Q & A with Victoria Lucas of Lucas Script Consulting

VML headshot #1

Victoria Lucas has more than 20 years of experience as a development and production executive at both major studios and independent film companies. She began her career with Ron Howard at Imagine Entertainment, working on films including Clean and Sober, Backdraft, and Far and Away.

She later joined with Academy Award-nominated producer Rudy Cohen to develop and produce the acclaimed coming-of-age film The Island On Bird Street (winner of three Emmys and two awards at the Berlin International Film Festival). As Director of
Development, Production Executive and Associate Producer at Signature Entertainment and April Productions, Lucas helped develop projects as diverse as The Black Dahlia, The I Inside, and The Body.

Lucas currently works as an independent producer and runs a professional screenplay development service for producers, production companies and screenwriters. She is also the on-air host for Arizona Public Media’s Saturday night feature film program, Hollywood at Home, providing historical background and an insider’s look at the making of classic films.

What was the last thing you read/watched that you considered to be extremely well-written?

Parasite. I was highly impressed by that script, especially the way the writers managed to switch plot directions – and even genres – so seamlessly. In fact, I feel that films, television and streaming shows are in something of a “Golden Age of Writing” at the moment. For instance, look at two other recent films: Joker and Knives Out. I’m in awe of how Todd Phillips and Scott Silver managed to make us sympathetic to the characters in Joker (helped, of course, by Joaquin Phoenix’ amazing performance). And Rian Johnson did a masterful job of updating and reinvigorating old Agatha Christie tropes in Knives Out.

How’d you get your start in the industry?

To be honest, it all started at birth. My mother, father and two grandparents were in the industry, with both my dad and grandma being successful screenwriters. I grew up in a house where writing was an everyday job, and it was taken very, very seriously. Unfortunately, their talent didn’t rub off on me, but I discovered through reading my dad’s work – and hearing about the process it went through before reaching the screen – that my real interest lay in working with writers to develop their scripts. From there, my career began as a reader, followed a pretty straightforward trajectory: producer’s assistant, story editor, creative executive, director of development, then into production.

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

I learned to recognize good writing through years of reading and discussion at home growing up. But if you’re asking whether good writing can itself be taught or learned, the answer is “Yes, I think it can.”

Screenwriting is both an art and a craft. You might be born with a talent for telling stories, but that’s only half the equation. Putting those stories onto paper in a way that will appeal to producers and audiences is the other half, and that’s the hard part. You need to hone your technique; or, put another way, to “develop your writing muscles.” Screenwriting classes, writers’ groups, how-to-books, blogs and podcasts – all can help. One of my favorite podcasts is Scriptnotes with John August and Craig Mazin.

But the bottom line is this: You have to sit in your chair and write. And write. And write some more. No matter how naturally talented you are, you must practice your craft. It’s no different than becoming a master painter, concert musician or sports star. The more you do it, the better you become.

In the end, though, every writer is different; each with their own technique. Some like to outline their story so they know exactly how it will unfold before they begin to write. Others prefer to let the characters “tell” them what’s going to happen. Some are naturals at structure; others write great dialogue. The challenge for a writer is to identify the elements of screenwriting that don’t come naturally, then work hard to improve them.

What do you consider the components of a good script?

A script is the blueprint for a movie, and the drawing begins with the concept. A great premise is like having an engine that drives the plot and the characters. If it is strong enough, it acts as the spine of the movie so that the structural elements – a compelling story, memorable characters, exciting action and all the rest – will fit together and support each other to produce a successful on-screen result. It’s not enough to create a literary masterpiece that’s envisioned entirely in the reader’s head; if the script lacks cinematic elements, it’s unlikely to get produced.

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

I know writers are tired of hearing about it – and many will simply ignore the  advice — but the way you present your screenplay is more important than you think. That means formatting to industry standards and doing more than a cursory spellcheck. Now, I can guarantee you that no producer ever passed on a great script because of a few spelling mistakes, but the script had to get to her in the first place. You need to realize that the first person to read your screenplay is likely to be a junior development person, an assistant or even an intern. Most of those people have a dozen or more scripts to plow through every week before the company staff meeting. If your script looks unprofessional with too many formatting errors, it’s far too easy for it to be put down.

A common mistake among emerging screenwriters is to overload a script with plot. Cramming in too many plots and subplots doesn’t allow you to develop the characters within the story. So, while a lot might happen, it’s hard to care about the people involved. Conversely, you don’t want a story where nothing seems to happen or change. Films are about conflict and drama. Always think, “What’s at stake?”

Passive lead characters are problematic. Hamlet may be indecisive but he’s not passive. In a similar vein, try not to fall onto the trap of creating supporting roles that are vivid and cinematic, while your hero is bland and uninteresting.

And please, please avoid using dialogue as exposition. I cringe every time a line starts with, “As you know…” or “Do you remember when we…?” That’s designed to give information or back story to the audience; it’s not something real characters would say to one another. Incidentally, when I was a young development exec, my friends and I used to compete for the best (read: worst) lines of expository dialogue. I won with “Tell me again why we’re going to Grandma’s.”

What story tropes are you just tired of seeing?

It’s disheartening to me to find spec scripts that are pale imitations of the hot new movie or television show that just came out. Even experienced writers often forget that by the time a film is released or debuts as a series, the studio pipeline is already filled with similar projects. Rather than chase after what seems to be commercial at the time, write a great story that you feel passionate about – one that may change the direction of what’s commercial, just as George Lucas (no relation) did with sci-fi in 1977.

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

Read scripts. As many as you can. Then read some more. You can easily find Academy Award winning screenplays online, but don’t limit yourself to the greats. Mediocre or bad scripts can teach you a great deal… even if it’s “what not to do.” One often-overlooked element in screenwriting is structure. The classic three-act structure is the norm in a majority of American films, but there’s nothing magical about it: more and more scripts are written in five acts. However, every script needs a structure just as a building needs a foundation.

There’s a truism in films: writing is rewriting. You may feel that you’ve finished your work after you write Fade Out. But really, you’re just beginning. Most of the films I was involved with averaged 9 drafts before production started – and that’s on top of however many drafts the writer did before submitting the script! Learn how to take notes. Films are collaborative and, unless you write, produce, direct, finance and star in your movie, you will be getting notes. You might not agree with or accept all of them, but do be open to outside ideas that can help your script. Writers groan (often quite rightly) about “development hell,” but the reality is that most scripts can be improved.

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

I’ve probably read over ten thousand scripts in my career, and I remember giving four straight-up recommends. That doesn’t mean I haven’t read dozens or even hundreds of superb scripts, but a development executive’s job is to find projects for her production company. If the company I work with produces mainly action films and I read an outstanding character drama… well, no matter how brilliant it is, it’s not a script I can recommend to the producers. Mind you, if the script is that good, I’ll for sure find out more about that writer and, at the very least, see if they might have something else I can take in to the producer.

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

Absolutely worth it! But be selective. There are too many contests out there that only want to take your entry fee. Do your homework and find the reputable ones. Nothing about the film business is easy, but placing well in the most prestigious contests can be a great calling card for a new writer, helping you get representation or even producers asking to read your screenplay. Some of the top contests use industry professionals as judges, especially for the finalists. This can be a big plus: If they read your script and find it’s a good fit for their company or agency, you’ll be hearing from them after the contest even if you don’t win.

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

My company is Lucas Script Consulting.  All the information you need is on the website, including a link to contact me.

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

Cherry. Ideally made with tart (sometimes called sour) cherries. Bliss!

cherry pie

Q & A with Ethan Ransom of Screenwriting Is Hard

_GJP6054 CROPPED

Ethan Ransom began writing at a young age, but didn’t find his way to screenwriting until college, when he had a glorious realization that people actually made a living writing the movies that he loved. Right then and there, screenwriting became his discipline. After finishing two feature scripts, getting married, and moving to LA, Ethan completed the UCLA Professional Program in Screenwriting, and then the Screenwriting MFA at The American Film Institute.

He was very fortunate to get repped right out of school, and has been hustling ever since. In 2016, he realized he needed to give back to newer screenwriters who were still struggling to learn what he had and began mentoring and coaching in earnest. He lives down the street from the Walt Disney and Warner Brothers studio lots in Burbank, California, with his incredible wife and three vivacious children.

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

THE STANDOFF AT SPARROW CREEK. Great dialogue and characters, great twists, gut punch of an ending. It puts you so squarely in the perspective of the characters, who are isolated, without information, operating on instinct, and doing the best they can, only to have rug pulled out from under them — and thus, us. Not a wasted word in that movie, and great performances to boot! Anyone looking to write a contained thriller should give it a watch and study why it succeeds!

How’d you get your start in the industry?

I made the move to LA after writing a couple screenplays, getting engaged, and getting invited to the UCLA Professional Program for Screenwriting (UCLA’s and USC’s grad programs declined my application). From there, I’ve worked a number of different day jobs — reality TV vault manager, post-production assistant, marketing production coordinator and writer-producer — all while continuing to write.

But my big boost was the screenwriting MFA at The American Film Institute, and specifically the two acting seminars that they made us take. That opened up my world as a writer and gave me a way into my craft that I hadn’t had up to that point. It helped me understand what I was actually trying to achieve on the page: a framework for real, performable emotion, created by the story I would write. I tell people that AFI made me three times the writer I was beforehand. From there, I was fortunate enough to find a manager thanks to my thesis script, and have been on the hunt ever since.

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

I think everyone recognizes good writing intuitively. They feel it — they know it’s good, whether or not they can explain why. I think the ability to recognize why writing is good and to reproduce that in your own work is what’s difficult to learn. I think it can be taught and learned to some degree, but if you don’t have an innate writer’s instinct buried somewhere inside, all the classroom time in the world can’t teach you how to write well.

What do you consider the components of a good script?

Far and away, the most important component of a good script is compelling action lines and a rhythm of dialogue that creates the mood and flow of the story in the same way that the movie/TV show will. That’s what sets professional scripts apart: the action lines feel masterful, artful, and they take you through the movie in your mind’s eye in a specific and calculated way to mimic the feeling of watching the final product in your head. That’s the most important thing. That’s what makes for a compelling read, a page-turner, which to me is the best description of a good script.

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

Beyond bad grammar, bad spelling, typos, and improper format, the most common screenwriting mistake I see is action writing that describes the visual moments out of order, where we have to interpret the prose to figure out what we’d actually be seeing if we watched the filmed version of the script. That’s what screams “amateur” to me.

Second to that, I often see dialogue that doesn’t factor in character reactions — as in, the emotions of the lines don’t follow each other moment to moment. One character says something, and then the other character says something that simply would not follow from what the other character said, but is rather what the writer wants or needs to happen. That takes the reader out of the scene, out of the script, out of the story. You just can’t make that mistake and expect your script to work.

What story tropes are you just tired of seeing?

None, really. I love tropes, as long as they’re executed in an original, fresh way. I think tropes exist because certain types of stories just work, but with how much content is being created right now, when you use a trope, you better put a spin on it, or it’s going to be absolutely dull, no matter what trope it is

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

You never need as many words as you think. Cut as much as you can.

Find your writing routine and stick to it. Defend it zealously.

Let early drafts be bad — no one will see them but you! Don’t try to be perfect on the first pass, it’ll just slow you down, and no matter WHAT you do, the first pass will suck!

Ultimately, don’t ascribe to anyone else’s method for writing. Take in their ideas, experiment, and find your own.

Don’t get too caught up with prep work or logistics work — the finished script is what you’re aiming to create. Everything else must serve that goal. Set aside anything that isn’t.

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

Sadly, I haven’t, but the elements that might earn a script a “recommend” are as follows: a unique concept and point of view, stellar writing, a tight and compelling plot, rich characters, and as a bonus, the subversion of genre conventions.

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

As long as you know that winning a contest will never get you a career — you’re basically paying for the chance to, at best, be rewarded with prize money and exposure, and at worst, be told your work isn’t good enough yet — heck, go for it. I think it can be helpful for exposure purposes and getting read in certain places, but like this business, there are no guarantees. Only spend what you’re willing to lose.

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

Email me at ransomwriting@gmail.com, or find me on the socials — @ransomwriting (Screenwriting Is Hard) on Facebook (my services are posted on this page).

People can also follow me on Instagram (@ransomwriting), Twitter (@ethanwransom), and subscribe to my YouTube Channel Screenwriting Is Hard.

I also do mentoring sessions as well as notes on completed work, and am always posting helpful info and links!

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

French silk. Mmmmm. Oui, oui.

french silk pie

A few slight adjustments

baby driver

The latest draft of the sci-fi adventure is moving along at a pleasantly brisk pace. Still averaging about 4-5 pages a day. The whole process this time around feels a lot more organized. Much more so than in the past.

The previous draft was 118 pages, and one of my many objectives for this one is to get it down to somewhere in the 105-110 range. I’m just about at the end of Act One, and it’s already 9 pages shorter than where it was at this point last time. Seems like the odds are in my favor to hit that page count goal.

But it’s taken a good deal of work to get here, including some shifts in my approaches.

Among the highlights:

-being more diligent in applying the “get in late, get out fast” approach to each scene. Although somewhat unavoidable for action sequences, doing what I can to use this as often as possible.

-cutting unnecessary dialogue. Never realized how much more I used to put in before. It’s been a real effort (and steep learning curve) to get the characters to only say what needs to be said, but it definitely helps get to the point of the scene quickly as well as moves things along.

-not being so detailed with action descriptions – by which I mean “what the characters are doing”, and not the fast-paced, high-octane thrilling moments. Focus on the important stuff. Don’t clutter up the page. Is it absolutely necessary to be so step-by-step about it? Nope.

-In a very “why didn’t I think of this before?” kind of way, having a hard copy of the outline and the previous draft have proven to be exceptionally helpful. The outline tells me what needs to happen in each scene, and the previous draft shows me not only what I did before, but gives me a starting point for potential changes.

-Taking that last item one step further, seeing how a scene played out before, combined with the applying the question of “how does this scene advance the plot, theme and character?” has enabled me to totally rewrite some scenes which before had felt kind of flat, but now read as stronger and help reinforce those three important components.

I managed to crank out the previous draft in about a month, and hoping to accomplish that this time around as well. Of course, a few ideas for more changes have popped up.  Nothing too severe, and I’m going back and forth about implementing them right away, or waiting for the cleanup-polish phase.

Every writer puts their material together in the way that works best for them. It took me a while to find mine, and it continues to be a work in progress. But if the latest results are any indicator, it’s working out quite nicely.

Q&A with Landry Q. Walker

 

41xS1G9ZrcL._US230_

Landry Q. Walker is a writer who likes pop-tarts and has been in jail twice and on the New York Times bestsellers list once. He spends his days punching the keyboard until words appear on the magic screen. Books include: The Last Siege, Danger Club, Supergirl: Cosmic Adventures in the 8th Grade, Project: Terra, and more.

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

The last thing I watched that I felt was incredibly well written… I’m going to go with movies on this one. The film Get Out is the first thing that comes to mind. I came to that one a bit late, and a lot of plot points had been spoiled. But it didn’t matter because the execution was so solid.

How’d you get into writing comics?

I got into writing comics after noticing that a lot of my friends who could draw weren’t doing much with their talents. I was about 18-19 at this time. My friends had talked about making comics for years, and I had always thought there wasn’t a place for me in the process. Then I decided to write – though writing had been at the back of my head since I was a young child (I had written Indiana Jones and Lord of the Rings fanfic).

A lot of people hear the term “comic book writer”, but don’t really know what the job entails. How would you describe it?

Writing comics requires thinking visually – much more so than other types of writing. You need to be able to see the action on the page with your minds eye, and work from their. that means understanding how much dialogue can fit in a word balloon, when to let the art tell the story, how the eye scans across a page of art. You can also write with a method where you plot the story, and the storytelling exclusively. But I’m not a huge fan of working that way.

You’ve written for established characters and created your own. Do you have a preference of working with either, or are they two totally different worlds?

Totally different worlds. With established characters you have an easier path as the world building has been done for you, but you also have to stay within certain parameters. As example, a proper Batman story leaves Batman in the same place at the end of the book, so that the next writer can pick up the story and run with it. You’re really just taking turns writing chapters.

Follow-up: is there an established character you haven’t written for, but would jump at the chance to?

Probably? To be honest, it all depends on the restrictions. Some jobs look like dream jobs because of the character you’re working with, but then you get the job and the restrictions are so fierce, you don’t really get to explore what drives you at all.

A key component of writing (and not just for comics) is to make the stories and characters relatable. What sort of approaches do you take to accomplish that?

I honestly don’t think much about whether my stories are relatable to other people. I think that if you stop to consider the “rules” of writing, you’re generally not writing. I tend to work off of gut instinct on whether a story feels right to me.

What are your thoughts on writers who want to self-publish their own comics?

Do it. Everyone who wants to make comics should start by making their own. Experience every aspect of making a comic. Deal with distribution, promotion, balancing schedules. Do all of it. And don’t wait for your work to be good enough. If you do that, it will never happen. Just start now.

What are some of your favorite comics and webcomics?

Favorite comics: Lately, I mostly have been digging into old stuff. Charlton comics mainly. Old Blue Beetle and Captain Atom. A lot of the horror stuff from the 60’s and 70’s too. For webcomics, not many. I follow Dumbing of Age and Questionable Content. I’m behind on it, but I really like YAFGC (Yet Another Fantasy Gaming Comic).

What’s some writing advice you would give your just-starting-out younger self?

Play less Mario Kart.

How can people find out more about your work?

I’m terrible at self-promotion. But you can usually find my latest work by checking out my Twitter feed. I’m currently wrapping up my medieval war epic, The Last Siege, and will soon be announcing a graphic novel series with my long time collaborator Eric Jones (one of those friends I mentioned in the question about getting into writing). I’ve previously written a series called Danger Club about a group of teen heroes fighting against their own reboots, and an all ages Supergirl series called Supergirl: Cosmic Adventures in the 8th Grade. Lots of of other stuff too. Check out my Amazon author page.

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

Apple. From Hostess.

hostess apple pie

Just the tune-up it needs

eastwood engine
Clint knows what needs to be fixed

The latest batch of notes on the pulp sci-fi spec have been analyzed, some even incorporated, resulting in the latest draft.

Thing is, something still seemed a little off about it. But after having spent a good chunk of time on it, I opted to give myself a little break and skip jumping right back in, and instead put it aside to simmer while I focused on a few other projects.

A couple of weeks have passed since then. The time felt right. I opened it up and simply started reading in the hope that maybe the solution would simply present itself along the way.

A lot of it still held up. It’s still a fun, fast-paced action-packed story.

But what really stood out this time was how there was a lot of unnecessary text on the page. It wasn’t a matter of overwriting; more of a “maybe a little more than you actually needed.”

I went back to page one and started editing, line by line. A word here, a phrase there. More and more of my darlings were being lovingly obliterated from existence, creating a somewhat tighter story that didn’t sacrifice any momentum (so far).

Some of the notes also mentioned the occasional lack of information in terms of backstory. I occasionally have the habit of thinking I’ve included an important detail or at least allude to it, when it reality – nope.

Using this fine-tooth comb approach has also enabled me to identify and plug up holes in the plot. Sometimes I might stumble onto a minor issue I didn’t even realize was or wasn’t in there, and am able to take care of it. Again – tighter and continued momentum.

This draft continues to progress nicely, and I’m hoping to wrap it up soon – but still making a point of taking my time and thinking my way to each solution.

-I’ll be running the first half of the San Francisco Marathon this weekend. While a time of 1:55 would be great, as long as I beat the 2-hour mark, I’ll be fine.

-If you’re a screenwriter in the San Francisco Bay Area or northern California region, and want to meet other screenwriters, the NorCal Screenwriters’ Networking Shindig on Sunday, July 30th, might be just what you need. 2-4pm at Kawika’s Ocean Beach Deli (734 La Playa – a block from the ocean!). Cost – FREE! Drop me a line if you’re interested.