Q & A with Hudson Phillips of ScriptBlast

Hudson Phillips is a writer and producer from Atlanta, GA. He’s also the founder of ScriptBlast, an online community to help screenwriters navigate the emotional ups and downs of the writing journey, and host of the ScriptBlast Screenwriting Podcast.

What was the last thing you read or watched you considered exceptionally well-written?

The short story collection STORIES OF YOUR LIFE AND OTHERS by Ted Chiang is jaw-droppingly good. I don’t think I’ve ever read a short story collection where every single story is perfect. Each one is weird and memorable and moving and smart and tackles some big gigantic idea. I’ve also really enjoyed the Zoey Ashe series (FUTURISTIC VIOLENCE AND FANCY SUITS and ZOEY PUNCHES THE FUTURE IN THE DICK) by David Wong. Both are laugh-out loud funny with incredibly memorable characters in one of my favorite grounded science fiction worlds. 

Movie-wise, NOBODY was a surprisingly fresh take on the action hero. I could use the same line to describe SHADOW IN THE CLOUD, another film that shook up traditional action films. 

TV-wise, the first season of KILLING EVE really blew me away. I can’t think of a TV show that surprised me as much as that. 

How’d you get your start in the industry?

It is a very long, very winding road that has taken me here, where I still feel like I’m just getting started! I’d always been writing, but in my mid-20s I started taking it more seriously after a music career fizzled out. I ended up writing comedy scripts with two buddies of mine and the second script we wrote together (a sports comedy about church league softball) ended up getting optioned by Lionsgate films (thanks to a friend of a friend of a friend).

For a split-second we were “local celebrities” on radio and in the newspaper and then everything that could go wrong did go wrong. The writers strike happened, pushing it back a few years. Lionsgate changed out leadership and dropped the film. A local production company picked it up and made it, but completely threw our script out. I don’t think a single word of ours ended up on screen (I still haven’t seen it). So a quick high and low right out the gate. My two writing partners both gave up after a couple new scripts went nowhere, so I broke out on my own.

The problem with having writing partners is when you start writing on your own it’s like starting fresh all over again. So I leaned into the movies I loved the most – crazy sci-fi fantasy action adventure stuff – and started to write that. I’d write a script, send it out to connections in Hollywood, no one would be interested, and I’d write another one. I’d get occasional bites from a contest or the Black List, but nothing ever gained traction. I think in large part because I was a single dad to a young kid, so I couldn’t move out to L.A.

Pro tip: it’s SO much harder to make it in this industry if you’re not in the city where it all goes down. It was during this time of rejection after rejection that I started ScriptBlast as an online haven for writers to connect, talk about their struggles in a safe space, and find encouragement and inspiration. 

Being stuck in Atlanta, I leaned into what the city had to offer, which was great filmmaking talent and started making short films. This was a great way to get to know local actors and crew, and we started pulling together our little “collective” of talent until eventually, in 2017, we shot our first feature film, THIS WORLD ALONE. It’s a post-apocalyptic drama / thriller about three women attempting to survive in a world without technology or power. And after a very long 4-year journey (with a year-long pause for COVID), the film was finally released in May and is now available wherever you rent or buy movies online. 

THIS WORLD ALONE helped get my name out there enough and allowed me to make enough connections that I’ve since been hired to write a few other indie features. So while I’m not yet making a living at it, writing is bringing in a good second income right now. And I believe all these little seeds will eventually build momentum and add up to a career. Fingers crossed that 2021 is the year that it happens! 

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

It’s interesting that you say “recognizing good writing” and not “becoming a good writer.” I don’t think recognizing good writing is something that can be taught or learned. But I don’t look at good writing that way. Good writing is a feeling. Good writing is being whisked away to another world and laughing and crying and cheering and getting done and immediately wanting to go back. A technically excellent screenplay that checks all the screenwriting boxes is not necessarily “good writing.” 

But I also think most people can be taught to become good writers (some just might take more time than others). I’d put writers into three categories:

Writers who can recognize good writing and turn around and immediately write an excellent story. 

Writers who can recognize good writing but struggle to write an excellent story.

Writers who can’t recognize good writing and will therefore never write an excellent story.

The ones who can be taught are in that middle level but I think 90% of us are in that middle level. We know what a great story looks like but it takes a lot of time and work and practice and patience to create one ourselves. 

What do you consider the components of a good script?

Such a great question. there’ s probably an infinite list, but here’s the first three that popped in my head:

Set-up and payoff. This is the easiest way to make your script look smart. Just set up everything you payoff and payoff everything you set up. Need a great line for your finale? Go back to your first act and find one that’s applicable. Have an item that represents something in the beginning? Make sure you bring it back in the end. My first rewrite is always looking for these things. 

Emotional honesty. We’ve all seen the movies (usually starring Adam Sandler) where you get this pat life lesson at the end like “spend more time with family.” These kinds of lessons are ultimately forgettable because they aren’t honest. They are themes we’ve seen a million times before. The real honest emotions aren’t pat answers, they are deep questions. Mark Duplass decries this as “you know when you’re up at 2am with your best friend and you’ve had too much to drink and you talk about your biggest fears? That’s what you should write your movie about.” Give the audience an answer, and they’ll forget it right after they leave the theater. Present the audience with an honest and brave question, and they’ll keep thinking about it long after they’re done. 

Tension & release. If a screenplay is a wavelength, it should go up and down. It’s all about pacing. A script should rise and fall and feel natural. I think this is one of the toughest things to teach because it’s a “feeling”. Lean into whatever genre you have, if it’s a horror movie it should be a little scary, medium scary, really scary, and then give us a break. If it’s a comedy, it should be a little funny, medium funny, really funny, and then give us a break. 

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

Telling someone else’s story and not telling your own. So many writers just regurgitate their favorite movies and don’t have anything unique to say about the world. Audience members don’t care about the “what” of your story, they care about the “why.” If you’re just writing something because “it’s cool” or “it’ll sell”, the audience can see right through that. It goes back to the “emotional honesty’ thing above. It’s the old saying “write what you know” but that doesn’t mean write about your day job or your current boyfriend, it really means “write what you feel.” If you’re emotionally connected to your story, your audience will be too. 

What story tropes are you just tired of seeing?

Usually the things that make me roll my eyes have to do with masculinity on film. I get so bored with cold, stoic, masculine action heroes. I’m equally tired of female action heroes who feel like someone went into the script and just did a search to change “him” to “her.” And don’t get me started on shallow descriptions of women in scripts “nerdy but beautiful” or whatever. Like the two films I mentioned earlier – NOBODY and SHADOW IN THE CLOUD, these are films with warm, broken, interesting, action heroes who lean into their vulnerabilities as much as their strengths. 

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

Here’s kind of a checklist I try to run through for every scene I write:

GOAL: What does your protagonist want in this scene and how are they going to get it?

CONFLICT: What obstacles make it difficult for your protagonist to reach that goal?

CHOICE: What difficult choice will the character have to make as a result of the conflict? 

STAKES: What is hanging in the balance with each choice?

TWIST: What does this choice tell us about the character that we didn’t already know?

THEME: How does this choice push the character’s emotional journey forward?

CONNECTIVITY: Can the elements of this scene be set-up in a previous scene or lay the ground-work for future scenes? 

VISUALIZE: Is there a visual or item that can replace obvious dialogue or action? 

LESS: Is there a “perfect line” or action that could say it better than a long drawn-out scene?

VOICE: How can you rewrite it to be more “you”?

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

The screenplays that I love all make me feel something. They get an emotional response out of me, whether that be fear or laughing or crying or warm-heartedness. They are masters of set-up and payoff. They surprise me at every turn and never make the obvious choice, I can’t predict where the story will go. They ask big questions about the world. 

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

On their own, I think they’re worthless. I don’t know if I’d go as far as calling them scams. I think a lot of contests are well-intentioned, but it’s a model built on 99% of writers who enter paying money and getting nothing in return. That industry has created a lie that writers can write one screenplay, enter a contest, win, get an agent, and go write Hollywood films. This lie is why so many writers give up after their first script. It’s heart-breaking to me. 

Having said all that, I still enter them. Why? Because I think they do have merit when combined with other things. It’s all about stacking the deck. If you google the winners of these contests, you’ll usually find that they’ve written multiple screenplays, have already made some indie films or short films, maybe published in a different medium, might even already have representation. A contest on its own means nothing, but when you put a win on your writing resume alongside a dozen other things, it helps stack the deck. 

If you’re going to enter a contest, pick and choose carefully. First, only enter contests that actually give you something of value, whether that be notes or industry access. Secondly, don’t enter the big, giant contests where you’re competing against 10,000 other writers. Instead, find all the local film festivals that have screenwriting competitions, enter those and then attend those festivals! A strong connection with another filmmaker at a festival is worth a million times more than a laurel on your website. 

I always tell writers “don’t put your career in the hands of someone else.” Contests are relying on someone else’s validation of your work. That’s a very unhealthy way to live. Go make a short film. Go make your own $1000 feature. Attend festivals and meet people. Seek out local producers and directors and pitch them ideas until you connect on something and go make it. Make a narrative podcast or YouTube series. There are a million options to advance your career and I suggest you do all of them. 

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

I’ve been doing ScriptBlast as a free service for about 5 years cause I always struggled with charging for anything that wasn’t actually helpful for writers. So I just launched a new online community in 2020 where we have weekly Zoom calls, tons of free resources and courses, accountability worksheets, share notes on each other’s scripts, etc. It’s blown my own productivity through the roof just being a part of it, and multiple writers have finished their screenplays as a result of being in the group. And it’s only $10/month. You can try it free for a week at Members.ScriptBlast.com.

I also do a podcast and provide other free resources (like online courses or one-on-one consultations) you can find at ScriptBlast.com. And if you’re interested in checking out THIS WORLD ALONE, it’s available on all digital platforms. You can learn more at ThisWorldAlone.com

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

It’s hard to beat a slice of hot apple pie with a scoop of vanilla ice cream. But, if there is no heat source or ice cream, I might go with peanut butter pie.

Q & A with Cody Smart of Next Level Screenwriting

Cody Smart is an L.A.-based Latina writer, script consultant and script doctor with degrees in English Literature & Linguistics, Screenwriting, Development, and Producing, who prides herself of helping writers take their work to the next level, in both English and Spanish. She moved from Santiago, Chile to L.A. to pursue her masters, fell in love, and now enjoys family hikes chasing her toddler around in the perfect L.A. weather.

She worked as a script analyst at Sony for three years, reading hundreds of scripts, and honing her craft and learning to appreciate the development of scripts and how to best guide writers to deliver the best script possible.

She also works as a judge for seven film and screenplay competitions, where she’s learned what makes scripts engage readers and attract the attention of managers, agents and producers. As a writer herself, Cody has placed in multiple competitions, and won some awards.

Cody is also the head of coverage of Story Data, a script-hosting site, where she does a bi-monthly vlog with tips for screenwriters.

She also currently teaches two courses about Screenwriting, Script Doctoring and Get Your Script Contest Ready, as a UCLA Extension instructor in the Writers’ Program, and is developing a new TV Workshop for the fall quarter.

Cody has worked with a wide variety of clients, helping to provide in-depth script analysis, and also rewriting/doctoring hundreds of scripts in order to get them ready for production. She loves working directly with her clients, understanding their needs, and staying true to the essence of the story the client is trying to tell, in order to elevate the story and characters.

What was the last thing you read or watched you considered exceptionally well-written?

THE QUEEN’S GAMBIT. I was a little bit late watching it, as it came out in 2020, but I was so legitimately impressed at the quality of the writing. They managed to take chess, a “boring” subject that doesn’t lend itself to be that visual or entertaining, and turned it into an exemplary work of character development.

How’d you get your start in the industry?

While I was in grad school, I started interning at Sony, and that’s were I fell in love with the development side of things. Before that, I always thought my path was to be a writer only. Then I discovered how interesting developing and consulting was, helping other writers improve their work, and getting scripts ready for production.

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

Yes, definitely. I believe everyone can learn if they have the will and want to do so. If you study scripts and films, and study your craft, you can learn what good writing is. That’s also what makes any writer a better writer: studying the best in the craft, lots of practice, and lots of rewriting.

What do you consider the components of a good script?

A good script is a great mix of different things: amazing characters that are three-dimensional and realistic, with real wants and needs, and great arcs. A world that aligns with the tone and genre, and that hopefully is also new in some way. A premise that either feels fresh and new or that is a new take on old ideas, making it feel fresh and new. Writing that has a voice of its own, and that makes you want to keep turning pages.

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

As a consultant & doctor as well as a judge for multiple festivals, I’m constantly looking at issues in scripts. Doing that, I’ve found these to be the most common:

– A premise that doesn’t work from the start. Usually this means you just have an idea, but no plot. Or you have an unoriginal concept or one we’ve seen hundreds of times before.

– Not proofreading, which leads to bad formatting, typos, grammatical errors, etc.

– Not outlining first – then you don’t know where your story is going, and it shows in your draft, as the story loses aim. Part of this could be when the story/the protagonist has no clear goal.

– Dialogue that doesn’t feel natural or no use of subtext.

– Starting scenes too early and leaving them too late.

– Not killing your darlings – some scenes may be greatly written, but if they don’t advance the plot, then you don’t need them in your script.

– Directing in your script – this tends to take the reader out of the world of your story.

– Not grabbing your reader/audience in the first 10 pages (or even the first 3!)

– Overusing transitions.

– Use of flashbacks that don’t move the story forward or don’t reveal any new information.

– Zero character introduction/description. No memorable introductions, so we forget them. Also too many characters being introduced at the same time, so we forget who’s who.

– The world of your story isn’t clear.

– Long chunks of descriptions – Readers are known to skip past these. 

– Too much exposition.

– No subplots or interesting supporting characters.

– Antagonists that are two-dimensional or formulaic.

– Writing a formulaic script just with the intention of selling it, instead of writing a unique story you’re passionate about that’ll definitely get you noticed (even if just as a writing sample).

What story tropes are you just tired of seeing?

Tropes work for a reason—audiences expect certain things in certain movies, like a falling in love montage in romcoms. But just because people expect them, that doesn’t mean they don’t want to be surprised. The tropes I’m tired of seeing are those that just follow tropes to the letter. I love when a writer turns a trope upside down and surprises the audience. When they don’t and deliver the same old things, then that’s when they’re boring and I don’t want to see them anymore.

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

– Show your voice in your script. That’s what will set you apart from the thousands of scripts being written every year.

– Write the story you want to tell as a writing sample to impress people, and open doors for you, even if it doesn’t get bought or filmed.

– Formatting exists for a reason. Follow it and don’t play games, or your script won’t get read, even if it’s amazing.

– It’s hard to come up with new ideas that haven’t been told. But new takes on old ideas that make the ideas feel fresh can be a great way of creating something that feels new.

-The best antagonists are just as interesting as the protagonist, and they’re the hero of their own story. When we understand their reasoning, that makes them much more powerful.

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

I remember when I read the script for JUNO. It had such a unique voice and point of view. It had a protagonist that felt real, with flaws and dreams. It explored what felt like real teenagers. It had amazing supporting characters, and we could understand everyone’s POV in the story, as different as they all were. And it was pretty contained. It could be shot for cheap. But most importantly, it wasn’t something completely new: we’ve seen stories about teen pregnancy before but it turned the idea upside down, making it feel so fresh that it ended up winning so many writing awards.

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

Totally worth it. I even developed a course called “Get Your Script Contest Ready” for UCLA Extension that debuts in June 2021. That said, having a contest strategy, knowing what appeals to contests, identifying the best contests to propel your career forward, and understanding that you also need to network and take an active role in getting your scripts out there are key things every screenwriter needs to know.

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

For information about my script consulting & doctoring services, or my writer services, they can check out my Facebook page (@NextLevelScreenwriting), my Instagram page (nextlevelscreenwriting), or send me an email (nextlevelscreenwriting@gmail.com).

I can share more about my services and background information, and we can talk more in detail about what they need help with, as I offer very personalized services.

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

Wow, this is such a hard question, because I have such a sweet tooth. But if I had to pick just one, I’d have to say my grandma’s pecan pie recipe. It brings back so many amazing childhood memories by the smell and taste of it, especially living far away from my family, and missing them all the time.

Q & A with Anat Wenick of The Write Script

Anat Golan-Wenick started her career in the entertainment business working as a production assistant and researcher in a team that produced series for a large educational channel, while also pursuing a bachelor’s degree in Film/Television and English Literature. After graduation, Anat moved to Los Angeles to dip her hands into the screenwriting pool. Her screenplays have won or placed in contests like Sundance Table Read My Screenplay, StoryPros, Scriptapalooza and others, with one getting optioned by the producer of THE LAST WORD with Shirley MacLaine and Amanda Seyfried.

After taking a script analysis class, Anat discovered her true passion in the entertainment business: reading and improving other writers’ scripts. She became a reader for companies like Amazon Studios, Crispy Twig Productions, The Radmin Company, the Atlanta Film Festival and others, while developing connections with creative voices she aspires to bring to the big and small screens. In her spare time, Anat volunteers as the Secretary on the Board of the San Fernando Valley Writers’ Club (a chapter of the California Writers’ Club).

What’s the last thing you read/watched you considered to be exceptionally well-written?

Not really “the last thing”, but KIDDING on Showtime is a great example of how dialogue, visuals and story come together perfectly. Also on Showtime is I’M DYING UP HERE, which very skillfully weaves many plotlines together. Netflix’s SHTISEL is an example of how a story about a seemingly insignificant part of the world’s population can be made relatable. And for those catering to the younger audience, I recommend studying BOY MEETS WORLD. In terms of reading, THE CARTOONIST’S MASK by Ranan Lurie is a book I’d love to see adapted to screen.

How’d you get your start in the industry?

I always thought I would be a screenwriter. But an internship (followed by a full time position) at a TV station, working on a youth drama, set me on another course. I was a rookie intern when I was allowed to join my first script meeting. I sat quietly, just hoping to learn as much as possible, when the director, an amazing woman by the name of Yael Graf, turned to me and asked for my opinion. Without thinking, I said the solution won’t work. A second later, I was mourning the loss of the best (and only) internship I ever had, when much to my surprise, the director actually wanted to know why I reached such a conclusion. Based on my explanation, the script was revised.

A few years later, I took a script reading class. Based on my analysis, the instructor encouraged me to pursue this career. My hope is to move from script reading to creative executive so I can work with undiscovered writers to help bring their stories to the screen.

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

Akiva Goldsman once said: “Writing is both a pleasure and a struggle. There are times when it’s really aversive and unpleasant, and there are times when it’s wonderful and fun and magical, but that’s not the point. Writing is my job. I’m not a believer of waiting for the muse. You don’t put yourself in the mood to go to your nine-to-five job, you just go. I start in the morning and write all day. Successful writers don’t wait for the muse to fill themselves unless they’re geniuses. I’m not a genius. I’m smart, I have some talent, and I have a lot of stubbornness. I persevere. I was by no means the best writer in my class in college. I’m just the one still writing.”

You can absolutely become a better writer. But just like any other job – if you want to be good at it, you have to study it, stay on top of new trends, and practice, practice, practice.

What do you consider the components of a good script?

Visual over telling. Don’t say “he walks into a room,” say “he skips, dashes, stumble, falls, dances, shuffles into a room,” etc.

Know the genre you’re writing. Nothing wrong with a horror rom-com, but make sure characteristics of all genres are present in the script.

A well-executed “wait for it” moment. Scripts that constantly challenge me to wonder what will come next, even in based-on-true-event movies. Sure, we all know the Titanic is going to sink, but we wonder what will happen to the protagonists.

If you spent time developing your characters’ external and internal conflicts, make sure to address them during the climactic moment. In CASABLANCA, Rick must get Ilsa and Victor safely to the airplane (external), while saying goodbye and convincing the love of his life to exit his (internal).

Good balance between dialogue and action sequences. Allowing the two to play off of one another, rather than feeding viewer/reader with a spoon.

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

Excessive usage of voiceover for no reason. Personally, I’m not one of those “never voiceover” believers, but use it with caution.

Unimaginative character description (i.e. JANE DOE, 26, pretty).

Unnecessary camera and other directorial instructions as well as endless parentheticals in dialogue sequences.

Undeveloped subplots.

Usage of “Starts to,” “Begins to,” “Commences to,” etc. as well as “beat.” These phrases can kill the flow of a screenplay, especially when writing an action-adventure movie. Instead of using “beat”, state what causes it (i.e. biting lip, looking away, cracking knuckles, etc.). Instead of “starts to walk but rethinks it,” consider “marches off. Halts.

What story tropes are you just tired of seeing?

I would read anything, but if you’re going to write about vampires or zombies, make sure you put a fresh spin or angle on the genre. WARM BODIES and INTERVIEW WITH THE VAMPIRE are two good examples. If writing a romcom, love doesn’t have to be the ultimate goal. In WORKING GIRL, the protagonist wanted a career, and along the way she found love.

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

Read, watch, internalize, and execute in your own writing, repeat.

Connect with other professionals. You never know when an early connection will lead to a later opportunity.

When receiving comments, always thank the person even if you don’t agree with them.

Your work may get rejected not because it’s not great, but because it’s not what the company is looking for. Do your research before sending.

Entertainment attorneys are a lot more approachable than agents and managers, and often can get your screenplay to the right hands.

People will have a more favorable view of you if when boasting about your achievements, you take a moment to acknowledge others. So when posting “my screenplay just advanced to quarterfinals/semi-finals/finals in “this and this” contest, add “congrats to all others who advanced” or “thank you for this opportunity, etc.

Even if making the slightest change to your script, make sure to save it as a new version. You never know when you may want to refer to an older version.

Always email yourself the latest version of your script, not just in PDF format, but in the writing-program-of-your-choice format, so you can restore the file if the software fails to open.

Ever in a slump and can’t come up with an idea? Public domain is your friend. Either adapt a project, or use it as the base for your own interpretation (e.g. how EASY A was inspired by THE SCARLET LETTER).

Have you ever read a script where you thought “This writer really gets it”? If so, what were the reasons why?

The number of scripts I recommended can be counted on one hand. However, I have yet to encounter a project that was not salvageable, even those I scored extremely low. I encourage all writers to watch Toy Story 3: Mistakes Made, Lessons Learned to realize we all struggle to “really get it.”

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

Winning a contest can do wonders to boast the spirit, but winning alone will do nothing to advance a writing career, unless you build on the momentum. I recommend listening to Craig James, Founder of International Screenwriters’ Association (ISA) advice on Screenplay Contest Strategy.

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

I mostly read for agencies, studios and contests. Screenwriters often don’t want to hear the truth about their screenplays, they just want someone to say they’re great, as Josh Olson wrote in his article “I Will Not Read Your F*%!ing Script”. However, I have done quite a few free readings for aspiring screenwriters. They can find me through my website The Write Script, social media like LinkedIn and Twitter, or through the San Fernando Valley Writers’ Club, where I volunteer as a Board Member. Writers don’t have to pay big bucks for a quality reading. Join a writing group or a writing community like Talentville that tells it like it is, and swap screenplays.

Do your research if you plan to pay for someone to read your script, especially if they boast about recommending your material to their contacts within the industry. I once encountered a person advertising his reading services on known screenwriting platforms, stating he was a final-round reader/judge for the Austin Film Festival and an Emmy Award Winner. Since the prices he charged were low for someone with such experience, I researched his claims and found out they were far from true. This is not to say the person didn’t give good feedback, but writers can receive the same type of professionalism for much less, or even for free.

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

I have yet to find a pie I haven’t liked, and not for lack of trying. I volunteer as a tribute to boldly go where no pie lover has gone before to try new flavors. Has hazelnut chocolate cheesecake pie been invented? (Editor’s note: it has.)

Q & A with Mario Martin of Scriptdick

Mario Martin’s love for storytelling originated as a young boy when he felt inspired to tell stories through writing. Early on he honed his craft at the Maine Media Workshops and Boston Film & Video Foundation, and has attended many screenwriting boot-camps, worked with multiple coverage companies as well as many screenwriters.

Mario helped develop and produce the award-winning film LA LUZ, on which he collaborated heavily, and helped finance the indie feature GAS STATION JESUS starring renowned actor Patrick Bergin.

Mario followed this success with his writing-directing debut CITY LOVE, a provocative short about a soulful, flamboyant talk radio host starring critically acclaimed actor poet, and performer, Antonio David Lyons of AMERICAN HISTORY X and HOTEL RWANDA.

Mario has dedicated the majority of his life to becoming a better storyteller, writer, and filmmaker. When asked “Which part of the creative process do you enjoy most?”, he often responds, “All of it. The writing, crafting and fully developing your story, making sure it’s on the page.”

Mario enjoys rolling up his sleeves to work with fellow screenwriters. Taking an average story and making it a page-turner “is a lot of work, but fun and so worth it.”

What was the last thing I read or watched that I considered to be exceptionally well written? 

BREAKING BAD and OZARK. I love the simple concept and plot. The writing on both these TV series is brilliant at every level.

How did you get your start in the industry?

I made my first film CHECKMATE at eighteen. That experience hooked me for life. I later wrote, directed and produced CITY LOVE, which played in nine film festivals, and worked on several feature films. Primarily my time is invested in the craft of screenwriting. I’ve written eight screenplays and am working on my ninth as we speak. I truly enjoy it.

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

Yes.I believe it must be taught. It’s important to study film as to how it works so we can become better screenwriters. Understanding the technicals and there are a lot of them and knowing how to apply. Watching a movie or TV show is only what we SEE and HEAR. In a screenplay, that’s how it must be written. Only what the audience will SEE and HEAR.

What do you consider the components of a good script?

Great question. I’ve constructed an algorithm for screenwriting for just that reason. Action lines properly written. Character development, plot, and structure. Really it’s many things. At a bare minimum, there are twelve essential elements working together for great storytelling/screenwriting.

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

Action lines that read like a novel. Action can only be what the audience will see, period. “Show, don’t tell.” Giving each character their own voice.

What story tropes are you just tired of seeing?

Detective/Cop movies.

What are some key rules or guidelines writers should know?

-Action lines. Write them properly!

-Know your plot

-Know your genre

-Character development and characterization of characters.

-Structure

Have you ever read a script where you thought “This writer really gets it?” If so, what were the reasons and why?

I most certainly have. A well-written screenplay is exactly like watching a movie. I become completely engaged, lose track of time, am entertained, I care about what’s happening, and find myself thinking or talking about it later. How enjoyable that story was. All the elements needed for a screenplay to work were present and in place.

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

I don’t have a hard and fast opinion on that. If you win or place highly in a contest, that’s a high honor and might open a door for you. There are many other ways to get your work out there these days. Contests are just one of them. 

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

Check out my website at www.scriptdick.com  I post on all the social media platforms daily, including @thescriptdick on Twitter and script_dick on Instagram. I also have a podcast and a blog.

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

Favorite pie? You may have met your match! Ha ha! Pumpkin. Hands down. All others are a close runner-up. I love pie too.

A few takeaways from 40 scripts

Well, that was an experience.

As 2020 wound down, I’d already made the decision to devote 2021 to focus on improving as a writer.

In addition to writing more, that also meant reading scripts more.

I wanted to really work on developing my analytical skills, so on the last day of the year, I put the word out on social media. Want notes on your script? For free? Let me know.

And let me know the screenwriting community did. And then some.

Out of the 75 or so people who responded “Yes, please!”, 40 actually followed through and sent their scripts.

(Apologies to those who missed out. That window is now closed)

It was a fair mix of shorts, pilots, and features.

Since I also wanted to still work on my own material a bit, it all came down to time management. How much time could I dedicate to each script? It worked out to one a day, and about three to four a week.

Granted, these were not the most extensive of notes. Some general observations, questions and comments about the story and the characters, and an insanely large amount of inadvertent proofreading.

I also made sure to preface my notes saying that these were just my thoughts and opinions, so the writer was more then welcome to use or ignore them as they saw fit.

For the most part, the reactions were positive.

“Thank you so much! These are incredibly helpful! This will really help my next draft get to the next level!”

No comments wishing me bodily harm or proclaiming I was an idiot who simply couldn’t grasp their genius, so going with the theory that they approved of what I had to say and just never got around to saying thanks. I’ll ignore this horrific breach of etiquette and still count it as a win.

There was a wide variety of genres and story ideas to be found. Some truly unique and original stuff, as well as more than a few “familiar, but different” approaches to some classic concepts.

What was probably the most surprising result was that the same comments applied to a majority of the scripts, including:

WHAT’S THE STORY?

Since there are no definitive “rules”, I do like to adhere to some strong guidelines regarding structure and plot points.

If I get to around page 25 or 30 and still don’t know what the main story or the protagonist’s goal are supposed to be, there’s a problem.

The writer was too focused on minor issues and details that the main storyline got lost in the shuffle.

SHOW, DON’T TELL, or HOW DO WE KNOW THAT?

A lot of writers would explain what something meant, or what somebody was thinking, or why they were doing it, rather than portraying it visually.

For example, a scene might say something like “Bob stands at the sink, washing dishes. He thinks about the girl he took to the senior prom and how she dumped him to run off with a plumber and now they live in Dayton with four kids and a cranky Pomeranian.”

You know what we’d see on the screen?

Bob washing the dishes.

Or “Jim was lonely.” How would that look?

There was a lot of reminding the writers that film is primarily a visual medium. Describe what we’re seeing and hearing, and let the characters’ actions and words do the heavy lifting.

A subcategory of this is TRUST YOUR READER/AUDIENCE TO FOLLOW ALONG AND FIGURE THINGS OUT

By explaining what we’re seeing or what’s going on, you’re denying the reader/audience the pleasure of figuring things out to help move the story forward.

This might also count as a subcategory, but there were quite a few times a line would say something like “Bob looks to Mary. He apologizes.”, followed by Bob’s dialogue of “I’m sorry.”

I can’t help but think this is because the writer wants to make absolutely sure that you understand what’s happening, so they tell you, and then show you.

Something else a lot of writers fell into the trap of was OVERWRITING (aka BIG BLOCKS OF TEXT)

There would be 4 or 5 lines at a time to describe what was happening in a scene, which for me, really slowed down the read. I want to be zip-zip-zipping along, not taking my foot off the gas to make sure I don’t lose my place.

“The more white space on the page, the better.” Can that paragraph of 4-5 lines be done in 3? 2?

There was also frequent use of “one the best pieces of writing advice I ever got was WRITE AS IF INK COSTS $1000 AN OUNCE” (shoutout to Richard Walter at UCLA) Try to say the most on the page with the least amount of words.

A lot of writers would go into exquisite detail about things not relevant to the plot, such as the decor of an apartment that’s in one scene, or what the extras in the background are wearing, or what happens to a random character in a fight scene. These sorts of things would distract me from following the flow of the primary storyline. I’d read it and wonder “what does this have to do with ____’s story? Would it make a difference if it wasn’t there?”

This one can’t be stressed enough – SPELLCHECK IS NOT YOUR FRIEND!

I get that not everybody has amazing spelling skills, and your eyes might be kind of tired of seeing the same text over and over again. But any writer should really know the difference between ‘your’ and ‘you’re, ‘there’, ‘their’, and “they’re”, and so on.

But when I read that a character “sets down a bag of frozen pees on the kitchen counter”, it makes it kind of tough for me to concentrate on the rest of the story. How can I think about anything else for the next 60-70 pages?

Not sure about spelling or punctuation? A lot of writers make for good proofreaders, so don’t hesitate to ask around for some help.

Friendly reminder – there is no apostrophe in “sees”. It’s “Bob sees Mary,”, not “Bob see’s Mary.” That popped up more than a few times.

Question for anybody who’s ever written a screenplay: do you ever read it out loud? Especially the dialogue. This really helps you get a grasp of how it should sound.

DOES THIS SOUND LIKE SOMETHING SOMEBODY WOULD ACTUALLY SAY?

You don’t want to run the risk of your characters sounding flat or dull, or too “movie-like”, which can include pure exposition (“As you know, I’m the wealthiest man in town who moved here sixteen years ago after striking oil in the Yucca Salt Flats, and now my twin daughters are running against each other for mayor.”) Let your ears be the judge.

Read it out loud. Host a table read (via zoom or eventually in person)

And speaking of dialogue-related items, I try to limit my use of parentheticals as few per script as possible. A lot of the time, they’re either not needed, or can be replaced with an action line (Bob points.) preceding the dialogue (BOB – “Look over there!”).

The context of what the character is saying should convey the appropriate emotion or interpretation. If I had a dollar for every time I saw the use of (sarcastic), I’d have…a lot of dollars.

As has been stated many times on this blog and throughout the screenwriting community, it takes a long time to learn how to write a screenplay, let alone a really good one. I’m not saying I’m an expert, but I believe I have a pretty firm grasp of what it involves, and am glad to have been able to offer my two cents to help other writers improve both their skills and their scripts.

Since this was a pretty significant undertaking, it was also a bit exhausting, so I don’t think I’ll be making the blanket offer again. I’m still open to reading scripts, but am taking a little time off to recuperate and recharge, so drop me a line after 1 April. Schedule permitting, we can work something out.

And a HUGE thanks to everybody who offered to read one of my scripts, which I might take some of you up on as the year progresses.

Okay. Back to work.