Notes continue to come in for the pulp sci-fi spec, some contrary, many encouraging, and all chock-full of notable suggestions. With some coming from my trusted core of reliably savvy readers, there’s been one statement more than a few have included.
The gist of it is:
“This is the third script of yours I’ve read, and each one has shown a definite improvement over the previous one.”
It warms this writer’s soul to hear that sort of thing. And these are writers who pull no punches. They won’t hesitate to say something doesn’t work.
I’ve been working at this for a while, but it really feels like just the past few years have seen the most significant progress. Just goes to show what constant hard work can do, right?
Nor do I have any intention of slowing down. Doing my best to maintain a dedicated block of time and/or pages on a daily basis. The more you do it, the easier it gets (but is still tough).
The three scripts in question were all adventure-based, which enabled me to exercise a certain set of writing skills. With work now commencing on overhauling a comedy, an entirely new set will get the workout they deserve.
Crafting a sequence involving a train heist in the Old West, or a team of adventurers taking on a mad scientist? Piece of cake.
Writing a story involving everyday people in relatively normal (but funny) situations, peppered with smart (and funny) dialogue, all without the benefit of using special effects to enhance the story?
That is truly the next challenge to yours truly. It initially feels very daunting, but I’ve made it this far, and there’s no reason to think I can’t continue to push my way forward.
Should be a very interesting journey.
*Billy Wilder’s 10 Rules for Good Filmmaking (also applicable to screenwriting) 1: The audience is fickle. 2: Grab ’em by the throat and never let ’em go. 3: Develop a clean line of action for your leading character. 4: Know where you’re going. 5: The more subtle and elegant you are in hiding your plot points, the better you are as a writer. 6: If you have a problem with the third act, the real problem is in the first act. 7: A tip from Lubitsch: Let the audience add up two plus two. They’ll love you forever. 8: In doing voice-overs, be careful not to describe what the audience already sees. Add to what they’re seeing. 9: The event that occurs at the second act curtain triggers the end of the movie. 10: The third act must build, build, build in tempo and action until the last event, and then — that’s it. Don’t hang around.
Here is the second of a two-part panel discussion with professional proofreaders Tammy Gross of proofmyspec.com and Bill Donovan of screenwritingcommunity.net about proofreading and its connection with screenwriting, along with some info about the proofreaders themselves.
When you proofread a screenplay, do you also take on the role of story analyst?
Tammy Gross (TG): Not as a primary service, but yes. Since I’m reading it anyway, I do offer inexpensive add-ons if a writer wants some basic “coverage.” And even with proofreading, there are some story issues which may be addressed during the edit if there’s a problem with consistency and/or continuity.
Before I started my proofreading service, I took a course on story analysis and offered a coverage service. I soon learned how bad formatting and text were too distracting for my left brain. It’s agony for me to look past multiple errors/issues.
Bill Donovan (BD): To a limited degree, yes. However, I put these and other words at the top of every set of notes I give back with the proofread copy:
“These are not the words of an expert script analyst … I strongly hope not to hurt your feelings … To the extent that you find my comments on your story to be wrong-headed, pointless, or insensitive, you are hereby counseled and, with regret for any hurt feelings, encouraged to ignore them.”
What’s your writing background?
TG: The agony of trying to look past typos sent me down an editing path in my 20s. I read a book published through a major publishing house that had multiple errors in the soft-cover version. I sent my corrections to the publisher, and the author contacted me personally to thank me. Ever since, I’ve honed my editing skills.
My life plan was “sing while I’m young and write when I’m old.” I did write a couple of novels in my 20s and managed to have some sort of writing or editing responsibility in every “real” job I ever worked, whether at a church, a bank or Fortune 500 company.
In 2008, while taking a break from singing, I learned about a couple of female pirates. These historical swashbuckling stories fascinated me. I traveled the world researching pirates (including falling victim to real ones in the Bahamas) and learning about writing screenplays. I haven’t looked back.
So far, every script I’ve entered in contests has placed or won. In fact, my first script won the first contest I ever entered. Since then, I’ve realized that my ability to write in “the language of screenplay” was getting me further than better storytellers due to their weaker technical skills.
I’m currently writing an adventure story for a producer who found me because of one of my scripts (which I also turned into a YA book).
BD: -Screenplay contest judge (three contests)
-Screenplay contest executive (11 screenplay contests, 5 scene-writing contests, two logline contests)
-Two of my own screenplays won three first prizes equaling $30,104 in prize money in today’s dollars.
-Former Editor of Creative Screenwriting Magazine
-Author of three e-books for screenwriters to date; a fourth is upcoming
-USC Master of Fine Arts, Screenwriting and Filmmaking
-Copy desk chief at a daily newspaper, the Morristown, N.J., Daily Record
-Copy editor at the Associated Press
-Copy editor at another daily newspaper, The Record, Hackensack, N.J.
-Copy editor for several business-to-business trade publications
-11,200+ published pages and screenplays edited/proofread over the years
-News stories I wrote and/or edited won five national journalism awards.
How’d you get into proofreading?
TG: Totally by accident. I started a screenwriting group where we would table-read 10 pages of each writer’s script. I found myself making lots of corrections on everybody’s pages, and many of them asked me to proofread their entire scripts. It was a little overwhelming, due to also running a thriving music-arranging business at the time, so I put up a website to help me prioritize and charged a low but fair fee.
And it’s good that I did, because after the 2007 writers’ strike, followed by the recession, the spec-writing business boomed while music arranging fizzled.
BD: For an upcoming book, I surveyed and interviewed producers, agents, screenplay readers, directors, contest judges, and contest executives, asking them for their comments on the most common and the worst mistakes they see. Within the screenplay, proofreading and editing mistakes were named both the most common and most disliked by people in the industry.
How can people get in touch with you to find out more about the services you provide?
As my network of fellow screenwriters has expanded over the past few years, I’ve become more active with exchanging script notes with some of them. It’s a pretty even split between me approaching them first, and vice versa.
From my perspective, the whole thing has been quite helpful and I think my scripts are definitely better for it. And as far as I know, none of the other writers have any complaints about my notes. If they do, they’re not saying anything.
It’s gotten to the point where every once in a while, an email will pop up from one of these folks asking if I could look over their latest draft and offer up my two cents. I’m fairly certain I’ve never said no.
Full confession: it usually takes me a little longer than I expect to get it done, but I do make a point of getting it done. I try to extend the same courtesy to them that they would to me.
I bring all of this up because I had a great catching-up coffee chat with a writer yesterday; somebody I haven’t seen since last summer. We shared what’s been going on with our respective projects, and I mentioned finishing/sending off some notes.
“Do you charge for that?” they asked.
No. It’s just an exchange, and I like helping out when I can.
“That’s really generous of you to give up your time like that. Have you thought of charging for notes?”
Of course, but I don’t consider myself qualified to. If I was a working writer and had a couple of produced features under my belt? Maybe.
I’ve always found the bios of professional consultants and readers to be pleasantly diverse and equally fascinating. Almost all of them have spent time working in the industry, many having read or given coverage on thousands of scripts.
Me? I can’t make the same claims. I’ve read a lot of scripts, but nowhere near those numbers, and a large percentage of my time has been (and continues to be) focused on honing my writing skills.
They have a fairly solid grasp of what works and what doesn’t, and provide much more insightful comments than I believe I could.
All things being equal, I’d say my analytical skills have definitely improved over time. I don’t know what kind of pro reader/consultant I’d be, but for the time being, I’ll stick to the friendly no-cost, between-writers exchange.
As mentioned earlier, I like helping when I can, and will continue to appreciate any opportunity to read an associate’s script in order to give them notes that will in theory help them make it better.
*personal note – this is my 800th post. Thanks for being part of the journey, and hope you’ve enjoyed it. I certainly have.
Many, many years ago, when I was just starting out in radio, I’d put together a demo tape of some of my on-air material and asked some of the veteran DJs at the station if they’d give it a listen.
One guy had several positive things to say, but also pointed out ways of how I was demonstrating my still-green abilities. He made some suggestions about how to fix that, which would, in theory, help me get better. They did.
The second guy started with “It’s good, but here’s how I would do it.” I honestly don’t remember anything he said after that because I simply didn’t care how he would do it.
There’s a very similar approach to how one gives notes on a screenplay.
When I give notes, I read what’s on the page and offer up my opinions of how it could be potentially be improved (from my perspective). A lot of the time it involves questions like “Why is this happening?” or “How do we know that?”
Or if something doesn’t work, but I understand what the writer’s trying to do, I’ll ask “What if you tried THIS (different approach) that yields the same results?” They may not take that suggestion, but it might trigger something new and unexpected.
I totally get that this is their story, and my only interest is in helping them make it better. By asking questions that only the writer can answer, the responsibility of coming up with and applying any fixes falls squarely on their shoulders.
I also make a point of trying to be objective. I may not be a fan of your story’s genre, but that doesn’t mean I’ll automatically be negative in my notes. What I will do is approach it from a “does it tell a good story populated with interesting characters and situations?” perspective.
And then there are the notes that want to take your story in an entirely new direction. The ones that take it upon themselves to change your story because “that’s not how they would do it.” I’ve gotten quite a few of those.
But what if how you would do it is different than how I would?
Sometimes it’s a suggestion that runs counter to the story you’re trying to tell, or it might have absolutely nothing do with the story at all. I’ve even received the always-appealing “This was great, except for this one small thing I disagree with/don’t like, which ruined the rest of it for me.”
Everybody’s going to have their own opinion, but the one that counts the most is yours. Even if it doesn’t feel that way now, only you know what the script really needs, and you’re going to get all kinds of responses when you seek out feedback.
Some of it will be very helpful and insightful, some definitely won’t be, and in the end it’s really up to you to decide which notes you think provide the most guidance to helping make your script better, which will in turn help you become a better writer.
With the holidays coming up fast, and you’re just not sure what to get the screenwriter in your life, take a gander below at all the great gift choices available. What better way to show your support in helping them be a better writer in 2017?
And if you opt to splurge on yourself by purchasing any of the services being offered, they should count as tax-deductible (but double-check with your accountant, just to be sure.)
Keep in mind a lot of these offers are time-sensitive, so don’t delay and order today!
-Writer-director-producer Jimmy Day has launched the new Write12BlockScripts script consulting service. Mention Maximum Z when ordering and he’ll take $50 off, and that applies to both full script and 30-page reviews. Contact Jimmy here.
-Consultant Phil Clarke wants you to take advantage of getting his script services at the 2016 rates before the new 2017 rates kick in on January 1st. Visit www.philmscribe.com for details on a script consultant with bonafide, rarely rivaled industry experience, or contact Phil here.
-Story analyst Jim Mercurio is offering a 48-hour flash sale with 50% discount on several services. Get up to 20 pages of notes and save up to $600 on Jim’s Snapshot Evaluation, Comprehensive or Professional Analysis Services. Even if your script’s not ready to send right away, sign up the end of this weekend and submit your script anytime through the end of January. Contact Jim here.
-Writer-consultant Philip Hardy’s The Script Gymnasium is offering up the 2016 Holiday Special of $99 for full script evaluation and notes. This offer is good through December 31st. Contact Philip here.
-Consultant Andrew Hilton (aka The Screenplay Mechanic) will give a $10 discount on any of his services through January if you mention you were referred via Maximum Z. Better hurry! Spots are filling up fast!
-Consultant Danny Manus has a special holiday deal in place: purchase any Basic or Extensive Notes Service now thru January 1st and receive the 2-hour webinar “Mastering the Short Pitch” FREE! (normally $49) when you reference Maximum Z. Contact Danny here.
-Writer-consultant Mark Sanderson is offering a holiday discount of $25 off all consulting services. The offer runs through December 31st, but can be used throughout 2017.
-Consultant Lee Jessup is offering a 15% discount on her one-on-one career coaching services if you use the code MyPalPaul.
-Consultant Barri Evans is offering 15% off all services purchased between now and January 4th. Check them out here, or contact Barri here to discuss the best option for you. Services range from pro help on crafting powerful loglines, queries, and pitches to script consults offering one-on-one interactive feedback, as well as mentorship to meet your every need. Plus, be sure to check out her free Logline Thumbs Up or Thumbs Down on her consults page!
-Writer Bill Martell is having a sale until December 26th on the mp3’s of his audio classes: half-price for the Classic Class Set and the Naked Screenwriting Class. Bill also has a wide selection of e-books.
-And when you decide to take a break from writing and just want to lose yourself in a good read, Brian Fitzpatrick’s screenplay-turned-novel Mechcraft is slated to be published by Inkshares in 2017. With the visual intensity of The Matrix combined with the wonder of Harry Potter, pre-orders for Mechcraft are being taken now! Check out the site, the reviews, and sample chapters here.