Q & A with Jeff Kitchen

072701AE-A653-4698-80FD-A2D6D67C3CE5

kitchen book 2

Jeff Kitchen was classically trained in playwriting technique, specializing in the work of the groundbreaking Broadway script doctor William Thompson Price.

Jeff worked as a dramaturg in the New York theater, Playwrights Preview Productions (now Urban Stages) and taught playwriting on Broadway at the Negro Ensemble Company. He then started teaching screenwriting and has taught for over twenty years in small high-intensity hands-on groups.

He teaches the craft of the dramatist, advanced structural technique, the core of dramatic action, script analysis, and plot construction. Jeff is a sought-after script doctor, plot construction specialist, and rewrite consultant.

He has taught his techniques to development execs from all the major Hollywood studios and they consistently say that he teaches the most advanced development tools in the industry.

One of his students, Ted Melfi, was recently nominated for Best Picture and Best Adapted Screenplay Academy Awards for his film about the black women mathematicians at NASA, Hidden Figures.

Jeff is the author of the book, Writing a Great Movie: Key Tools for Successful Screenwriting. Jeff is now doing high-intensity training programs for professional scriptwriters as well as script consulting.

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

Narcos: Mexico on Netflix. It was so gripping, so watchable. Hard to believe it was true. I kept telling my wife how great it is, and said to her several times I thought it was better than The Godfather. They move through so much story in just two seasons, with so much intensity and depth, great casting and acting, great writing, and so much material to weave together. The corruption makes your blood boil; the loss, the genius, the brutality, the nobility, the adventure, the chess game, the betrayal, the power and murder and love and ambition, and the pure history—there’s so much going on and it’s so compelling.

How’d you get your start in the industry?

I was mostly self-taught. A friend who was a playwright taught me the basics of Aristotle and gave me two old obscure books on playwriting to read. They were quite fascinating and very difficult, but I spent three years studying them intensely. The guy who wrote one of them, William Thompson Price, was a pioneering Broadway script doctor for top producers pre-1920 and he founded the first school of playwriting ever in the history of the world. Twenty-four of his twenty-eight students had hits on Broadway.

Price created several seriously groundbreaking tools for the dramatist and I emerged with a mastery of what he created, then improved on them and taught these tools nonstop for twenty years. People kept saying they’d never seen anything like what I taught and said they worked better than anything they’d seen. I trained development execs at all the major Hollywood studios and they consistently said I taught the most advanced development tools in the industry. So I found these old tools and ideas for tools, and studied them like crazy, then synthesized them into their current form. I taught and consulted with them for years, and got deeply experienced with them from working hands-on with them on thousands of students’ works in progress.

What do you consider the components of a good script?

The short answer to that question is my 352-page book, Writing a Great Movie. Of course I can say something in a paragraph or two, but a proper answer can go deep and wide and long. A great premise, first of all, because if your raw idea sucks, then no amount of structure or character or storytelling elbow grease will get that clunker up in the air as a commercially viable project. In the industry, it’s called Polishing a Turd. I always say well-structured crap is still crap. So start with a great idea.

Also crucial is a good strong Dilemma of Magnitude for the protagonist, but it’s not easy in such a brief format to properly communicate how to make that one dilemma occupy the full proportion of the script, build to a Crisis, force Decision and Action in the face of crisis, and then conclude with the protagonist’s active Resolution of the dilemma. The way in which the protagonist resolves the dilemma expresses the Theme, and it’s crucial to have a solid sense of theme as you build your story. You need distinct characters who are deep and complex and colorful in various ways, and who are deeply flawed, contradictory and universal.

You need attack as a storyteller, so you’re not making safe, cliché, or stock choices. Your script must be actable and it has to be stageworthy. The action of the story must move ahead aggressively, with nothing unnecessary bogging it down. It needs good cause and effect, escalating conflict, structural unity, dramatic action, and so much more. But mostly, it has to hit the audience where they live. If it doesn’t connect to the audience, then it’s not compelling.

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

Weak ideas, lack of imagination, lack of attack, poor execution, poor structure, lazy storytelling, stale characters, lack of depth, lack of color, overwriting, over-describing, overbearing, too much exposition, attempting to dictate an emotional response rather than earning it, lack of empathy for the main characters, underpowered ending, doesn’t pass the So What? test, crappy dialog, boring, derivative, packs no punch, uneven tone, peters out, holes in the story’s logic, lack of conflict, no clear goal for the protagonist, stupid, a simple plot vs a complex plot, episodic, formulaic, wooden characters, preachy, predictable, miserable writing skills, lack of follow-through, writing not cinematic, story not commercially viable, no sense of vision, no entertainment value, flat dramatically, lack of magnitude.

Just to name a few.

What story tropes are you just tired of seeing?

I’m not sure how many more serial killers I want to read about, or how many more procedurals, or special forces dudes, or nuclear annihilation. They can all get tiresome, but it obviously has to do with the execution, because each of them can kick serious ass when done well. But I think that things like a serial killer can be just a cardboard prop or a vastly overused excuse to write something brutal and adventurous for people who can’t or won’t do the work to go deeper and find a freakier way to mess with people’s heads.

Watch a movie like Bad Boy Bubby or Bad Lieutenant with Harvey Keitel to see something fresh and wacko. People sleepwalk through the writing process sometimes, and it’s tedious because so many people are out there writing the same warmed-over tales. There’s probably room for a story about a serial killer who kills writers who are writing about serial killers.

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

Shake things up. You’re a writer. Do something to me, mess with my head, defy my expectations, violate my sense of how a story should go. Tell a story that really tweaks me, that seriously makes me care, that grabs me by the throat and makes me notice. Make me fall in love, or go through something unimaginable, or face death, or embrace life—but do it full tilt and do it well. I don’t need the same old tired stories coming at me all day long. I’m looking for adventure, depth, love, heartbreak, power, in any genre.

Make the overall structure for your story work first. If it does not, then the details do not matter. A beautifully written scene in a script that doesn’t work is meaningless. It’s like having an ornately finished room in a house that’s falling down. Learn to work from the general to the particular. Make the overall story work, then make each act work, then each sequence, and then each scene. You gradually develop and dramatize your work as you build it.

Learn to separate the Necessary from the Unnecessary. The work of the amateur is characterized by the Unnecessary. Dialogue and description are overwritten, scenes may not be needed, whole sequences may only be dead weight, sometimes an entire act can end up being unnecessary, and in fact your entire script may be unnecessary. Which may sound funny, but it’s not. The Unnecessary kills scripts. Most scripts are unreadable—and that means 98% of them—UN-READ-ABLE. Atrocious. And in many instances, the Unnecessary plays a major part in how unreadable it is. Clean, crisp cause and effect separates the Necessary from the Unnecessary, and moves the action of the story ahead crisply and cleanly.

Master the craft of the dramatist. Dramatic writing is generally considered the most elusive of all the literary disciplines. It’s tricky, it’s slippery, it’s hard to pin down, hard to predict, and hard to diagnose or cure. But the more craft you’ve got, the more mastery you have in addressing every type of problem. People forget that scriptwriting is a performance medium—intended to be acted out in front of an audience in such a way that it’s gripping. So take the time to really learn your craft, to master it. Because almost doesn’t count, and people don’t want to read scripts that could have been good but the writer didn’t have the chops to make it work.

Take the time to build or discover deep, complex, dynamic, unpredictable, flawed, dimensional characters. Explore the Enneagram (EnneagramInstitute.com is a great resource) for each of your main characters because it’s such a remarkably powerful resource. A mixture of ancient wisdom about human nature and cutting-edge psychology, it purports that there are nine basic personality types, and each of these types has a healthy aspect, an average aspect, and unhealthy aspects. This helps you go deep and complex, to develop substantial flaws, hidden strengths, the mechanics of failure, a path to greatness, and complex, sophisticated human emotional reality.

What was the inspiration/motivation for your book Writing A Great Movie?

I wanted to get down on paper the know-how I’d accrued from teaching non-stop for eighteen years while it was still white hot. I had always taught small hands-on classes, maximum six people, and each person had to bring a script idea with them to develop so I could really get them using the tools. This helped them not only learn how to use the tools, but their scripts improved so much in the process that word of mouth on my classes was through the roof. I never taught large groups because the material was too complex. I knew that if I just talked at people about sophisticated techniques without showing them how to really use the tools that it would be mostly useless, because they couldn’t go home and use it to build their own script.

But when they started doing a big Screenwriter’s Expo in LA, they dragged me into teaching 150 people at a time. And there were riots outside my classroom of people trying to get in, so I realized that with this many people having heard about my training, it was time to write my book. So I cranked one out and self-published it by the next year’s Expo and sold a lot of them. I shopped that version and it got me a lit agent in New York who got me a publishing deal at Watson Guptill where two phenomenal editors helped bring out the best in my writing.

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

Not only are the tools unique, unusual and powerful, but I worked hard to emulate the hands-on aspect of my small classes in which I worked with each participant on their script as I explained the tools. So I explain, illustrate, and demonstrate each of seven tools in the first half of the book, and then I build a real script from scratch in the second half of the book, using all the tools. I start with a one-line idea and build the whole script, demonstrating the full use of the tools as I utilize them to create, develop, structure and write it.

Because I was rewriting the self-published edition, my editor wanted to clean up the second half of the book. I argued, saying that it had to remain unvarnished because the process of using these tools to create from scratch is necessarily messy. I needed it to remain fumbling and exploratory and rough, because cobbling a story together and dramatizing it is like feeling your way along in the dark. And I wanted to show them the raw reality, not the cleaned-up varnished version.

In the introduction to part two, I say that the first half of the book is as different from the second half as training in medical school is from working in an Emergency Room, or as studying a bear in the zoo is from wrestling one in the wilderness. I jump from tool to tool bootstrapping the story into existence, using Dilemma, the Enneagram, the 36 Dramatic Situations, Crisis, Theme, Research and Brainstorming all at the same time. And then I put the story through two structural tools, the Central Proposition and Sequence, Proposition, Plot, which help dramatize the narrative, strip out everything that’s unnecessary to the forward action of the story, and create consistent, coherent, compelling Dramatic Action.

I build the whole script with my readers looking over my shoulder, and I think it did a good job of showing the tools in action in order to give the reader genuine know-how and experience in utilizing the tools.

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

The top five or ten are definitely worth it and have launched many careers. I myself wouldn’t bother with many others, but it totally depends on what you’re up to as a writer. If you just want to put your stuff out there to see what people think of it, then you can use it as a learning opportunity. But you can also just hire somebody to give you notes on your script and that might give you more specific feedback. But there are books and websites that can help you sort the contests for value, and people who know everything about them, and they’re definitely worth taking a look at as part of a career strategy.

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

My website is BuildYourScript.com and I can be contacted through there or directly at jeffkitchen88@gmail.com. I offer a free class on Reverse Cause and Effect at my site. This is a powerful class that shows how to take a story you’ve roughed out and work backward from the ending, chaining backward from each effect to its cause. This enables you to stitch together the main building blocks of your story, and then to gradually flesh out the details as they become necessary. I demonstrate the process in action by working on a real script.

There’s also a paid class on a remarkably powerful plot construction tool called Sequence, Proposition, Plot which is a groundbreaking way to structure and develop your script, working from the big picture down to the details. I do consults on scripts as well as private classes on technique. One of the coolest things I do is to help people build their script from scratch, or to work with them rebuilding it once they’ve gotten a script up and running.

I’m about to roll out a high-intensity training program for scriptwriters that I’m really excited about. It’s an online immersion program in which I train apprentices for a year as we work together building multiple scripts. We’ll work two hours a day, plus one hour of homework, five days a week. In what’s called a Community of Practice, I communicate know-how through using the tools to build real scripts on the spot, and I also have students do extensive drills and rigorous exercises, handling the tools, practicing them over and over, and learning to think in that language until it all becomes second nature.

This type of learning process is called Cognitive Apprenticeship, in which writers work hand-in-glove with me to learn how to think like me. I communicate both explicit knowledge and the more ambiguous but crucial tacit knowledge, that feel for things which is indispensable for full expertise. This will be a high-intensity program, similar to a trade school, followed by a year in which I work with these highly-trained writers on building their own scripts. They will emerge as trained dramatists with key skills and experience, who can forge a career as working writers.

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

It’s hard to pick, but right now I’d have to go with cherry.

cherry pie 2

Q & A with Brooks Elms

Brooks W Stripes

Brooks Elms creates and consults on films big and small. He’s a proud WGA screenwriter who’s written over 20 scripts and directed a few indie features. He started at NYU and now has a blast teaching a class at UCLA Extension in addition to privately mentoring writers and filmmakers at all levels. He also runs the script consulting service FinishMyDamnScript.com.

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

JOKER. Because it’s difficult to build empathy for protagonists with flaws that lead to violence against innocent people, especially with all the mass shootings these days. I have ethical questions about whether this was a worthy screenplay to produce because the film can’t help but celebrate what it’s also trying to condemn. And I suspect it will inspire as much (if not more) negative consequences as positive ones – but that makes the screenwriting all the more impressive and skillful. Because this was a very popular film and the bar was VERY high for that level of success.

How’d you get your start in the industry?

Making movies with my friends in high school, which led to NYU film school, then making indie features. In the last decade I’ve mostly focused on screenwriting. I also teach a screenwriting class at UCLA Extention and I mentor writers when I have time. I love every aspect of making content and mentoring.

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

What’s the alternative theory – that people come out of the womb knowing how to write well? It’s a matter of defining what you love about other stories and getting familiar with the craft choices that lead to those results. I teach this to everybody from beginners to veteran writers so…. yup.

What do you consider the components of a good script?

It’s about the harmony between components. The craft is taking elements (premise, hero, goal, conflict, structure, relationships, setting, theme, tone, etc..) and adjusting aspects of them (size, shape, style, amount, etc..) until we find the right collective balance which allows something bigger to speak through the parts.

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

Losing touch with the delight of the process. And stopping because of that.

What story tropes are you just tired of seeing?

Every trope has the potential to be powerful if created with authenticity. It only feels cliche when there’s too much emotional distance from the truth of the intention.

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

I stay away from language choices like what “every writer should know X”. Those types of words can be a distraction from listening to the subtle impulses of your voice. Instead, I invite people to follow their passion. What excites us about our current story? How can we play with elements to unleash more of that excitement? When we share material for feedback, what’s blocking other people from deeper levels of excitement? “Confusion” is the most common blockage followed by “tepid goals and conflicts.”

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

The Duffer Brothers’ HIDDEN, which they wrote before STRANGER THINGS. It was a masterful display of milking tension using minimal assets in a scene. I used that script to teach myself how to make a huge impact on the way I write tension.

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

ALL the paths toward advancing your career have you pitted against the odds. So just pick the paths that speak to you and your budget. Contests can certainly be helpful so have fun playing that game, and detach from the outcomes. It’s about enjoying the journey and welcoming those that come along that happen to love your work as much as you do.

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

Check out my website – FinishMyDamnScript.com

And if writers want professional support at a great price I invite them to check out my new tight-knit online community: THE FINISH MY DAMN SCRIPT WRITERS GROUP. It’s a collective of my favorite clients and UCLA students banding together for accountability and awesomeness. There are live group calls, a Facebook group and more! A link can be found on the homepage of my site.

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

Now we’re getting to the essential question. The answer is pecan. It’s rich, heavenly and it shines beneath a scoop of vanilla ice cream. Shout out to banana cream for a close second place. It can be spectacular when it’s baked well, but breaks my heart when it’s often messed up.

Q & A with Peter Russell

Version 2

Peter Russell is a screenwriter who sold two television pilots in 2018 – a crime procedural and a biographical mini-series. He is also a long-time story doctor in Hollywood whose clients include Imagine, HBO, Participant, Viacom, CBS Television and many more. Peter is in demand for his legendary seminars and master classes on film and TV story. Peter’s charismatic speaking style won him UCLA Teacher of the Year in 2009.

Peter ghostwrites for both new and established film and television writers and producers. He has consulted on many TV shows, including GENIUS (National Geographic series 2017-present) MR. ROBOT (Emmy for Best New Television Drama 2015), Chronicles Of Narnia (Lion, Witch & Wardrobe), The Da Vinci Code (Imagine Films) and many others.

Peter privately collaborates with producers, writers, and actors on film and TV story from treatments to pilots and full story development. He teaches his own classes online at: http://peterrussellscriptdoctor.com/, and live at major universities, including UCLA.

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

SNOWFALL. Fantastic writing. The way both the showrunner and the staff-written eps broke the beats in every ep was insanely good. They used every trick in the book to surprise you. The beat almost NEVER went where you thought it was gonna go. Surprises, reversals, ticking clocks, raising stakes – I admire the craftsmanship of that TV writing wonderfully. SNEAKY PETE – the storylines – my god, the storylines! Sometimes 12 in a single episode! And they were wonderful. THE DEUCE – again, with the beats and the storylines! Such amazing juggling. My hats off to them. My tv eps have five storylines max, and even then it’s hard to get those to mesh.

Also just saw McQueen’s WIDOWS. Mystery thrillers are so hard to do. He probably wanted to take a swing at a commercial story. He really hit a home run. It’s such a relief, in a way, to watch a movie these days when you work in TV. The form feels so much simpler. It’s not any easier, but it is simpler. I adore McQueen. If you want to see how I talk about to do what they do, go to my newest TV lecture on creating a great story beat: https://peterrussellscriptdoctor.com/course/creating-the-great-tv-beats/

How’d you get your start in the industry?

Script reading. I read scripts for CBS and then for companies like Imagine. I learned so much from Brian Grazer and Ron Howard. I read scripts for seven years – waaaay too long for anybody in their right mind – it’s suppose to be a year and then you become a supersuccessful industry DYNAMO! LOL. I loooved it, though – I learned so, so much about story, sooo much about every genre. Brian and Ron taught me that a zeal and excitement for the WORLD you wanted to write about was everything.

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

You can definitely learn how to recognize good writing for sure – just read tons and tons of great scripts. Watch any great story and read along with the script. You can learn it; it just takes a while. Learning how to write? That’s a LOT harder than learning how to recognize great story. It takes a shit-ton more time to do that. I only feel like I’ve done that in the last few years, since I started selling my own stuff. But it took for-fucking-ever! LOL. That’s what you gotta know. And I’m no smarter than anybody – here’s a tip – just watch the movie or tv show 50 times! I’m not kidding. Watch the same show fifty times! You’ll see EVERY device behind the curtain. Don’t take my class, don’t listen to me, never buy a thing from me – just WATCH ONE TV SHOW or one movie FIFTY TIMES.

What do you consider the components of a good script?

Scripts are the most amazingly complex devices on the planet — far more so than an algorithm. It’s a bit like asking me to explain differential equations in a sentence. Okay, I’ll try. In a movie, a hero is a wounded person given a chance to heal (or bleed out.) In TV, it’s a wounded hero with a fascinating objective and fascinating obstacles in his way. You want more? Right here: peterrussellscriptdoctor.com. Okay, I lied. I DO want you to look at my stuff.

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

Characters who don’t have great core wounds. A great core wound (whether in film or TV) is the basis for 90 percent of how good a story is, especially in the first act. Bleed him (or her, or it). BLEED THEM! Show their pain! Instantly!

What story tropes are you just tired of seeing?

I can’t watch 90 percent of network television, simply because the grooves of most of the genres are worn out for me. I loathe seeing hero-worshipping stories about superhero cops and superhero lawyers and superhero doctors – all the old, straight from radio shows (Blue Bloods, CSI, stuff like that.)

None of those professions are worthy of such praise – in fact those professions contain a higher than average proportion of assholes – probably far higher than most professions, and it makes me gag to see the hagiography. But audiences looove to see the make-believe that these people are gods on earth. It depresses the hell out of me.

I realize network TV is a factory and I honor how hard these folks work and the high level of professional product they turn out on an incredibly tight schedule – but that doesn’t mean the product interests me at all. The TALENT involved – both in front of and behind the camera – is insanely great! The level of competence and extraordinary grace under pressure is heroic. Everybody who works in TV has to have extraordinary abilities, or they don’t get on staff. I mean that. The writers I know personally who work in TV – both in writer’s rooms and out – my god, they are sooo talented! It’s just that I find the product godawful. Dick Wolf is a genius, but his product makes me despair.

I do think dark heroes are popular because most people have realized the world is a lot more like a Russian novel than a comic book. Speaking of which, fantasy superheroes, played straight, especially in the DC story world (which suffers from execs who don’t know what they’re doing), are also monumentally boring to me now. Twist the genre – DEADPOOL is genius, THOR: RAGNAROK, too, and the first GUARDIANS OF THE GALAXY – they are FUNNY. My god, that’s the greatest thing on earth to be.

What are some important rules every writer should know?

-Know your craft.

-Know you’ll never really know your craft and that you’ll write a lot of crap. Write anyway.

-Know that you’ve picked a profession that requires either – a) genius-level talent, or b) an enormous work ethic and persistence far beyond what you’ve imagined and that will take you far longer than you believed possible.

-None of these rules apply to a true genius. They can do anything.

-If you have neither genius nor an enormous work ethic, you will absolutely fail. Writing in Hollywood is a job for people who are as smart, or smarter, than nuclear physicists or mathematicians. It’s far harder than, say, brain surgery. I’ve never met smarter, or more mercilessly competitive people, than people in Hollywood. By the way, most of them are also massively unhealthy. This isn’t a business for well-balanced people, in the main.

-The best way forward is to LEARN how to write.

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

In my entire scriptreading life, the number of scripts I have fully recommended is a grand total of two. That’s not unusual, by the way. 95 percent of scripts you read are not good (and this is from the very best screenwriters in the biz). But the big secret is – you don’t have to be very good. You just have to be better than most people.

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

If they motivate you to write, great. Most screenwriting contests are run by mercenary assholes who are making their money by taking your contest fees. There are a couple of big ‘screenwriting’ websites who do nothing but that – they’ve turned it into a marketing algorithm. That’s okay – if they honor their pact with you and legitimately judge your work and then publicize it if you win or place. Some do, some don’t. Most just want your money. Not saying that’s dishonorable. But it’s true and they’re very, very smart in how they market.

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

Just e-mail me at: russell310@mac.com, or go to peterrussellscriptdoctor.com. Mention  this interview, and I’ll give you a ten percent discount.

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

There is nothing better than true key lime pie. Not the type that is mostly white froth. The kind with a dense, green, wonderful pie stuffing, and under that – a buttery, flaky, heart attack-inducing crust.

key lime pie

Writing in your own voice

Marilyn script
“Hmm. Billy’s new script. Men dressing up as women to hide from gangsters? Sounds funny.”

When I’ve done script notes for writing colleagues, no matter what the genre is, I can usually tell who wrote it – because of the way it reads. Each writer has their own particular style, so each of their scripts has its own corresponding “sound”. Or I’ll get notes back on my material which often includes a comment along the lines of “this sounds like something you’d write”.

This isn’t just about dialogue. It’s about a writer’s overall style, or how they tell the story of their script. You don’t just want the reader to read your story; you want them to experience it. Which can be accomplished by adding that extra layer.

Everybody develops their own individual style, and it takes time to find it. The more you write, the more you’ll be able to hone your writing to reflect your own individuality.

Just a few things to think about:

-How does your script read? Is the writing crisp and efficient, or are you wasting valuable page real estate with too many lines of  your loquacious verbosity? Taking it one step further, do you use the same words over and over, or do you relish any opportunity to give your thesaurus a solid workout?

-How is your story set up and how does it play out? Is it simple and straightforward, or complex and full of deliciously tantalizing twists and turns? Are you working that creativeness to show us things we haven’t seen before, or is just page after page of the same ol’, same ol’?

-Is it a story somebody besides you would want to see? Just because you find the subject matter interesting doesn’t mean it has universal appeal. However, there is the counter-argument to that in which you could attempt to have your story include elements that would satisfy fans of the genre while also appealing to newcomers.

-Can’t ignore the population within the pages. Are your characters well-developed and complex, or do they come up lacking? Do we care about them, or what happens to them? Can we relate to them?

-What are your characters saying, or not saying (subtext!)? How are they saying it? Do they sound interesting or dull as dishwater? Very important – do they sound like actual people, or like “characters in a movie”?

Remember – the script is a reflection of you. A solid piece of writing shows you know what you’re doing. Offering up something sloppy is simply just sabotaging yourself.

Who hasn’t heard a variation on the line about a script being a cheap knockoff of a more established writer? While I can understand admiring a pro writer’s style, why would you attempt to copy it? It probably took them a long time to find their own voice, and by trying to write like they do, you’re denying yourself the opportunity to do the same thing for yourself.

Or to put it another way: they didn’t take any shortcuts to become the writer they are today, so why should you?

Work those writing muscles!

00748604.JPG
Feel the burn! C’mon! Just one more page!

Earlier this month, I hosted a networking event for screenwriters from the Bay Area and throughout northern California. It was fun and I got to make some new connections as well as reconnect with some already-established ones.

(Can’t recommend this sort of thing enough. Getting to know other writers in your area helps all involved.)

Part of the event involved introducing ourselves and offering up a little background info, including our individual screenwriting- or film-based experience (there were a few writer-directors) and a thumbnail description of our current works-in-progress.

When it was my turn, I mentioned the blog and how I was dividing my time between a few rewrites. At that point, one of the attendees raised his hand.

“A few rewrites? Like, all at the same time?”

I clarified that I’d work on one script for a few days, or at least until I thought I made some significant progress, take a day off, then dive into another one.

“But don’t you find it kind of difficult to stay focused?” He also added that he was relatively new to screenwriting, so the concept of working on a script and then suddenly shifting gears into one that’s totally different was a little mind-blowing.

I explained it this way:

I’ve been doing this a while, and all of these scripts are at least third, fourth, or higher drafts. I’ve gotten to know the stories and characters for each one pretty well, so I can jump right in, fully aware of what each rewrite requires. It might take a while (along with several more rewrites) to finally get there, but I’ve found that always working on something has really helped make the whole process easier.

It really is like exercising. It’s kind of tough and challenging when you’re starting out, and takes time to learn how to do it properly. Then you figure out a pace and/or system that works best for you (with everybody having their own methods and routine). You will indeed discover that the more you do it, the easier it gets.

I try to write every day, even if I only have 30 minutes to spare. You might think such a short amount of time isn’t worth the effort, but I’d disagree. Better to spend a little time writing than no time at all. Friend-of-the-blog Pilar Alessandra even wrote a book to help you do just that. (totally unsolicited plug. It came to mind while I was writing this.)

If you go into a writing session with an idea of what you want to accomplish, it’s a great use of your time. And if you sit down, not entirely sure what to do, you’re still giving yourself the opportunity to focus, which is always good.

That’s really what it all comes down to: Want to be a better writer? Find the time to write.

And reading helps a bit too.