram entire backstories or plot elaborations into a talking scene. Firstly, we only need to know what’s relevant at the time, part of the fun of watching a story unfold is piecing things together. Secondly, remember, it’s a movie. It’s much more dramatic and emotionally immediate to watch a sequence about something important than to hear a character talk about it.

-Inconsistent tone. Is your script Silence of the Lambs or Fargo? Guardians of the Galaxy or Interstellar? 12 Years A Slave or Django Unchained? When a script yo‐yo’s back and forth between tones, or spends the first half of the movie a comedy only to turn serious drama it can be very confusing for the audience and takes us out of the story. Know what tone you want your script to have and stick with it.

-No structure. A story is more than just a series of events, it’s a series of events that influence each other. If you’ve ever had a friend who is terrible at telling stories, they most likely sound something like this: “So Jack and Jill fall down this hill. No, wait, sorry, first they go up this hill. Then Jack falls down. And then Jill falls down. And then they get married.” As opposed to someone who might say, “Jack and Jill grew up together as next door neighbors and they hated each other. They were mean and played pranks on one another until Jill left for school. Jill married an orthodontist, but got divorced soon afterward because life became too predictable for her. Jack had a string of girlfriends but nothing ever seemed to stick, especially since none of them seemed to appreciate his sense of humor. Having both moved back to their hometown at a low ebb in life, one day Jack spotted Jill on top of a hill while walking his dog in the park. Jack smacked Jill in the back of the head with a snowball. Jill yelped, slipped, and tumbled headfirst down the hill. Alarmed, Jack rushed to her aid only to slip and fall, himself. The two ended up in adjacent hospital beds and wouldn’t speak to each other, until they both started laughing. Soon after, they fell in love, and have been married for 35 years.” In other words, remember that each beat of your story should make sense and be relevant in the larger context.

-It’s a movie not a book. Give us just enough flavor text so we get the atmosphere and the characters, but don’t go overboard. I should be able to read your script in the same amount of time it would take to watch the movie, if not less. Don’t bog the reader down in unnecessary description. That doesn’t mean what you write can’t be poetic and evocative, but just remember to keep it lean and mean. If you’re lucky, the type of person reading your material will give it their full attention, but this is not often the case.

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

Okay, first a disclaimer: most stories are tropes in one way or another. There’s an adage in Hollywood that goes “give me the same thing, only different!” What that basically boils down to is, “give me something I can latch onto, but surprise me!” It’s okay if you have an “everyman protagonist” (The Lego Movie) or if your story is about a rag‐tag bunch of people in space (Guardians of the Galaxy, or alternatively, Star Wars) – what really matters is the execution, or what you do with those characters and set‐ups. That’s where the originality comes in. That being said, here are a few that leap to mind:

-Women with no agency! Or alternatively, women who are portrayed with agency only to have it stripped from them at important points in the story by male counterparts.

– Actually, on that note: stereotyping certain genders, races, or sexual orientations into negative tropes like “the magical ethnic minority” or “token black person” or “exceptionally shallow and flamboyant gay best friend” at all. For a comprehensive list, Google “gender/racial/ethic/gay/transgender/bisexual tropes in media.”

-“You were really working for the bad guys all along.”

-Gritty for the sake of gritty, not because it actually works or makes sense.

-Teen love triangles.

-The ex (Marine, Army, Navy, etc.) whose family or significant other is kidnapped or killed, and must rescue them/seek vengeance. (Sorry, but I’ve read this script a hundred times)

-Scripts that are mostly music‐video segments strung together without much story.

-Manic Pixie Dream Girls

-Inexplicably bloodthirsty military males

-The scientist who knows everything. Ever.

-The brooding, emotionally unavailable romantic interest with no reason to be brooding or emotionally unavailable.

-The hacker who can hack into anything. Ever. Also, it’s probably a guy who lives in his parents’ basement.

-The magical cure‐all that can bring everybody back to life if they die, so there are no consequences or stakes!

-The love interest because there needs to be a love interest.

-The unnecessary cliffhanger, because it’s an unnecessary trilogy!

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

-Write.

-Rewrite. One of the most common things I hear is “I hate rewriting my material.” Nobody likes taking a chainsaw to their baby, but more often than not it’s a vital part of the creative process. Let’s face it, we’d all like to believe we’re capable of writing a perfect first draft, but in reality turning out something great takes a lot of work and usually a good number of drafts. As a script reader, I see that squeamishness about rewriting get in the way of some good scripts, and that’s a real shame when they could be great scripts. Just “polishing” your material is sort of like watering around a sick plant and expecting it to improve.

-For screenwriters: make every scene worth watching. Almost every scene should a) have some sort of conflict, be it internal or external, b) move the story forward, and c) tell us more about the characters involved.

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

I have actually read several, but most of them were under an NDA, so unfortunately I can’t share any loglines. Sorry.

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

The Nicholl is definitely worth submitting to, as there is some fairly significant exposure in the industry the farther you make it into the competition. I would also recommend submitting a polished script to the Black List.

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

You can get more information at www.redpenscriptconsulting.com or send me an email at redpenscriptconsulting@gmail.com. I also have LinkedIn, Facebook, and Twitter accounts. If you’re just looking to get your script proofed, though, I would check out my friend’s fantastic service at www.scriptproofed.com

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

Strawberry‐rhubarb is always an instant win with me, but sometimes I like a good old-fashioned apple topped with vanilla ice cream. Am I allowed to have two favorites?

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Maximum Z agent, antagonist, anti-hero, characters, conflict, consultant, creativity, description, development, Disney, emotion, ideas, outlines, pie, production company, protagonist, Raiders of the Lost Ark, resolution, rewrite, rules, screenwriting, script, story, storytelling, television, tropes, writing

Amanda Nelligan

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on Amanda Nelligan, aka Scriptgal.

Amanda was born and raised in Western Massachusetts. She attended Brown University and received a Bachelor of Science degree in biochemistry. While at Brown, Amanda became involved with the Brown film society and its weekly comedic film magazine – The Film Bulletin – which cemented her life-long love of movies. After working briefly at a medical research lab, Amanda moved to Los Angeles and embarked on her film career. Her first job was as an assistant to a literary agent. From there, she worked at Disney, then ran development for a number of production companies. Amanda went back to grad school in psychology and worked as a therapist and as a research project manager at UCLA before launching ScriptGal. Amanda enjoys baking, hiking and scuba diving and lives with her husband in Sherman Oaks, CA.

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

I can’t pick just one – different movies are great for different reasons. I really enjoyed NIGHTCRAWLER – whip-smart dialogue and a character I’ve never seen before. It also had a resolution that defied convention. EDGE OF TOMORROW is a meticulously plotted, fun, time-bending action film, which is so hard to do right. And WHIPLASH didn’t miss a beat (pardon the pun.) In terms of television, TRANSPARENT was terrific. JUSTIFIED and THE AMERICANS are two incredibly well-written series I never miss.

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

I moved to Los Angeles shortly after college. My first industry job was for a boutique literary agent who had an A-list roster, so my introduction to Hollywood was through writers. After that, I worked as a development exec – meaning my job was to find scripts and to work with the writers to develop those projects into viable features and television shows. I worked as a creative executive at Disney, then ran development for two production companies. I didn’t like all the politics/crap in the movie business, so I left and went to grad school and worked in another field for a while. But movies are my passion and I love working with writers, so ScriptGal started as an experiment, in a way, and three plus years later. here I am.

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

I think recognizing good writing is a matter of natural instinct, which not everyone has, plus a lot of practice – a.k.a. reading. And reading everything – not just screenplays. Novels, essays, short stories, etc. As a script reader, you need to understand what makes a good story. I think a rule of thumb is that when you forget you’re reading, you know the writing is good – good writing transports you.

4. What are the components of a good script?

A compelling protagonist or anti-hero and a worthy antagonist. We should be able to relate to the protagonist in some way. The antagonist can be a classic villain, a disease, a monster or even the weather. But no matter what the story is, it’s essential that we care what happens. Also, a good script needs to make you feel something. Joy, sadness, fear… Bottom line, the script needs to tell a good story. It can be written in crayon and have a million typos, but if the story is compelling it will shine through.

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

Too much description. It’s a real skill to write just enough to give you sense of what the audience will be seeing and hearing on screen. If the color of someone’s dress isn’t essential to the story, don’t include it. Another related mistake is describing things that would be impossible for an audience to know. Stuff like a character’s face shows the pain of the loss of his wife two years earlier. That’s cheating – essential information needs to be revealed the way the audience would discover it on screen.   Another mistake is not having enough conflict – which results in the story not being as dramatic as it needs to be.

A lot of people are hung up on so-called screenwriting “rules” — don’t use “we see” or any camera directions, etc. I think a) those rules aren’t true – good produced scripts do use them and b) no one working in the industry today cares about those rules one bit. Or even thinks about them. Bottom line – people want good stories.

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

I just read a script where a guy gets fired and comes home early to find his wife cheating on him. I’ve seen that a million times – so to me it signals a lack of imagination. I think a trope is fine if it is the best thing for your story – but you should always try to put some sort of fresh spin on it. Also, audiences love when a trope is turned on its ear – the best example is the fight scene in RAIDERS OF THE LOST ARK – when instead of getting into the expected hand-to-hand battle, Harrison Ford shoots the bad guy. So when writers find themselves contemplating a trope, they should always ask themselves whether or not they can surprise the audience instead.

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

-Writers write. You have to be in this for the long haul. If a script doesn’t work or sell, move on to the next. No successful writer I know parachuted in with the coolest script ever and then sailed on to fame and fortune. The best of the best have a lot of failed scripts in their filing cabinets. Or, these days, in the cloud. This business is a grind.

-Writers rewrite. You need to be able to make changes to your initial drafts and ideas – you need to be able to “kill your darlings,” meaning abandoning things you may love in furtherance of the story. Also, this is a collaborative business – everyone who reads your script will have notes. That doesn’t mean every note will be a good note, but it’s your job to recognize the good ones when they come along and manage the bad ones.

-“Take Fountain.” – Bette Davis. Okay, the real rule is outline. Outline like crazy – especially right after the idea comes to you. A lot of newer writers seem to get bored with their own ideas after awhile and make changes that are destructive. You need to lock in the story that got you excited in the first place and don’t doubt that it will excite readers/viewers as well.

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

No. To me “Recommend” means go shoot it, as is, tomorrow. I never say never, but I could probably write notes on every successful movie out there. The rewriting stops after the scene is shot. Actually, that’s not even true. A lot of rewriting happens in the editing room. For people who love the show THE AMERICANS, and even those who don’t, I highly recommend the Slate-produced TV Insider podcast about the show. It’s a conversation between the story editor and various writers on the show, often including the showrunners. They are rewriting until the last second.

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

I think a select few are meaningful to industry execs – The Nicholl Fellowship, Austin Film Festival, and UCLA’s Samuel Goldwyn. I think the others may help a writer’s self-esteem, but I’m not sure how many actual doors they open in Hollywood.

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

They can email me at Amanda@ScriptGal.com and check out my website www.scriptgal.com.

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

I love ALL pie – much better than cake, in my book – but if I have to pick one it’s strawberry rhubarb. The contrast between sweet and sour – that’s drama.