Bubble wrap. As far as the eye can see…

 

keaton house

Last few days before Maximum Z HQ relocates to its new space, so not much writing going on.

Well, no actual writing, that is. Which isn’t to say I haven’t been busy with items of a writing-adjacent nature, which included:

-tinkering with some outline revision for previous projects. Got some great notes from very reliable writing associates, so really looking forward to jumping back in to each one once all the dust settles.

-plenty of reading of scripts, ranging from notes on friends’ specs and just reading for the hell of it. One of the latter was an earlier draft of CRAWL, which was one of the fastest and leanest reads I can recall. Can’t wait to see the actual movie.

-set up the NorCal Screenwriters Winter Networking Shindig for 8 December in San Francisco, so if you’re a screenwriter, filmmaker, or are affiliated with either in any capacity in the Bay Area/northern California region, and want to meet other folks just like you, take a look. I hope to see you there. Plus – great sandwiches.

Hope you have a great weekend, and make sure you write something.

Two shoulders, no waiting

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Plus two sympathetic ears at no additional cost

Trying to make it as a screenwriter is a tough choice to begin with. It’s a long, drawn-out process that takes a long time before any significant results can be achieved. Sure, there are exceptions, but for the most part, it remains a marathon, not a sprint.

And that also means there’s going to be A LOT of heartache and disappointment along the way, and that can really take its toll on you. Not to sound too New Age-y, but all that negative energy can do significant damage to your confidence and self-esteem.

“This is never going to work.”

“I can’t do this.”

“Why do I even bother?”

If you’ve never said or thought any of these things, I’d love to know how in the world you managed to accomplish that and still call yourself a screenwriter.

Many’s the time I’ve seen comments on a public forum from another writer that echo these sentiments, or had them send me a private note saying something similar.

And I feel for them – whole-heartedly. I’ve been that writer thinking those thoughts a lot, too.

Do I wish I could help them out in any capacity? Without a doubt.

Even though it may not be much, I’ll offer up whatever support or encouragement I can. Don’t underestimate the power or effectiveness of telling somebody you’re in their corner. It makes quite the difference knowing you’re not alone during this tumultuous journey.

I once got a note from a writer I barely knew. They knew a writer I knew, and had seen some of my postings online. We were both semi-finalists in a prestigious contest, and it was the day the finalists were being announced.

For reasons totally unknown to me, they contacted me, asking if I’d received any kind of update. I hadn’t.

“Having a total shit writing year so far so I’m clinging to anything positive ha,” was their response.

I told them I was sorry to hear that, and offered up my own frustratingly good-but-not-great batting average, along with a few words of encouragement in the vein of “much as it hurts to get thrown off, you just gotta keep getting back on the horse”.

They were in total agreement.

An hour or so later, the finalists were announced. I wasn’t one of them. But they were. Naturally, I was disappointed, but also happy for them because they had something good happen.

The takeaway here is that you’re not alone in this. Every other writer goes through it. We’re all going to have a lot of bad days, probably a lot more than the number of good days, and it can be tough to get through it, let alone come out stronger.

This is one of those added benefits to networking and connecting with other writers. You’re not just helping to develop your writing and analytical skills, you’re creating your own emotional support network.

Chances are you’ll have a stronger relationship with a small number of people; the ones you’ve interacted with, or shared scripts, exchanged notes, etc., on a more regular basis.

Don’t be afraid to reach out and tell one of them “Hey, I’m not feeling too good about this right now. Mind if I talk about it?” They’ll understand, and be supportive about it (in theory). Just being able to talk about it could help you feel a little better.

Screenwriting is complicated enough, and gets even more so when you throw all your hopes and ambition into it. Sometimes you’ll feel strong, powerful, ready to take on the world. And sometimes you’ll feel like the world’s beaten you to a bloody pulp with no hope for recovery. (Again, I’ve experienced both.)

You can’t force yourself to feel better and restore your confidence, but you can take little steps to help yourself out – at your own pace. And any help you might need is always there and easily accessible.

-Speaking of helping somebody out, friend-of-the-blog Leo Maselli is running a crowdfunding campaign for his anthology feature project CA SHORTS. Donate if you can!

Q & A with Travis Seppala

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Travis Seppala is a Los Angeles-based screenwriter who’s repped by Bright One Management. In addition to selling shorts, optioning features, being hired to write dozens of feature films and episodes of television, he’s also published his new book 365: A Year of Screenwriting Tips.

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

My favorite script of all time was A KILLING ON CARNIVAL ROW. I’m thrilled to see it’s being turned into a series on Amazon, and will be very interested to see how the format changing from feature to TV affects the amazing story.

I think the perfect movie is IT HAPPENED ONE NIGHT. It might be a little corny by today’s standards, but a lot of it (both story and dialogue) still holds up today.

And for TV, we’re in the new golden age where almost everything is super well-written! One of my current favorites is DOOM PATROL. It’s about a superhero team, but it’s also a  deeply emotional drama. It just happens to be about misfits with powers (and problems).

What do you consider the components of a good script?

Compelling (i.e. interesting and fun) story.

3-dimensional characters who are the right people to partake in the compelling story.

Terse, snappy descriptions.

Lots of white space.

Connectivity (i.e. everything makes sense and flows smoothly).

What was the inspiration/motivation for this book?

Facebook!

I’m in a bunch of screenwriting forums on Facebook. There are both experienced writers and total newbies on there. A lot of the newbies, though, seem to keep asking the same questions over and over and over and over and over and over and… you get the point. Many of their questions make it seem like they forget Google is even a thing.

After a while, seeing repeated questions and questions that can be answered with about five seconds of research on Google, I thought “What if all these answers were in one place, by category?”

I figured I could put it all together, plus answer a bunch of questions that aren’t being asked. And so the book was born.

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

Many of those other books are about a specific aspect of screenwriting. Story. Character development. Rewrites. Business.

365: A Year of Screenwriting Tips runs the gamut of covering ALL aspects of screenwriting, from before you have an idea to after you sell a script and everything in between…. all in bite-size tips!

It’s purpose isn’t to try and make you “better” in any specific thing. And I don’t claim to be a guru or expert; I’m just relaying info I’ve learned either through a ton of book reading or personal experience. The book is just meant to help show you the ropes, and makes suggestions on different ways to look at things. Try a bunch of stuff and see what works for you!

Plus, there’s a bunch of coupons for discounts and freebies on a lot of helpful products and services!

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

The book is geared more toward beginning writers, but my hope is that experienced writers will find some new concepts and suggestions useful as well. Even experienced writers should always be learning.

With 365 tips to choose from, are there any that really seem to resonate with readers? Or any that always instigate an argument?

A couple that have gone over well with people are my tips on creating a positivity calendar (because it’s far too easy to get wrapped up in all the negative aspects of this life) and playing The Comp Game (a great way to produce new stories that are “similar but different”).

The big one that’s gotten people upset is Tip #1: Experts Are Liars!

There’s one section in the book called “Before You Start”, and one called “Prep Work”. What do you consider the difference between the two?

The “Before You Start” section is about things to know before even trying to come up with the idea for a script. It talks about the odds of making it, the fact that there’s a lot of conflicting information out there (and even in this book), and things to consider before you ever start on this journey.

“Prep Work” is about… well… prep work! Ideas. Brainstorming. Outlining. Figuring out what to write a script about.

Before You Start = knowing what you’re getting into.

Prep Work = getting started.

Part of your own backstory involves your relocating to Los Angeles. Where do you fall in the “You have to live in LA to make it” discussion?

Whether or not you HAVE to be in Los Angeles sort of depends on what you’re trying to accomplish in the industry.

If you want to be a television writer, then yes, you absolutely MUST move to LaLa Land! Shows shoot all over the country (and even other countries), but the majority of them have writers rooms in the L.A. Area. How can you expect to get a job if you don’t even live where that job is?

Now, if you want to write features? Then you can live anywhere. But expect to make trips to Los Angeles if/when possible. Why? Because you need to take meetings. Meetings with reps, meetings with producers, meeting with studio heads. Sure, it’s possible to do phone meetings, and you probably will do a bunch… but nothing beats the in-person impression when selling your work.

As a follow-up to that, how has it been for you and your career since arriving in Los Angeles?

There’s been good stuff and bad. 

Like a lot of transplants, I thought I’d get here and “be discovered” in the first year. That didn’t happen. Been here 3 years and still just trying to make it.

I’ve met LOTS of people, though, and made great connections with other writers, reps, showrunners, producers, crew members, and more! My Rolodex is filled out, and it wouldn’t have been if I hadn’t come here.

I’ve also gotten some gigs because I met people at parties out here and hit it off.

The thing to know, though, is that while being here makes it easier to have access to decision makers, it also becomes harder to fit in. You might be the best writer in your small Oklahoma town, but in Los Angeles almost everyone is a damned good writer! It’s the “big fish, little pond” situation. The ocean is where it’s at, but it’s also rougher water.

You offer more than a few tips about networking, especially at social events. How much of an impact has that had for you?

I’ve gotten jobs from people, made loads of friends, and even met my fiancee – all at these kinds of events!

I really enjoyed the final section – “After Your Script Is Done”. How much of that is based on your own personal experience?

Much of the book is based on my own experiences in the industry. I don’t go into a lot of personal stories or examples of my own material like many screenwriting books do, but my experience is definitely where a lot of my “wisdom” comes from.

However, all the stuff in that section is great advice for any writer. It speaks to Serial Starters, Talented individuals, Procrastinators, Newbies who just make mistakes with what they’re writing, Paranoids, Worry-Warts, and Newbies searching for the next steps. There’s also some great coupons in that last section, myths busted, and a suggestion for a killer ice cream place!

Apart from writing scripts, you also offer a script consulting service. How can writers get in touch with you to find out more?

email: flannelmann@yahoo.com

Facebook: facebook.com/travisseppala

Twitter: @TravisSeppala

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

My favorite pie has always been Shoo-fly Pie. It’s this super sweet molasses pie that, so far as I can tell, you can only get in Amish country. Sadly, I haven’t had it since I was a child. I keep meaning to find a recipe online for it… but… *shrugs* when it comes to pie, I’d rather someone else make it for me.

But for those playing at home, I actually prefer cookies to pie. Sorry. 😉

shoofly pie

 

May I be of some assistance?

info booth
“Be with you folks in a minute.”

For the most part, working towards making it as a screenwriter is a solitary effort. You’re the one who has to write the script and get it out there. It’s a tough journey, but you don’t have to go it alone.

Hence – networking.

Making that initial contact is great, but you should also strive to make it worth the other person’s while as much as you are for yourself.

Once you start to build up your own personal community of Other Writers, and those relationships gradually develop beyond the “Hi. Nice to meet you” stage, you’ll naturally seek out some help in the form of feedback – your latest draft, a query, a logline, what have you.

And that’s all well and good, but it’s equally important, if not more so, for you to return the favor. Rather than just popping up and saying “Hey, would you read my script?”, try “Hey, we’ve known each other a while, and you seem to know what you’re talking about, so would you be open to reading my script? And I’d be more than happy to reading one of yours.”

Helpful tip #1 – don’t be the person who asks for notes but isn’t willing to give them.

Helpful tip #2 – even if you don’t like what their notes say, you still need to hold up your end of the bargain and give them notes – especially if you’re the one who asked in the first place.

Sometimes the best kind of help is when it’s unexpected – either from you or from somebody you know.

A few years ago, a producer friend of a friend was looking for a certain kind of project. I didn’t have anything that met their criteria, but offered to post the listing on a few social media platforms. At least 20 writers responded. I sent their info to the producer, who then contacted a few of them (as far as I know).

What did I get out of it? Just being happy to help and the appreciation from all the writers – even the ones the producer didn’t follow up with.

I’ve also been fortunate to be on the receiving end, with friends sending me emails and messages about listings seeking scripts like mine.

A little effort really does go a long way – anything from forwarding a script or job listing to a few words of encouragement, or even offering congratulations for somebody acheiving some kind of accomplishment. Don’t you like when somebody does that sort of thing for you?

As much as we’re all working towards our own individual success, we’re also part of a community; one where each member should help support the others in whatever way they can.

-Speaking of helping out… Veteran screenwriter Carole A. Parker is offering a reduced rate of $250 for her 4-week screenwriting course. This includes a script evaluation, weekly writing exercises (for newer writers) or friendly-but-detailed notes on your script (for more experienced writers), career guidance, and if she thinks your script is commercially viable, some help in getting it in front of the right people. Here’s a great article she wrote about staying determined. For more details, contact her at parker.carole@gmail.com.

A little help from your friends

boost
We’re all in this together

Bit of a shorty today – lots going on around Maximum Z HQ, but I wanted to post some items to show writers trying to break in that you’re not alone, and there actually are people out there willing to help you out.

-There’s been a lot of activity on Twitter to help non-WGA writers work on dropping the “non” from their status (as well as connect and network with other writers), and some positive results are starting to develop. Seek out hashtags like #ForYourWGAConsideration, #PreWGA, #WGAFeatureBoost, #WGAStaffingBoost, and #WGAmegamix.

-Read a phenomenal script by another writer? You can help give both it and them a boost by listing it on the Spec Script Shout Out site. It officially launches on May 31st, but you can sign up and register now. You’re also more than welcome to register yourself and your own projects. Bonus – it’s free.

The WRAC Group is a great way to help yourself out when it comes to personal accountability. It’s good, solid, and effective. Also free.

A few simple rules to keep in mind while you’re doing all of this:

-Be nice. Treat people the way you’d want to be treated.

-Be willing to help others out (leads, referrals, etc.). It makes more of an impression than you realize.

-Don’t whine. It’s tough for everybody. We all get frustrated.

-Don’t lie. The truth will always come out, and your name and reputation may not recover.

-Somebody else has something good happen? Offer some congratulations.

-Don’t be afraid to tout your own accompishments. You’ve worked hard to get there.

-Everybody has their own path to success. Some take longer. Don’t compare your progress to theirs.

The biggest takeaway from all of this is, as it is with screenwriting – YOU HAVE TO DO THE WORK! Dedicate whatever time you can spare each day. Make it part of your routine. Productivity yields results.

Good luck, chums. Now go write something.