writing

From the archives: Try the direct approach

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Nice to see you again. Mind if I ask you something?

In June, there was an event on Twitter (I’m not calling it the other thing) called ScreenPit, where writers listed the loglines for their scripts in the hopes of garnering interest. Trust me when I say there were A LOT of scripts listed. Some I’d read before, some I’d heard of, and most that were new to me.

If something caught my eye – the title, the logline, the concept, I’d reach out and ask the writer if I could read it.

Nobody said no, and they were all thrilled to be asked. Some even asked to read my stuff.

This whole experience reminded me of a post from Dec 2016. Enjoy.

Sometime last week, I received a very nice compliment via on online forum regarding the quality of the script notes I give. A mutual associate of ours chimed in with the grumbly “Well, he never does it for me.”

To which I responded “Because you never ask.”

I don’t know what this writer’s standard M.O. is for getting notes, but from what I can gather, usually involves them posting “Anybody want to read my stuff?”

There’s nothing wrong with that, but the drawback is you run the risk of getting feedback from somebody with less experience than you, or worse, has no idea what they’re talking about.

This is why networking and establishing relationships with other writers is so important. If someone posted a generic request for a read, I’d be less inclined to respond. Even if I knew the person. I figure they’ll probably get a few other responses, so why bother?

But if someone came to me specifically and said “If you have the time, would you be able to read this?”, I wouldn’t hesitate to say yes. This shows me that they value my experience and opinions, along with respecting that I can’t simply drop everything to accommodate them. They’ll also include an offer to read something of mine, if I’m interested.

Sometimes I’ll get an email asking me for a read, and it might be because of any number of reasons. They’ve read my stuff before and think this new script is similar. They know I have an eye for fill-in-the-blank. All of this could only have come from myself and this other writer having already established a good professional relationship.

While I always encourage writers to get out there and network, it’s also important to build on those connections once you’ve got them. You don’t have to become somebody’s best friend, but being supportive or offering the occasional words of encouragement really go a long way. Plus, people are much more likely to remember that sort of thing, adding to the likelihood they’d be willing to help you out.

More than often I’ve read about another writer’s projects and introduce myself, tell them how I found them (usually via the forums) and of my interest in the script in question, then ask if they’re cool with me taking a look at it. It’s a rare occurrence when someone says no.

Both of you are writers constantly striving to improve, and some good, solid feedback can play a big part in that. And that can be best achieved by getting to know other writers and treating with the same respect you’d expect to be treated with yourself.

-Like I wrote about a few weeks ago, the 9-week summer session of Kaia Alexander’s Entertainment Business School begins on August 5th. This weekend is your last opportunity to sign up and have access to the wealth of info, advice, and guidance about the business of show that Kaia has to offer. And if you use the code PZ50S24, you’ll get $50 off the enrollment fee. Kaia really knows her stuff, so if you’re serious about wanting to learn more about having a career in screenwriting or TV, her course is a great place to start.

A most influential guideline

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Development of the latest story has been moving along smoothly. The jotting-down of ideas and my excitement about putting this together both continue to hold steady.

Part of this is simply because I think it’s a fun story worth telling.

It’s also something I advise writers just starting out:

Write something you would want to watch

Pretty simple, isn’t it?

It’s always worked for me. I like a particular kind of story, so I feel best suited to write that kind of story. And it shows.

I’ve always found that a writer’s enjoyment and appreciation of the material can be seen on the page. In how the story is told. What mental imagery it creates. The overall vibe.

Really embracing the elements and components of the story goes beyond just telling the reader or audience a story. It should get them invested just as much as you are. Make them feel all the emotions you would if you were reading it, and then some.

How do you feel about your current project? Would a reader get the sense that you love this kind of story? That you had a great time writing it?

It can also be a challenge to not overdo it. You don’t want to let how you feel about the story get in the way of solid storytelling and good writing. The last thing you want to do is alienate a reader or belittle them because they don’t share your enthusiasm. Look at your script as an opportunity to showcase the things you like about this kind of story.

You also want to be careful not to fall victim to relying on whatever tropes and clichés this kind of story may involve. What’s a unique and original spin you can put on it to really make it feel “familiar but different”? It’s always great when somebody starts a story with pre-established expectations, and then you surprise them by taking them in a new and different direction that still works within the context of the story.

Although the whole process of putting it all together takes time, I’m excited to be doing it. Figuring it all out and playing around in this particular sandbox adds to the enjoyment. I totally accept there will be some stumbles along the way, but I have a great time putting myself through it, and hope the reader does too.

One chapter ends, another begins

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Seeing as how 2024 just passed the halfway mark, and taking into account how many drafts I’ve done on the animated fantasy-comedy, it’s safe to say that for now, this script is as solid as it’s going to be.

Naturally, that could change, but I’m quite thrilled with how it’s turned out and don’t want to mess with it any further. It’s a strong writing sample/calling card script and I’m already prepping to enter it in a few contests next year.

So what now?

My initial intent was to go back and revise the sci-fi adventure, but earlier this year I came up with an idea I am absolutely crazy about, and since they say you should work on that which excites you, this one definitely fits that bill.

Far as I can tell, there hasn’t been a story like this before.

I’ve mapped out the plot points and started jotting down the ever-increasing number of ideas for scenes and sequences. The more I work on it, the more ramped up I get about working on it. I’m sure things will change as things develop, but as has often been the case, the core of the story should remain the same.

Ideally, I’ll have a first draft done by December 31st, but also want to take my time in plotting it out. Once that’s set, it’s diving headfirst into pages.

Excitement levels are pretty strong, and doing what I can to keep that going.

Wish me luck.

Talking to writers about writing

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As the 15th(!) anniversary of this blog approaches, this is a good time to also mention that my multimedia empire – such as it is – is expanding.

For the past 4 1/2 years, I’ve been involved with a podcast called The Creative Writing Life. First as one of three co-hosts, then one of two, and since earlier this year – the only one.

The show is all about talking with writers from various genres and mediums about themselves and their work. Authors, playwrights, cartoonists, comic books, and of course – screenwriters. We cover how they got their start as a writer, their projects, their processes, a lot of writing-adjacent topics, and what advice they’d offer to other writers.

You can catch it on both Spotify and YouTube. I’ve been really enjoying doing this and hope you’ll give it a listen or a watch.

-Friendly reminder: Enrollment in Kaia Alexander’s Entertainment Business School Summer Session officially opens today (June 28th) and continues until July 28th with the session getting underway on August 5th.

Click here for more details, and use the code PZ50S24 for a $50 discount on the enrollment fee.

There’s a lot more to this than writing

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As screenwriters, we’re always trying to hone and develop our writing skills. But how prepared are you for what comes after your script’s written and ready to go?

How familiar are you with the business aspect of “show business”? Maybe you’re thinking “I’ll get an entertainment attorney and let them handle it.” But how do you find the attorney that’s right for you?

Or “All I need to do is write and have my rep deal with all that other stuff.” What if you don’t have a rep and somebody comes along with an offer?

A screenwriter (or TV writer) needs to know these things.

I had the good fortune earlier this year to interview Kaia Alexander as part of the San Francisco Writers Conference. We covered multiple topics about being a screenwriter, including finding your “wolfpack”, to making and maintaining professional connections, how to determine your brand as a writer, and the do’s and don’ts of pitching.

If you’re serious about a career in screenwriting or TV, and these sound like the sort of things you’d like to learn more about, you should look into enrolling Kaia’s upcoming summer session of the Entertainment Business School.

The program begins on August 5th and runs for 9 weeks. Among the other topics covered:

-How studios and streamers make buying decisions
-How attachments work and how to get them
-How to pitch to buyers and reps
-How to network and build your community
-How to get producers for your projects
-The way the industry is changing
-How to negotiate like a pro and not leave money on the table
-Film financing and where to find investors, and how to vet them
-The roles of managers, agents, entertainment attorneys, publicists, producers, and development execs
-Entertainment business etiquette do’s and don’ts
-How to think about budgets

Enrollment opens next week – June 28, through July 28. There are two tiers: Balcony and Orchestra. Both include all access to what EBS has to offer, but Orchestra includes some personalized coaching from Kaia and is limited to 24 students.

One caveat: students who move forward from the application will go to a 1-1 Interview with Kaia. Not all students who apply will be accepted.

Kaia is also offering a special discount for readers of this blog: use the code PZ50S24 to get $50 off the enrollment fee. This code is only valid until July 28, which will be here before you know it, so don’t wait to sign up.

I know several writers who’ve taken the EBS courses and have been quite thrilled with the results. This is a great opportunity for any writer, and I hope you take advantage of it.

And feel free to tell Kaia I sent you.