Ask an Agent-turned-Script Consultant!

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Michele Wallerstein

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 Michele Wallerstein.

Screenplay, Novel and Career Consultant, Michele works with writers to help get their work into shape so that it is marketable for the Hollywood community and/or the publishing world. Michele’s career consulting consists of critiquing your projects and/or having personal career conferences to answer questions that writers have about their creative work as well as questions about the business side of their creative life. Michele is the author of: “MIND YOUR BUSINESS: A Hollywood Literary Agent’s Guide To Your Writing Career”.

Prior to becoming a Consultant, Michele was a Hollywood literary agent where she represented Writers, Directors and Producers in Motion Pictures, Movies for Television and Television Series and has sold $1 Million spec scripts. Michele served as Executive Vice-President of Women In Film and was on the Board of Directors for many years. She owned The Wallerstein Company and guided the careers of writers such as Larry Hertzog (Tin Man, La Femme Nikita, 24), Christopher Lofton (Robinson Crusoe, Call of the Wild, Scarlett, True Women), Peter Bellwood (Highlander, La Femme Nikita), Bootsie Parker (Booty Call, Married, With Children, The Hughley’s), and many others.

Michele has been a Guest Speaker at numerous Film Festivals, Pitch Fests and Writer’s Groups all across the country. She teaches the ins and outs of the business of your writing career as well as how to get the most out of your material.

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

I adore the writing on “Downton Abbey” on PBS. Their character delineations are superb. The dialogue makes the stories come alive. Unfortunately, I rarely go to theaters for movies because most of them don’t seem to be made for grown-ups.

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

I began reading scripts about 100 years ago when I was an assistant to a literary agent. After becoming an agent, I continued to read everything I could get my hands on. These experiences gave me a world of knowledge and have been a great help to me as a screenplay consultant.

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

I’m not so sure it can be taught or learned. Anyone can learn the basics of screenwriting by taking classes and reading some of the many books available. However, understanding human nature and the psychology behind people’s actions and reactions comes with life experiences. If one doesn’t understand these things they will never get the importance of great dialogue.

4. What are the components of a good script?

In my experiences as an agent and as a consultant I find that adhering to the basic 3-act structure is invaluable. Along with that a writer must be able to write characters with heart, feelings, emotions and individual personalities. Grammar, spelling and syntax are also keys to good writing.

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

I often find that the characters are uninteresting and I don’t care about any of them. It’s also common to find people who try very hard to write something unusual and it comes across as too complicated, far-fetched or dull. If written well, a thriller, mystery, love story or romantic comedy can be a standout showpiece for a good writer.

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

I’m quite tired of action films and films with an abundance of blood and guts. Too many people have become dulled to violence and those scripts are written without decent stories or characters.

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

-Follow the accepted 3-act structure.

-When writing spec scripts it is a good idea to do at least 3 in the same genre.

-Have your scripts read by vetted professionals prior to trying to land an agent.

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

When I was an agent I read a spec by a new, young writer that knocked me out. It was a love story with lots of fantastical action about the discovery of the Garden of Eden. It was gloriously written and I sold it for close to $1 million within 2 weeks of reading it.

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

Contests, pitch fests, seminars etc., can all be very worthwhile if one knows how to make contacts and to follow up with those people. It is a great place to meet executives who can help move your writing career forward. I explain this in detail in my book “MIND YOUR BUSINESS”.

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

I am always happy to help writers and they can email me at: writerconsultant67@gmail.com. I have a monthly blog for writers: www.wwwconsulting.blogspot.com. Writers can also check out my online course Moving Your Writing Career Forward via Screenwriters University.

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

I do love warm peach pie with a dollop of vanilla ice cream.

Feeling triumphant, if only for a few minutes

Maximum Z adventure, analysis, comedy, consultant, contest, determination, genre, goals, multitasking, mystery, opportunity, pages, productivity, query letter, rewrite, screenwriting, script, self-confidence, spec, Sunset Blvd, westerns, writing
By the time you finish reading this sentence, I'll already have gotten back to work
By the time you finish reading this sentence, I’ll already have gotten back to work

Well, it’s done. I got to type in those glorious words “Fade Out”, thus bringing to a close the massive rewrite of the western.

The script now clocks in at a respectable 114 pages. No reason a few more can’t be trimmed with some diligent editing and polishing.

Normally this would be the part where I’d say how long this has taken, but to be honest, I really don’t know. I haven’t been keeping track. Two months, maybe? Something like that.

But the important thing is that I got it done. What a grand feeling of accomplishment. It’s quite nice.

All that work and effort has paid off, resulting in a pretty solid piece of material to show for it (if I do say so myself).

As much as I’d like to sit back, rest on my laurels and enjoy the moment a little longer, there’s still a lot of work to be done. Once this latest round of editing is done, the call goes out to friends and trusted colleagues for feedback, which will no doubt result in more editing and polishing. And then it’s on to shelling out some bucks for professional notes.

From there? I don’t know. Contests? Query letters? That stage is pretty far down the line, so not too worried about it just yet. Right now it’s all about making the script as bulletproof as it can be.

During this entire time, when the opportunities present themselves, work resumes on the low-budget comedy, the mystery-comedy and possibly the pulpy adventure. Feeling confident at least one, possibly two, could be done by the end of the year.

All part of the never-ending process.

Ask a More-Than-Ready-for-Prime-Time Script Consultant!

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Jen Grisanti

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 is about writing for television, with the spotlight on Jen Grisanti of Jen Grisanti Consultancy, Inc.

International speaker Jen Grisanti is an acclaimed story and career consultant with her own firm, Jen Grisanti Consultancy, Inc., and a writing instructor for Writers on the Verge at NBC. She spent 12 years as a studio executive, including working as VP of Current Programming at CBS/Paramount. Jen also blogs for The Huffington Post and is the author of Story Line: Finding Gold In Your Life Story, TV Writing Tool Kit: How To Write a Script That Sells, and Change Your Story, Change Your Life: A Path To Your Success. She teaches classes for TV Writers’ Summit (LA, NYC, London and Israel) and Story Expo. She has taught at the TV Writers’ Studio (Australia), Scriptwriters’ Network, The Screenwriting Expo, and The Great American Pitchfest. Jen has also served on panels for the WGA, Scriptwriters’ Network, Final Draft/The Writer’s Bootcamp, and ScreenCraft. Her company hosts online Storywise Seminars.

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

The best movies I’ve seen recently include: The Imitation Game, Guardians of the Galaxy, Locke, and Chef.

Some of my other favorite movies from the past I think are incredibly well-written include: The Lives of Others, The King’s Speech, The Untouchables and Argo.

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

After studying Communications with TV & Cinema at USC, the first job that paved my way to where I am today was working as an assistant to Aaron Spelling. While working in his office I began to voraciously read scripts. Spelling was my mentor. We had a routine where I’d read all of the scripts for the current shows he had on the air and he’d review my notes and tell me what worked and what didn’t. I learned so much about what makes story work by watching him in the edit bay during rough cuts. I got my Bachelor’s at USC, but I always say I got my Master’s degree in TV in the Spelling office. It was the best place to learn.

I climbed the ladder while I was at Spelling and eventually ran Current Programming covering shows including Beverly Hills 90210, Melrose Place and 7th Heaven. I went on to become Vice President at CBS/Paramount where I covered shows including: Numb3rs, Medium, NCIS, The 4400 and Girlfriends.

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

I believe that for some, writing comes naturally. They have a sense of their voice from the start. They may need help with structure, but the voice is there.

With others, I do believe it can be taught or learned. I’ve definitely seen this happen many times in my career. There is no greater reward than to see the growth of a writer, to help guide them in finding their voice and to help them understand how to use story structure in the best way possible to bring their voice to life.

4. What are the components of a good script?

The components of a good script are a strong trigger incident that leads the central character into a dilemma. This creates empathy. Then, the choice that they make as a result of the dilemma defines the goal. We should be clear on what the central character wants and why they want it. Another thing that really adds to a good script is when the personal dilemma is connected to the professional pursuit. With this, when the writer comes from a place of emotional truth, it really helps to connect what they are trying to say.

A strong script should have a concept we can feel and a story with a clear message.

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

We don’t know what the central character wants, or we don’t know why they want it. If you don’t know what the central character wants or why they want it, then there’s no rooting factor. The central character reacts to things that happen to them versus taking action toward the goal, giving you a reactive hero instead of an active one. The obstacles happen to the central character versus being a result of an action that the character took. There is no external stakes arc. We don’t know what the worst thing is that can happen if the central character does not achieve their goal.

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

I wouldn’t say there’s a specific story trope  I’m tired of seeing. I’m just tired of seeing films being made where the story wasn’t ready. I feel like TV is in a much stronger place than film with regards to writing.

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

-Make us empathize with your central character from the start.

-Have a clear goal.

-Establish the internal and external stakes.

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

I’m not a reader. I analyze story from the studio executive perspective, so I don’t give “recommend” or “pass,” which is what readers do. I give development notes that help the writer to know how to elevate their script to the best place possible.

That being said, ninety-two of the writers I’ve worked with have sold pilots. Four of them went to series. So I do have lots of projects that I work with people on that go on to sell and be produced.

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

Some are very worth it. I like ScreenCraft, Final Draft, the Austin Film Festival and the Nicholl to name a few.

Competitions allow writers to put something on their bio that shows their writing has been recognized. This is a town that loves heat. If someone else thinks you’re great, everyone wants to know you. So the competitions do serve a purpose in building heat and creating possibility.

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

Through my website – www.jengrisanticonsultancy.com, or they can email me at jen@jengrisanti.com.

If you want to see how I work with writers one-on-one, I recommend reviewing my Writer Proposals Page – http://jengrisanticonsultancy.com/services/proposals/

Plus, if you mention this interview, I’ll give you 10% off of your first consult.

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

I love it. I’m big on baking, and my favorite is cherry pie.

Thank you. I’ll take that under consideration.

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I'm afraid I find your suggestion to be most illogical (RIP Mr Nimoy)
I’m afraid I find your suggestion to be most illogical (RIP Mr Nimoy)

I had a great coffee-chat conversation with another writer earlier this week. Among the many topics we discussed was the fine art of giving and receiving notes.

When you give notes, you want to be equally helpful and critical (without being mean or condescending about it). A lot of the time, the person seeking notes is a peer or someone with pretty much a level of experience more or less equal to yours, so they know how to interpret the notes, and don’t take anything personally.

They also realize the only way to improve is to learn what mistakes they made, make the proper adjustments, and make a mental note to not do it again from here on in. This is an essential skill that takes time to get the hang of.

But what about the writer who asks you to read their just-finished first script? “Don’t worry. Be as brutally honest as you need to be. I can take it.”

Are you sure about that?

If you’ve been doing this for a while, you’re quick to recognize what works and what doesn’t in their script, and you make the appropriate notes and suggestions.

I’ve encountered almost the entire spectrum of reactions from newer writers, ranging from “These notes are fantastic! Thank you so much!” to “Hmph. You obviously don’t recognize my genius” (I’m paraphrasing that one). You’ve probably heard similar things, but hey, at least you tried to help.

Then there’s being on the receiving end. It’s not easy to hand your baby over to somebody so they can find fault with it, but again, it’s a necessary part of the process. Many’s the time I have felt my pulse quicken in the moments just before the comments were unleashed.

As stated above, if the notes are from someone on an equal level to me, I appreciate the positive things they have to say, but am more interested in their critical comments (which doesn’t automatically mean they’re negative). I may be having trouble with how to fix a particular problem, so outside suggestions are definitely appreciated. Sometimes it’s an “Of course!” moment, sometimes it’s a “Huh?” I may not always agree with what they say, but it may spark the thought of a new approach. Anything helps.

On the other side of the coin is getting comments from writers with less experience than you. You’ve written ten scripts, and they’ve written one, maybe two. How much value can you place on what they have to say? They don’t have the benefit of experience, so their comments may come across as uninformed or focusing on the wrong things. The best you can do is take what you think might be useful and discard/ignore the rest, reminding yourself that they’ll learn over time.

The whole point of notes is to help make the script better, and both note-giver and receiver need to approach this from that viewpoint. It’s not the time for the note-giver to say “This is how I would do it,” and the receiver can’t get ultra-defensive and overly possessive of their work.

Once the notes are given, the responsibility falls on the writer to interpret and use them as they see fit.

Ask a Produced-and-In-pre-production Script Consultant!

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rob tobin

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-author-lecturer Rob Tobin. 

Rob is a produced, award-winning screenwriter, published novelist, former motion picture development executive, author of the screenwriting books “The Screenwriting Formula” and “How to Write High Structure, High Concept Movies,” as well as several screenwriting CDs. He’s been a frequent guest lecturer on screenwriting at film festivals and writing conferences around the world.

*April 2015 update – Rob is currently working on a multi-book adaptation project and is not available for story notes, but can fit in one additional script polish or rewrite assignment.

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

My wife and I just saw “The Normal Heart,” which blew me away. Brilliantly written, acted and directed. Most importantly, the title wasn’t the only thing that had heart, something most films no longer have. Even a film like “The Fault in Our Stars,” a film with tremendous heart, that I loved. I’d much rather see a film or read a script like that than a brilliantly written script with no heart.

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

I’m originally Canadian, and came to USC in L.A. to get my M.A. in screenwriting and become a working screenwriter. My background was as a novelist. Everyone at USC told me I should intern at a film company. I did, and started reading scripts as part of my internship. Lots of them. Years later as a development exec, I stopped counting at 5,000 script scripts read and covered. In that process, I wrote two screenwriting books, starred in a couple of screenwriting DVDs, then people started flying me around to lecture on screenwriting – Canada, New England, the South of France.

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

Definitely something you can be taught. Screenwriting has structure, elements, rules, all of which you can learn. Of course some people are going to be better at it than others. In addition, there is the other part of being a script consultant, and that’s helping the writer find ways to improve her or his script. That can also be taught, but there’s a much bigger talent component to that.

4. What are the components of a good script?

I actually wrote a book about the seven essential elements of a well-written screenplay, but to be honest, as I mentioned, one of the biggest aspects of a well-written script is heart. Yes, you can write a brilliant script about crime, sex, war, and so on. Bond movies are great, but I still think that heart is what makes a script special. Something like “The Normal Heart” or “Good Will Hunting”, or even comedies like “Big” or “Tootsie” have heart. High concept is also important but as I said in another recent interview, a high concept piece of crap is still a piece of crap. A low concept work of brilliance is still a work of brilliance. There are techniques and elements, of course, but I love that old saying about not writing because you want to say something, but because you have something to say. Say something worth saying, and say it with heart. If I had only one piece of advice to give, that would be it.

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

Mistakes in a script are almost always structural, because almost everything emerges from structure. Dialogue, characterization, theme, it all emerges from structure. If you don’t understand structure, you’re in trouble. When I work with clients, the first thing I do with problem scripts is talk to the writer about structure. The mistakes and solutions are almost always located there.

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

Easy killing. Doesn’t matter whether it’s a cop who easily kills a bad guy, or an action star killing hordes of bad guys, easily, without remorse, and without ever getting shot him or herself. Killing as a relatively trivial thing is the worst trope of all in my opinion, and it can’t go away fast enough.

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

-Write only if you enjoy writing, because the chances of making a living at it are extremely remote.

-Learn your craft.

-Never submit a first draft of anything.

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

“Thank You for Smoking.” It came to me when I was a director of development. Out of thousands and thousands of scripts I read, I recommended 34, despite the fact that I worked for major producers who were getting the best scripts from the best agencies, but that was it: 34 out of over 5,000 scripts, all from the best agencies in the business. “Wag the Dog” and “Dangerous Minds” are some of the scripts I recommended. Every other script, the ones I didn’t recommend, had structural problems.

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

Yes, if they’re the right ones. I always tell beginning writers to never submit their first, second, third or even fourth scripts to the industry itself – producers, agents, etc., but rather to contests, especially contests that give feedback. That way if their first few scripts are subpar, they’re not going to be branded by industry people as subpar writers. And the feedback from the contests can help them figure out what their weaknesses are.

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

Email me at scripts90@gmail.com. I don’t do coverage anymore, but I do story notes, polishes, rewrites, and adaptations.

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

Apple pie with ice cream.