Calling all creatives!

Since it worked so well a few months ago, I thought it would be nice to once again offer creators (which includes writers, filmmakers, artists, and so forth) the chance to present their materials to as wide an audience as I can provide.

The master list will be posted on Friday, October 2nd – ONLY ONE LISTING PER PERSON!

And with the holiday season just around the corner, what better gift to give than something that helps support your fellow creatives?

So if you’ve got a book, a film, a webseries, a comic or webcomic, or pretty much any other kind of finished and ready-for-public-consumption product, this is your chance to put the word out.

If you and your project were among those listed last time, you’re more than welcome to be included again, but it would also be great to see some new material added into the mix.

And for all the screenwriters wondering when it’s their turn, a post that’s all about scripts will be taking place in late October or early November, so keep an eye out for that announcement in a few weeks.

Here’s how it works:

Email the following info with the subject Maximum Z Creative Project Post to paul.zeidman@gmail.com

Title of your work

Your name

Format (book, film, etc)

Genre

Logline

Awards (if applicable)

A link where people can access this material, and/or to your website (if applicable)

Any questions? Let me know.

A treasure trove of creative riches

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With sheltering-in-place still a thing, this is a great opportunity to discover and enjoy some amazing works across a wide spectrum of mediums.

Settle in and take a look. There’s a lot to choose from today.

Added bonus – several of the featured creators have also been interviewed on this very blog, so a link to each of their Q&As is also provided.

Enjoy!

Marilyn Anderson
How To Live Like A Millionaire When You’re A Million Short – book
https://www.amazon.com/Live-MILLIONAIRE-Youre-Million-Short-ebook/dp/B06XWZFNRY/ref=cm_cr_arp_d_product_top?ie=UTF8&fbclid=IwAR3GqZdJFtV8ftEqH6V3pc2NxpxJCS7TwWZSHaSPOS4P8TnlRF-jMGSh7so
AND
How To Beat A Bully – film
https://www.amazon.com/How-Beat-Bully-Pearce-Joza/dp/B016DMY16M?fbclid=IwAR0ery6kikBDlZDwfGXV62WGIVIc05lkAcq-1T0c6DiSwLaysHia9n5RhqQ

Steve Altes
Geeks & Greeks – graphic novel
https://www.amazon.com/Geeks-Greeks-Steve-Altes/dp/0996350446/?fbclid=IwAR2kgIue5ev9gE86QyOsUdTH6bIjZ07JyQpV2mnYEBF8tJT0N41jptpzdEU

Tracee Beebe
The Rise & Shine Show – motivational live video feed
https://www.facebook.com/RiseShineMorningShow/?hc_location=ufi

Q & A with Tracee Beebe

Gregory Blair
The Ritual (Part 1) – book
https://www.amazon.com/gp/product/B005955G1Y?fbclid=IwAR0stm9XLgcs_m6yfHJVNnSZ2lskN3ICM8yAqTbXYuI7apD2NSlHHJz1pUg

Lois Buchter
Gerti’s War: A Journal of Life Inside the Wehrmacht – book
https://www.amazon.com/Gertis-War-Journal-Inside-Wehrmacht/dp/0997510846/ref=sr_1_1?dchild=1&keywords=gerti%27s%20war&qid=1590531435&sr=8-1&fbclid=IwAR2wGp8aRp4s2ZSPbiJya7WLpIb1H0nr3Cdze50a9kbADgxhpae7sFxnnMw

Geoffrey Calhoun
The Guide For Every Screenwriter: From Synopsis to Subplots: The Secrets of Screenwriting Revealed
https://www.amazon.com/Guide-Every-Screenwriter-Synopsis-Screenwriting-ebook/dp/B07R92L1N1/ref=sr_1_1?dchild=1&keywords=geoffrey+calhoun&qid=1590599973&sr=8-1

Q & A with Geoffrey Calhoun and one about the book

Howard Casner
The Starving Artists and Other Stories: Nine stories of sci-fi and the supernatural – book
https://www.amazon.com/dp/B07FS91CKJ?fbclid=IwAR1LKXLOuZ61r0wB2vl3N2RGO1qg4j4-CUTjJ_Pr3pUvaIiQNzIJbEHrkP4
AND
The Five Corporations And One True Church – book
https://www.amazon.com/dp/B07KY5Z3CF?fbclid=IwAR1v1XvJ6ZeVv79i66EtG6lNOfutzAgMY_LkYM5OkZCQkGk3zPpjofuq3Hs

Q & A with Howard Casner

Steve Cleary
ManHeat – microbudget webseries
A screenwriter takes his filmmaking career into his own hands and started a microseries about action film cliches that’s seen a steady increase in production values
https://www.facebook.com/storbangfanpage/playlist/2385554318362169/

Brian Fitzpatrick
Mechcraft – YA book
Sci-fi nanotech thriller – “The Matrix meets Harry Potter”
https://www.amazon.com/dp/B079HTG6C6?fbclid=IwAR1ElBGEPvlJ8y_s9GQaO501D9WTlUoENm8Nwews3zW0XXMo5IiLTY4mJR0

Clint Ford
Cope – book
https://www.amazon.com/dp/149433111X/ref=cm_sw_r_em_apa_i_7deZEbAMMETKD?fbclid=IwAR3_0IrhUFAarQyE1h9gdJF6jg97J4iS2-Urrwip1Z-nsDmh5jOxOnQWk7Y

Jimmy George, Jamie Nash & Bob Rose
Writers/Blockbusters – screenwriting podcast
Examining blockbuster films through the lens of writing
https://thundergrunt.com/category/writersblockbusters/

Q & A with Jimmy George

Randy Gordon-Gaticahttps://www.instagram.com/rggatica/
The Magic Bomb – film
https://vimeo.com/ondemand/themagicbomb

Jay Harez
Collection of horror and thriller books
https://www.smashwords.com/profile/view/jayharez?fbclid=IwAR0yuD_-jYBdbe01lUOaR2Icm28fJk8IVIHbrXxvqYIazgTgkT1PBMBSVsE

Phil Hawkins
Star Wars: Origins – short film
A critically acclaimed fanfilm that combines the worlds of Star Wars and Indiana Jones. The saga we know, the origins we don’t.
https://www.youtube.com/watch?v=SVSox0qApO4&feature=youtu.be

Jason Henderson
Young Captain Nemo book series
Jason recently signed a deal with Kinsane Entertainment to develop the books as an animated series, mobile games, consumer products and more for worldwide release.
Young Captain Nemo
https://www.amazon.com/Young-Captain-Nemo-Jason-Henderson/dp/1250173221/ref=sr_1_1crid=2M2M8J5BQYIQJ&dchild=1&keywords=young+captain+nemo&qid=1590698680&sprefix=yougn+captain%2Caps%2C200&sr=8-1
Quest For The Nautilus: Young Captain Nemo
https://www.amazon.com/Quest-Nautilus-Young-Captain-Nemo/dp/1250173248/ref=sr_1_2 crid=2M2M8J5BQYIQJ&dchild=1&keywords=young+captain+nemo&qid=1590699109&sprefix=yougn+captain%2Caps%2C200&sr=8-2

Brannon Hollingsworth
Silent Night, Lady White (Wyrdwar) – book
https://www.amazon.com/Silent-Night-Lady-White-Wyrdwar-ebook/dp/B0834GRN3L/

Ann Kimbrough
The 100 Script Challenge Journal: A Journal for Screenwriters
https://www.amazon.com/dp/153708318X/ref=cm_sw_r_em_apa_i_vYlZEbWAMCB9M?fbclid=IwAR0wRXKP2b5DoFHKPFHAF6dLOdnjzn_uYrCu3e_PzpHeTC4OpWOboIss0lE

Q & A with Ann Kimbrough (and her equally amazing writing partner James Moorer)

David Lake
Tears of Glass – thriller novel
https://www.amazon.com/dp/B01CHTF3HQ

Tracy Stone Lawson
Counteract: A YA Dystopia Thriller (The Resistance Series Book 1)
(first volume is a free download; whole series of 4 for $2.97)
https://www.amazon.com/dp/B07J5NS9F5/ref=nodl_?fbclid=IwAR3NeRR0-3Z_73bWfEg98qiWbtQQbzhVol9V_KVlSRhMrEMXnZaY4hEz6FU

Chris Mancini & Fernando Pinto
Rise of the Kung-Fu Dragon Master – graphic novel crowdfunding project
https://www.kickstarter.com/projects/whitecatent/new-2020-rise-of-the-kung-fu-dragon-master-vol-1/description

Q & A with Chris Mancini

Ellen Matzer
Nurses on the Inside: Stories of the HIV/AIDS Epidemic in NYC
https://www.kirkusreviews.com/book-reviews/ellen-matzer/nurses-on-the-inside-stories-of-the-hivaids-epidem/

Alicia McClendon
Wing Chun – short film
https://www.youtube.com/watch?v=bt228HohbOE&feature=youtu.be

Sean McDonough
Collection of horror books
https://www.amazon.com/Sean-McDonough/e/B07SJWGX6M/ref=dp_byline_cont_ebooks_1?fbclid=IwAR3d5kRzKL9kjwaiBd0CDiDJ4UfshxGbtCRBqQXuhDjjGX1Xjj6lJeBj1MY

Jim Mercurio
The Craft of Scene Writing: Beat by Beat to a Better Script – screenwriting
https://www.amazon.com/Craft-Scene-Writing-Better-Script/dp/1610353307/?fbclid=IwAR0wRXKP2b5DoFHKPFHAF6dLOdnjzn_uYrCu3e_PzpHeTC4OpWOboIss0lE

Q & A with Jim Mercurio and one about the book 

Josh Mitchell
Stand By Me (Revisited) – song
https://soundcloud.com/mitchwickid/stand-by-me-revisited?fbclid=IwAR01kCtiU359sQZJ7mevOhf9gDgiKy3LTjlthm0-J7foXkB57Cw_pImDM6w

M. J. Moore
Mario Puzo: An American Writer’s Quest – biography
https://www.kirkusreviews.com/book-reviews/mj-moore/mario-puzo/
https://www.amazon.com/Mario-Puzo-American-Writers-Quest/dp/1942762631?fbclid=IwAR1aTbdr7QqF6tE3tMb6tyuZ4gCXhZXWZ7yws1eWc39abQ8M9TLvusjY0Cc

Annie Morgan
Complicated: The Zephyr Collection: Book One
https://smile.amazon.com/dp/1393683932/?fbclid=IwAR2-6ILJb6VxvMg-JhH9xbkUeIJoZeELcMQ25d2vVHLhoyTJnr8oI9IJgDw

Jeff Neparstek
Borrowed Time – book
https://www.amazon.com/Borrowed-Time-Jeff-Naparstek-ebook/dp/B01AA9KDZW/ref=sr_1_2?ie=UTF8&qid=1484175499&sr=8-2&keywords=Jeff%20Naparstek&fbclid=IwAR2n5iYy9jsgCDAi2ZjVcuKX1DUWddeVjJT6Z4OO5RxeStWN-KAVku2lA9k
AND
The Arab Messiah – book
https://www.amazon.com/Arab-Messiah-Jeff-Naparstek-ebook/dp/B01AAOHW5Q/ref=sr_1_1?ie=UTF8&qid=1484175499&sr=8-1&keywords=Jeff%20Naparstek&fbclid=IwAR3UtO0g6kI68nh4sqU1a7VFjIFMqmQw5SLeWX-TojJyv_8WCfXM-XvvnmI

Robert People
A Walk On Mars – book
https://www.amazon.com/dp/1466458313?fbclid=IwAR3WFOvITpvhcAugwPXAx5hrYbXgFe1kQSoVDo4OLkWVnfo2_Ww0SVx2yxk
A Walk On Mars 2: Overtime – book
https://www.amazon.com/dp/1470187388?fbclid=IwAR0u-7rltbLP6m_KLG65GPU6ggiSuM_h6ta98qbanujKCbt43iCJtENFd8A
Blowing Through The Jasmine – book
https://www.amazon.com/dp/148184573X?fbclid=IwAR12lBLXqWjL6W5aiz50UsMuwj9Gcexmmwz_vGdyPT_-nny6knTnAB1MHyY
Sellout– book
https://www.amazon.com/dp/1729732372?fbclid=IwAR3JAT2k6n-HyUzByFIanRdeJL2mBRuy-hwZwTuDm06x2VEU-QDRs7POCyA
Sold Out – book
https://www.amazon.com/dp/109928533X?fbclid=IwAR293eZo5oayPWXzo6DQjg7qZeCZTjZW_ZNgUnSnT0ZH1KGvfhxcewS4CYE
The Basics (And A Little More) Of Writing A Book
https://www.amazon.com/dp/B08924GD52?fbclid=IwAR3ZLgCHR0u7VAiVA5j5GcdgZ_iOIlrQneZWCL7JV82xEsV_d1G7xQUGU9I

Jackie Perez
Beachworld – sci-fi/horror short film – authorized adaptation of Stephen King short story of the same name
“Stranded crew on an alien planet covered in dunes. Locating their ship’s emergency beacon is their only hope, but when a salvage crew answers their distress signal, it’s already too late.”
https://www.youtube.com/watch?v=wd7HeWs0jVQ&feature=youtu.be

Hudson Phillips
After The Fall: A post-apocalyptic anthology inspired by the universe of This World Alone – book
https://www.amazon.com/After-Fall-post-apocalyptic-anthology-inspired/dp/B088VR6L87/ref=as_li_ss_tl?_encoding=UTF8&psc=1&refRID=FNT09EKN4KWMYMRJPGPH&fbclid=IwAR2vHP5fmHHhEZt3U2F9tC2484s-BcFK84cVS7XmS2w95cx54y3mN6utYSU&linkCode=sl1&tag=styocaus0e-20&linkId=b93767ca505cf1c60c046621718768f7&language=en_US

Dr. Sapna Ramnani
Lockdown – a documentary in pre-production seeking contributors
https://eu.jotform.com/form/200975116787060

Renfield Rasputin
In Defense Of Our Good Name – short story
https://www.amazon.com/dp/B07CMMFKYW/ref=cm_sw_r_apa_i_rhbZEb3840CS1?fbclid=IwAR1x29n6ly37Yuvu4Egtx5pkYAO2Gkx7Clhjksn8-SMWwsSQmxdUesRDDDA

Bob Saenz
That’s Not The Way It Works: A no-nonsense guide to the craft and business of screenwriting
https://www.amazon.com/Thats-Not-Way-Works-screenwriting/dp/1734347910/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1575403713&sr=8-1&fbclid=IwAR0TRWlRzoxneFNgyuP22hqJRBeErgHy0fvpG6UqqnWE5hYe-W-A6niDbf0

Q & A with Bob Saenz

Roman Scott
Tone Poems and Nightmare Fuel – blog
https://tonepoemsandnightmarefuel.wordpress.com/

Travis Seppala
365: A Year of Screenwriting Tips
https://www.amazon.com/365-Year-Screenwriting-Travis-Seppala/dp/1725810972/ref=sr_1_1?crid=3AY6WYU9SKJLD&dchild=1&keywords=travis+seppala&qid=1590599648&sprefix=TRAVIS+SEPPALA%2Caps%2C205&sr=8-1

Q & A with Travis Seppala

Justin Sloan
Prime Evil
https://www.amazon.com/Prime-Evil-Justin-Sloan-ebook/dp/B087YKY5SV?fbclid=IwAR1l64MgNO_FOWlka2K2CEeF1rAsrp51LYvUvBq-gODBKXC2Ac92-d_XgYQ

Karelynn A. Spacek
Queen of Swords (A Stone Wielder’s Legacy Trilogy) – book
An epic journey revolving around a sunken island, and a new queen that prefers archery over politics.
https://www.amazon.com/Queen-Swords-Wielders-Legacy-Trilogy/dp/B086Y3ZWQF/ref=mp_s_a_1_1?dchild=1&keywords=9798630009722&linkCode=qs&qid=1589933088&s=books&sr=1-1

Dan Stout
The Carter Archives – book
https://www.penguinrandomhouse.com/series/3CA/the-carter-archives/?fbclid=IwAR2iisl3XP2kXPH1R4PXHe2LZfY21ORydTdLRbiIPf7MoDH7MkbxdjKDyRE

Chip Street
Rocket Summer – novel
https://www.amazon.com/dp/1480202622?fbclid=IwAR2i4B62oDUO-dCGkIPCk9Z4jPbYEJVfBcrsncvMCaS7OJR80x7Pv0P3Bg4
AND
21 Things You Need to Know About Screenplay Options: The Indie Screenwriter’s Guide to Protecting Yourself and Getting the Best Deal
https://www.amazon.com/Things-Need-About-Screenplay-Options-ebook/dp/B07J1L5QLB/ref=redir_mobile_desktop?ie=UTF8&fbclid=IwAR0TRWlRzoxneFNgyuP22hqJRBeErgHy0fvpG6UqqnWE5hYe-W-A6niDbf0

Timothy Trimblewww.timothytrimble.com
Air Born: Do You Dream of Flying? – book
https://www.amazon.com/dp/1536873292

Phyllis K. Twombly
The Martian Symbiont series
Been Blued – book 1
https://www.iuniverse.com/en/bookstore/bookdetails/139113-Been-Blued
Martian Blues – book 2
https://www.iuniverse.com/en/bookstore/bookdetails/139112-Martian-Blues
Martian Divides – book 3
https://www.iuniverse.com/en/bookstore/bookdetails/146298-Martian-Divides

Larry Whatcott
Telepath – short film
https://vimeo.com/8395049?fbclid=IwAR2CLjjoaOjNNUf2pHM40_Rli8QPHr7Kx0njq7AkT7f6i97gt6SfTW942u0

Allison Chaney Whitmore
Forgot Me Not – book
https://www.amazon.com/Forget-Me-Not-Allison-Whitmore-ebook/dp/B01GL04FJO?fbclid=IwAR34qN_nGlFRQGh2nlX0ywzV0-jruUSPGyYvaoW16Tm3FQC8vSrO8ScFagg

Q & A with Alison Chaney Whitmore

Q & A with Jim Vines

Jim Vines

A Beast Is Born COVER (High Resolution) (COMPRESSED)

Jim Vines has been a screenwriter and script consultant for a number of years. His first produced film was THE PERFECT TENANT (2000). He has optioned several of his scripts and has also been commissioned to write or rewrite scripts for numerous producers. He has written a play (staged in 2009), a web series (2009), a book of interviews with screenwriters (2006), and “indie-published” his first novel in 2015. His latest book, A BEAST IS BORN, was released in 2019.

Jim, who was born in New York City but grew up in Los Angeles, and currently lives atop a hill that affords a truly inspirational view of the Hollywood sign.

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

I kinda hate to say this, but I don’t watch TV per se, so if you asked me to name two or three top TV shows, well, I probably couldn’t do it. But a few years ago, I thought MAD MEN was great. (I should point out the reason I don’t watch scripted TV is that I’m an avid watcher of documentaries and interview shows found on YouTube.) As for theatrical movies, I haven’t been to a new release in about eight years. Actually, that’s not entirely true. Tarantino’s ONCE UPON A TIME…IN HOLLYWOOD got me back into a theater. I had high hopes for that one. All I’ll say is: I didn’t care for it.

I do a decent bit of reading and tend to go through a lot of biographies. A recent one was of Stanley Kubrick written by Vincent LoBrutto, which was pretty fascinating. I just did a re-read of Jack Kerouac’s excellent THE TOWN AND THE CITY. A few months ago I read Donna Tartt’s THE GOLDFINCH which I really enjoyed. I also finally read the Daniel Keyes novel FLOWERS FOR ALGERNON, which was pretty amazing. I just finished reading Anne Tyler’s rather poignant novel A SPOOL OF BLUE THREAD and wrapped up the audio-book of the classic TRUE GRIT, written by Charles Portis (who passed away recently).

As you can probably ascertain by these titles, I’m drawn to stories about people and their plights, their struggles, where they’re trying to understand where they fit in with the rest of the world. This is what I find interesting.

How’d you get your start in the industry?

It was 1994 and I had been writing scripts with the intent to sell for four or five years. I knew this low-budget producer – she really liked a thriller script I’d written, so she optioned it. She never did get the script off the ground, but at least I knew my writing was solid enough to garner interest from producers. I kept sending scripts out. A couple of years later another opportunity came my way in the form of a script assignment from a budding producer who had read some of my work a year or so before. There was no up-front money but he was pretty certain he could sell the script to a production company where he had connections. So, I wrote the script (based on his story)—and he actually got it sold!

It was a bit of a roller-coaster ride for the next few years, but the script was eventually produced and the movie did quite well on the cable TV circuit. It played constantly on cable and broadcast stations here in the United States and also around the world (I know this because I’d received some pretty decent foreign royalty checks, which was nice). Having this credit on my resume made getting meetings, script assignments – everything from page one rewrites to doctoring scripts- and optioning original scripts a wee bit easier.

What do you consider the components of a good script?

You need to have interesting and/or compelling characters that people will feel something for. Even if it’s a bad guy, you have to give him (or her) at least a smidgen of humanity. Look at Hans Gruber in DIE HARD. Sure, he was a cold-blooded killer – but c’mon, he had such a great sense of humor! You should have a story that continually moves forward and doesn’t get bogged down. I can’t tell you how many novice scripts I’ve read where ten pages goes by and NOTHING happens. It’s just dialogue or superfluous actions that might seem cool or interesting while you’re writing it, but has virtually nothing to do with the story being told.

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

-Write screenplays because you love to write and love telling stories, not because you
think you’re gonna get rich and famous. (Quick, who won the Best Screenplay Oscar last
year?)

-Writing is work—and if you’re not willing to put your rear end in a chair and your
fingers on the keyboard on pretty much of a daily basis, you probably need to find
another career path.

-Rules were meant to be broken, but first know these rules before you break them.

-Rewriting is your friend.

-Formatting isn’t what makes a script sellable. Sure, you need to get it all looking nice and proper, but the actual words you put on those 100 pages—this is what you need to focus on.

-There is no one particular way to write a screenplay. Your job is to discover the method
that works best for YOU.

-Don’t rush things. Send your scripts out only when they’re ready. As they say, you only
have one chance to make a first impression. If you send an agent or producer a script
that’s still pretty rough, chances are they won’t want to read any of your future work.

It’s my opinion—and I’ve done over 200 critiques/evaluations—that about 99% of all
novice screenplays are nowhere near marketable shape, so please, don’t write your first
two or three screenplays intending to sell them; write them merely for the purposes of
learning the craft.

What was the inspiration/motivation for your book A BEAST IS BORN?

For a long time I’ve wanted to chronicle the writing, marketing, production, and afterlife of one of my projects. I just never got around to it. But as the marketing phase of my short horror SUSIE’S BEAST script ground on, I realized I had plenty to write about: all the ups and down, all the gut-punching disappointment. I had personal journal entries (I’ve kept a daily journal since 2004) and emails relating to SUSIE’S BEAST, so I figured it was now or never. I pieced it all together and—voilà—A BEAST IS BORN!

I don’t think most pre-pro (i.e., novice) screenwriters realize how long it can take for a script to finally end up in front of a camera. Whether you’re talking about a 15-page short (which is what SUSIE’S BEAST was) or a 120-page feature, the script-to-screen voyage can take years and years. Sadly, that’s the rule and not the exception. I wanted the reader of my book to get a sense of that journey.

It took 11 years for your script to be produced, which must have really tried your patience. What was it that made you keep going?

It’s not like SUSIE’S BEAST was my entire world. I had a lot going on a personal level. As for my writing life, I was working on my first novel, writing and producing a web series, and had been getting script assignments—so I was keeping busy. Aside from all that, I knew this was a solid script that absolutely had to get made.

What were some of the takeaways/lessons you learned from the whole experience?

I’m not sure I learned much of anything I didn’t already know, but it definitely reminded me that in order to be a screenwriter you need to have a certain doggedness and faith in your own writing. I also realized I might be a little too lenient with people, giving them too much time to get things done or make up their minds. If I hadn’t been so indulgent, I probably could’ve shaved a year or two off that 11-year timeline.

Despite everything you endured trying to get SUSIE’S BEAST made, is writing (and
potentially making) a short film something you’d recommend to writers?

Getting a short film made typically will not do a whole lot for a screenwriter’s career. If the finished film makes any kind of a splash at film festivals, it might do something for the director, the actors, maybe even the director of photography. But for the writer – well, hopefully they get a fun and creative experience. That’s pretty much all I wanted out of it. Luckily, that’s what I got! But having your name on a produced short – especially if it wins some awards – can’t do you too much harm. So, yeah, go for it!

You’ve also written another Hollywood-based book—your novel LUIGI’S CHINESE
DELICATESSEN. What was the inspiration for that?

I figured my first novel should be about something I knew, so I wrote about a young guy going to Hollywood with the dream of becoming a screenwriter. The story is loosely – very loosely – based on some experiences I’ve had in this town. As I’ve mentioned in previous interviews: “The book is 97% a work of fiction—and no, I’m not telling you which three-percent is true.” It’s a fun ride, it really is. One review referred to it as a “cautionary tale,” which I think is pretty accurate!

How can people find out more about you and your work?

A BEAST IS BORN is available on Amazon. Check out Jim Vines Presents which is my “creative page” on Facebook, and my screenwriting blog The Working Screenwriter.

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

This is a very silly question, but an excellent one. Let’s see…I’ll have to go with pecan. I love pecan pie. Pumpkin’s also pretty great, especially when it’s topped with whipped cream. But pecan pie on its own – sooooo good!

Q & A with Bob Saenz

BobNHS

TNIWIT cover1a

Bob Saenz is a screenwriter, actor and author. His produced works include Hallmark’s Help for the Holidays, Rescuing Madison, Sweet Surrender, On the Twelfth Day of Christmas, Sound of Christmas, The Right Girl, Christmas in Love,  the theatrical Church People, and the black comedy thriller Extracurricular Activities. He does rewrites and polishes on film and TV projects for Producers and Production Companies. His screenwriting book THAT’S NOT THE WAY IT WORKS was released in 2019.

His acting roles include a 6-year run recurring character run on the TV show Nash Bridges, Hallmark’s Valley of Light, Francis Ford Coppola’s Jack, David Fincher’s Zodiac, Finn Taylor’s Unleashed, Church People, and The Village Barbershop, among dozens of others. He was a radio DJ on KYCY-FM in San Francisco, played the last 10 years in the 60’s rock band The BSides, and has done voicework on video games, documentaries, and commercials.

Editor’s Note – I’ve had the pleasure of knowing Bob personally for a few years. His insight and advice has proven invaluable to helping me become a better writer, both in terms of craft and career.

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

A spec script by a writer named Rene Gutteridge called Where the Wind Comes. Maybe the best spec I’ve ever read. Just spectacular. Was emotionally affected by it. Stunning.

What was the inspiration/motivation for your book That’s Not The Way It Works?

Two things. One, I’ve been teaching and speaking at writers’ conferences all over the country the last few years and everyone who was there speaking had a book, except me. I complained to my wife about it and she said, “What’s stopping you from writing one?” So I did.

Two, there’s not a single one I could find out there that spoke plainly about the business of being a screenwriter.

With so many screenwriting books out there, what is it about yours that makes it unique?

The tone. It’s conversational. My experience. It’s filled with what I have learned actually succeeding at it. With more than a dozen films produced, I used all that experience to write about what I know. And, I talk first hand about the business of screenwriting. What the writer needs to know about that part of it, which is just as important as writing a script, and how to approach that.

While the first half of the book is about the actual writing of a script, the second half covers the not-as-discussed “what happens AFTER the script is written (i.e. the business aspects)”. What advice would you give to writers who want to learn more about this?

As I say in the book – find out that it’s not easy, it’s not instant gratification, and you have to work at it. Hard. You can succeed; it just takes time and a business plan. I think the book helps with that. Realizing that writing a script is only the beginning of your journey is a BIG eye-opener for most writers who dream of doing this.

Yes, the script needs to be something people would want to choose to see and has to be good, but that’s not the end of it.

The book has a great chapter about dealing with rejection. What are some key takeaways and advice you’d offer to writers?

The main takeaway is that rejection isn’t personal. Producers and reps don’t care enough about you to make it personal. It’s ALL about the content. Whether they love your script and not or can use it at that time or not. There are hundreds of reasons to reject a script… you have zero control and it’s not personal. Even the most famous screenwriters get rejected on a regular basis. It’s an everyday occurrence. You have to learn to live with it or it’ll destroy you.

Another important issue writers tend to overlook is the need to effectively market themselves in addition to their script. While the chapter about what NOT to do is entertaining (and a bit eye-opening), what are your suggestions about what writers SHOULD DO?

Use the avenues that producers and reps have opened to the writer. Querying. Something that is an art unto itself and something I delve into pretty deeply in the book with a whole section on query letters.

Networking. There’s a huge section in the book about this.  The dos and don’ts. One thing to always remember about networking: It’s about building relationships, not using people. People who can help you absolutely know the difference and will run away from you if you try and use them.

Contests. The Nicholl and Austin are the ones who will pretty much always get you reads in LA if you final or win them. I’ve had friends get their films made doing well in both of these. Neither are easy to do well in because of the sheer number of entries, but they can pay off.

The last way is through referrals, especially to get a rep. If you know a producer or director or star who will refer you… but again, this goes back to networking and having the great scripts to back it up.

What do you consider the components of a good script?

The most important thing is a great story. It also has to be lean and mean. Brevity and white space are your friend. You aren’t writing a novel. You want just enough in there to have the reader see the film in their head and to be able to fill in what they want to as they read, engaging them in the story that way. Again, a big section in the book about this.

I will say this: Producers are ONLY looking for STORY. Screenwriters can never forget this. Don’t over-complicate the read. You can write a complex story without making it hard to read. Oh… spelling and grammar are important, too.

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

The main one? Choosing the wrong story to tell. Telling a story no one wants to see. Whether it’s not sustainable, not interesting, ridiculous, something that’s been done a thousand times before, something you can see every day in TV reruns… there are a million reasons NOT to write this kind of story. You need to go through a pretty thorough checklist (in the book) and make sure it’s a viable story before you do the time consuming hard work it takes to write a good script. Why do all that hard work on a story that’ll be Dead On Arrival?

Another big mistake I see all the time is writers not doing their research about the topics they choose to write about. Writing things that would never ever happen. You have to ground your script in the reality of the subject matter before you take liberties with it.

What are some key writing guidelines every writer should know?

-AIS – Putting your Ass In the Seat. You have to be disciplined. Producers expect you to be disciplined. Good to start doing that at the beginning.

-Never give up. This is so hard to do, you’ll get discouraged on a regular basis. It’s a lot easier to give up than to stick with it because it takes years to succeed in. Notice I didn’t say it CAN take years, I said it TAKES YEARS, because in every case, it does. You aren’t going to be the exception.

-Don’t cheat on research. Take the time to actually learn about the things you’re writing about. Go out and learn them. A big section in the book about this.

-Again…. for emphasis…. choose a story that is viable for producers and audiences. Don’t just pull something out of the air and write it.

-You’re not writing a novel. Leave everything that isn’t directly hooked to your story or plot points out of your script. One rule of thumb? You know all those people listed in the credits of a film? It’s your job to do everything they don’t. You aren’t a costume designer or a casting agent or set designer…. or… any of them. They don’t ask to write the story, you don’t try and do their job.

You’ve managed to establish and maintain a writing career while living outside of Los Angeles. What are some of the pros and cons about it you’ve experienced?

Pros: I don’t live all that far away (400 miles) and can be at any meeting on a day’s notice, so it’s been fine for me. I am in LA multiple times a year, sometimes for more than a week at a time. It’s expensive… but also my choice. There’s a section is the book about moving to LA and when to pull the trigger and do it if you need to.

Con: I’m not in LA networking all the time. Out of sight, out of mind is a real thing. Not worth moving there for me, though.

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

Peach. Nothing else comes close.

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Q & A with Geoffrey Calhoun

Screenwriter/script consultant Geoffrey Calhoun of WeFixYourScript.com has been previously featured on this site. This time around, he’s answering some questions about his new book The Guide For Every Screenwriter.

What was the inspiration/motivation for this book?

It was inspired from a class I designed when I was asked to teach screenwriting to film students in Ghana, Africa. Unfortunately that class fell through so I took the materials and broke them into seminars, then hit the road teaching at Film Festivals. Eventually, people attending the classes asked if I’d put this in book form. That’s when I realized I needed to create The Guide For Every Screenwriter.

There are a lot of screenwriting books out there. What about this one makes it unique?

Books on screenwriting tend to be one of two things: overly wordy textbooks or focus on a specific area of screenwriting. What I wanted to do was create a book that’s easy to read and comprises all aspects of screenwriting. Thus, The Guide For Every Screenwriter was born. It covers everything from concepts, character design, formatting, branding yourself as a writer, and beyond. All of it done in an easy to access reference guide which gets straight to the point. I wanted to break down the mysteries of our craft into something that anyone can pick up and understand. This is the book you keep on the shelf next to your desk as you’re writing. After reading this book you’ll be able to confidently write a screenplay, even if you’ve never done it before.

Some screenwriting books are geared more towards covering the basics, while others “go beyond (or way beyond) the basics”. How is this a book that both new and experienced writers could use?

I wanted to write a book that even veteran screenwriters could read and walk away with something new or feel refreshed. The Guide covers some really interesting aspects about screenwriting which isn’t really covered in other books. Such as subplots, loglines, how to collaborate with other writers/producers, or even busting myths about queries.

Continuing on that theme – part of the book discusses the basics of formatting. Is this more of an issue than we’d normally expect?

Yes! As a professional screenwriter and consultant, I’m brought in to fix a lot of scripts through my website WeFixYourScript.com. One of the biggest problems I see is a lack of properly using format. Some writers believe it’s optional. Unfortunately, it’s not. So, adding format to the book was a must. I also wanted to delineate between a few of the finer aspects of format, such as montage vs. series of shots. Many writers think they’re interchangeable. The Guide explains exactly how and why they’re used and what makes them different, all with fun examples.

Early on in the book you mention how time, talent and tenacity all play a key role for both the writer and the act of writing. Could you elaborate on that?

The three T’s are my own personal mantra. The funny thing is, I never strung them together until I wrote the book. When it felt like I’d never get a script made I would tell myself I needed more time. Screenwriting is about the long game. Talent was a given. I knew I needed to be the best I could be, which is why I became a lifelong student of this craft. Tenacity is who I am as a person. I don’t quit. I don’t give up. I’m not built that way. I have to see things through. When I sat down to write the Guide, I wanted to create a section that was my own personal truth but also filled with hope and the three T’s were born.

A lot of writing guidelines say “write what you know”, but you’re of a somewhat differing opinion. How so, and how come?

That’s a great question and observation! I break the myth of “write what you know” in The Guide For Every Screenwriter. My hope was to introduce a different perspective to my peers. I believe we as writers need to be two things: experts on what we write about, and chameleons. In order to write about a particular topic or genre we need to master what it is first. Writing is one of the only fields in the world which encourages you to explore all facets of life in order to grow at your craft. The Guide provides a fun way to do that.

We also need to be chameleons. I know many writers scared to work outside of their comfort zones. That’s stifling creatively and also can make it difficult to find work as an indie screenwriter. I love working outside of my comfort zone. It makes me be better at what I do. It pushes me in directions I never expected and thus my skills improve.

I really liked your concept of what you call the “mind map”. Could you explain what that is, and how a writer would use it?

The mind map is a great little trick to get your brain thinking outside of the box. You can do it anywhere. I’ve seen a screenwriter do it at breakfast on a napkin and create their entire concept in ten minutes and it was good! You simply place what you want to develop in the middle of a paper and then branch off wild ideas around it. This isn’t just limited to concept; you can use it on anything including a character or even a story beat. I believe mind mapping in a busy public space can help as well because you’ll find inspiration from the surrounding environment.

There’s a section of the book that deals with a seldom-discussed part of a script: subplots. Why is the subplot important, and how can a writer get the most out of them?

When properly developed, a subplot can add a surprising amount of depth to your story. Subplots also fill out your script. Many writers tend to get lost in the main character’s struggle and end up underutilizing the supporting characters and underdeveloping the antagonist. This can lead to scripts struggling with anything from page count to a meandering script which can’t find its footing. A well developed subplot’s job is to reinforce and prop up the main plot. That’s one of the great keys to creating a killer script. In The Guide For Every Screenwriter, I explain what subplots to use and where they land in the script.

The final section of the book is appropriately called “What Comes Next”, in which you discuss what do after the script’s written – everything from getting feedback to queries. What prompted you to include these topics?

Screenwriting is about more than just writing scripts. If you really want to get out there and start landing writing gigs, then you need a road map of how to do that. I wanted to make sure the Guide can you lead you in the right direction. That’s why it covers topics such as properly protecting your script, a synopsis template, branding, networking, etc…

Last time around, you said your favorite kind of pie was pumpkin with a big dollop of whipped cream. Still the same, or something new?

I don’t know why, but pecan pie has been calling to me.

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