Q & A with Marlene Sharp

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Marlene Sharp is a creative and business-savvy entertainment multi-hyphenate who originally hails from New Orleans but is now a (San Fernando) Valley girl. Firmly ensconced in LA life, Marlene recently served as Director, Production at LEVEL-5 abby, home of YO-KAI WATCH and other hit video game-based franchises.

Formerly, as Producer, TV Series, at Sega of America, Marlene worked on much more than the Teen Choice Award-nominated Cartoon Network series SONIC BOOM. For example, her Hedgehog duties took her to the heights of nerd-dom as an official San Diego Comic-Con 2017 panelist.

 As a freelance journalist, Marlene concentrates on pop culture for buzz-worthy fan destinations, such as DOGTV, ToonBarn.comGeekified.net, and CultureSonar.com. As a short film auteur, she has snagged recognition at the Kids First! Film Festival, the Canine Film Festival, the San Luis Obispo Film Festival, and many more.

Marlene is the proud winner of 2019 LA Shorts International Film Fest Script Competition (an Oscar and BAFTA-qualifying fest), at which her backdoor sitcom pilot received a staged reading by The Groundlings. And as a human being, she loves dogs. For proof of the aforementioned, please see her website www.pinkpoodleproductions.com.

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

I love Shia LaBeouf’s screenplay for his autobiographical film Honey Boy. The storytelling is clever! 

Podcasts are a relatively new obsession of mine, and there are a few standout wordsmiths. American Scandal (Lindsay Graham); Broken: Jeffrey Epstein (Adam Davidson, Julie K. Brown); Gangster Capitalism (Andrew Jenks); and Hitman (Jasmyn Morris) immediately come to mind.

How’d you get your start in the industry?

My start in the biz was almost my end in the biz. I was bitten during pre-K and subsequently began serious research on kids in show business. Sesame Street was the inspiration. It seemed like a neat place to be, and I wanted in. During grade school, I devoured library books about stage moms and such, and then told my mother that I needed an acting agent. She said ‘no’ and encouraged me to play with my Barbies instead, which I did in earnest. She continued tough love at every turn and for many years. When I declared a Drama/Communications major in college, though, it was time for the Sharp family to face the music . . . and drama! 

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

If one is industrious enough, then one could self-teach. For today’s inquisitive, budding writer, there are so many resources (many are free or low cost): books, eBooks, seminars, writers’ groups, classes, online classes, podcasts, YouTube videos. Perhaps the best resource, though, is actual content consumption, especially in the genres that one loves best. 

What do you consider the components of a good script?

Relatable characters and story, clever dialogue, and an unexpected plot turn or two are elements of my favorite scripts. Good non-sequiturs also tickle me!

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

Spelling and grammar errors abound. They’re everywhere!

What story tropes are you just tired of seeing?

I’m really tired of the deus ex machina that recur in garden-variety superhero/fantasy movies, such as the uber hero or uber anti-hero – with his/her signature moves – who appears at the eleventh hour. In my opinion, Joker is groundbreaking (and therefore entertaining), because it discards the usual cliches.

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

1) Spell check

2) Proofread

3) Patience, and lots of it.

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

Yes! A spec script for The Simpsons by my friend Adam Kosloff. The premise is absurd and hilarious. Adam and his writing partner nail Bart’s character; he becomes a grilled cheese celebrity chef. The humor is magical, laugh-out-loud funny. I’ll never forget it.

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

Definitely worth it! Such cost-effective personal marketing! Highly recommend!

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

1) My business website: www.pinkpoodleproductions.com

2) My script and bible doctoring services: www.wefixyourscript.com 

3) My CV: www.linkedin.com/in/marlenesharp

4) A few of my credits: www.imdb.me/marlenesharp

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

A solid tie between pumpkin and chocolate!

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A note of appreciation

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Seeing as how this is Thanksgiving weekend here in the US, I’d like to take this opportunity to offer some hearty words of gratitude.

To all my writing colleagues, being associated with you has been a major factor in my being able to become a better writer. Reading your works has been a joy, and the number of you who’ve returned the favor and offered up notes has proven invaluable in elevating my material.

To all the incredible writers, creatives, and consultants, all past and future, who’ve consented to being interviewed on this site, your willingness to be involved, your honesty and candor regarding advice for writers, and suggestions for potential pies (and other assorted desserts) cannot and will not be overlooked.

And to all my readers. I’ve been doing this for almost 11 years. Each week’s post is always a challenge for me to provide content of both an informative and entertaining nature. It’s nice to know there’s somebody out there enjoying this, which makes my efforts that much more worthwhile.

Everybody have a fantastic weekend, and go write something.

-Looking for a gift for that special screenwriter in your life (even if it’s yourself)? How about a book or notes from a consultant? Lots of options available from the numerous interviews found right here on this very blog. Just click on the “Go Ahead & Ask!” link up on top, and have at it.

(Remember – lots of these folks do this for a living, so you’re not only helping out yourself or another writer, but them as well.)

-Feeling generous? How about tossing a couple of bucks towards somebody’s crowdfunding campaign? Projects like Venita Ozols-Graham’s short film Just Dessert or Chris Mancini’s graphic novel Rise of the Kung Fu Dragon Master. Time is short and every dollar helps, so donate if you can!

Q & A with Jon Kohan

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Jon Kohan is a script consultant and award-winning screenwriter from Johnstown, PA, who’s worked in both film and television. His recent horror/comedy short Family Game Night earned him a Best Screenwriter nomination from the Shock Stock film festival (along with winning for Best Actor), and his holiday comedy Deer Grandma recently won Best Comedy at the Show Low Film Festival.

His comedy/crime short Spilled Paint is currently making the rounds on the festival circuit, picking up several Best Short and Best Cast awards.

His first feature/backdoor pilot Ernie and Cerbie is currently available for streaming on Amazon Prime.

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

Mindhunter, season two, on Netflix. The first season was great, and the second was just as good. I love the show for all the tension-filled scenes that can last ten-plus minutes, and usually just between two or three characters. The writers of that show are super-talented, and I look forward to being able to read and study the scripts to see how to improve my own writing.

How’d you get your start in the industry?

The lead-up is a pretty long story- working different writing jobs as I gained more experience and building a resume of work – but I’ll talk about how I landed my first real gig.

I was doing freelance writing work on a site called Fiverr.com. I still use the site from time-to-time. On my page, at the time, I offered joke writing and screenwriting, but only for shorts.

I had a customer hire me for a short story idea they had. I work on it for about a week and sent it back to them. A couple weeks go by and that customer comes back and says they have an idea for a family film that could even be a television show but needs someone they feel has the talent and skill to write a pilot; maybe even possibly a whole first season.

I jumped at the chance to work on that script, and in fact did write the pilot and the entire first season (10 episodes). About a year after I wrote the pilot, the customer reached out to me again to let me know that the project was going into production. That customer’s name was Alvin Williams. Since working on that pilot, titled Ernie and Cerbie (currently streaming on Amazon Prime), we’ve teamed up on multiple projects and he’s become one of my main collaborators in the industry.

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

Anyone can probably be taught or learn how to recognize good writing, but something you can’t teach is how to tell a good story. Not everyone can do that. Just because you can write doesn’t mean you can tell a story in the film or television format.

The rules/guidelines of writing a script is what I think makes screenwriting harder
than with other forms of writing. And not everyone can tell an entertaining story. Knowing and understanding what good writing is and looks like makes the viewer smarter, which allows for smarter movies. With a smarter audience, there’ll be a need for more originality – fresh perspectives, which will hopefully open the door to a more diverse and new pool of writers.

What do you consider the components of a good script?

This could be a very long list, but it all trickles down to one major core component: characters.

Not enough big Hollywood movies take the time to craft a film around strong characters, and instead try to build a film around a plot, or worse, action sequences, tone, look, etc.

What do The Dark Knight and Joker have in common other than the obvious that both are Batman films? They’re two of DC’s best films, and both focus more on character than all the craziness around them.

If you have characters we care about, can relate to, or at least understand where they’re coming from, and put them into conflicts that help our characters grow and become something more, you have a winner on your hands.

Even if your film is more about the concept (Independence Day, Godzilla), if you take the time to do the proper character work, you can throw a great one-two punch, something most Hollywood films seem to be lacking nowadays.

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

Formatting issues. No question. Not everyone uses screenwriting software, which is weird to me. If you’re not just writing a script as a hobby, you should invest in the proper industry tools.

I see formatting issues all the time, and those can easily be fixed, and quickly learned.

One of the most common things to see is a script not written like one. So many writers write action lines like they’re writing a novel. Telling us what the character is thinking, why they’re doing something a certain way, what’s going to happen later without us ever seeing it later.

I urge to my clients how “Show, Don’t Tell” is a huge rule they should always be repeating to themselves. How do you present information in a film or TV show? Either through images or dialogue. If we don’t see it or hear it, we don’t know it. When I have a writer I’m working with go back and look at their script again – with that guideline in mind – they’ll see just how much information is in their script that they are telling the reader, but not showing them.

What story tropes are you just tired of seeing?

I don’t know which I hate more:  “You lied to me?” or “There is a prophecy….”

The first is something you hear more in comedies. The second you always hear in
fantasy, adventure, action, etc. If I’m watching a romcom, I KNOW the end of the second act will have “You lied to me?” as dialogue – usually from the female lead.

For most summer blockbusters, fantasy films, the trailer is probably going to have some version of the “There is a prophecy…” line, and the entire setup will be this typical paint-by-numbers hero’s journey story.

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

Show, Don’t Tell. (see my response a few questions back)

Formatting – I know just looking at the first page if the read is going to be enjoyable or if it’s going to feel like I’m doing homework. That all stems from the format of the script. If I can glance and see issues, then I know there’s going to be issues with the characters, story, arcs, and so on. Even if you can can’t tell a story, or write good characters, and have something actually happen in your script, at least make the script look like a script. This sets the tone for your reader and lets them know you know what you’re doing.

As a writer, your goal is to get someone to read your script. A horribly-formatted script is an easy excuse for someone not to take the time to read your script. Don’t give them that choice.

DON’T WRITE CAMERA DIRECTIONS! – This is something a lot of first-time writers do in their scripts. I was no different. Learning how to write your action lines properly and how to influence the director in shooting a scene a certain way by the way it’s written not only makes your script stand out amongst the others but it’ll make you a better writer as a whole. I know it has for me, or at least think it has.

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

I’ve read scripts from screenwriting friends of mine that have really impressed me. Some of them are super talented, award-winning writers who are going to be names we recognize one day.

As far as reading a spec script that was sent to me to review and give detailed notes on, I haven’t read a script yet I’d stamp “recommend”. Some have come close, but unless you’re lucky and extremely talented, it’s not going to be your first script that you do something with.

The more scripts you write, the better you’ll be. My first script is god-awful compared to my tenth script, and my tenth script is amateurish compared to the latest draft of a script I recently finished.

What would a script need to get a “recommend” from me? As I keep saying, strong characters. Throw in a joke once in a while. Make me want to keep turning the pages. One of the worst things to see is a massive block of action or dialogue, and know the whole script is going to be that way. The more white on the page, the better.

A script could be for the greatest movie ever made, but if’s it’s a difficult chore to read and takes hours – or even days – to complete, I probably won’t see it as a recommended script.

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

Worth it – for sure. Screenwriting contests are great to try and win some awards, network with other screenwriters and filmmakers, and get yourself exposure.

With all that being said, if you place in or even win one of the top contests, that’s going to open a lot more doors for you than winning a much smaller contest.

I don’t agree that you must enter contests to be able to get a film produced. I’ve only recently started entering contests and already have several produced projects under my belt, with and more in development.

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

The two best to get all the information you need and links to other sites are my Patreon page and my personal website.

On my Patreon, I offer screenwriting and script feedback services through two different subscription tiers. I’ve already had two filmmakers subscribe to have me write their feature films, so that’s been really exciting.

My IMDB page lists the projects I’ve worked on. There’s also a ton of stuff I’ve already done, but hasn’t been officially announced yet.

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

I bet you haven’t heard this one before – Oreo*. Store bought or homemade. Either works for me. I have a huge sweet tooth. This may sound like a little kid answer, but it’s the truth.

*editor’s note – there is no official site for Oreo pie, along with a ton of other blogs with recipes, so you’ll have to find one that works best for you.

No-Bake-Oreo-Cream-Pie-3

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. 😉

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Q & A with Craig Kellem & Judy Hammett of Hollywoodscript.com

Hollywoodscript.com LLC was founded over a decade ago by former Universal and Fox development executive Craig Kellem, who was soon joined by business partner, Judy Hammett (M.A. English/Creative Writing). This family-based, boutique script consultation service is internationally known, serving writers from every corner of the world.

I had the pleasure of talking with Judy about their new book Get It On The Page: Top Script Consultants Show You How.

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

Without a doubt, HBO’s most recent season (#3) of TRUE DETECTIVE. It is truly impressive every week. The writer has an incredible command of dialogue and the structure employed is beautiful. The writer has interwoven various timelines in a very clever and elegant way, wherein the plotline is consistently advanced, yet at the same time, the existential themes being explored are made exceptionally dramatic and emotionally charged as a result.

How’d you get your start in the industry?

We are father and daughter and come from a family that made their living in TV and music, so we both got our first breaks through family/friends. Craig started out as an assistant at a talent agency and worked hard up the ranks to become a talent agent himself. He eventually became a development executive at Fox and Universal, and in time a TV Producer as well. I started as a researcher on a TV series, then did freelance work providing studio coverage on scripts & books while in graduate school for English/Creative Writing. Eventually, Craig founded our company, Hollywoodscript.com LLC and I joined him soon thereafter. We’ve worked together for more than fifteen years.

Were you always a writer, or was it something you eventually discovered you had a knack for?

We’ve always tended to “think” like writers, and have loved writing just for the sheer pleasure it provides! But neither of us chose to “become” professional writers, or pursue careers as such. We both love working with writers, supporting their craft and analyzing content. This has been our true vocation. We wrote our book together from the standpoint of wanting to reach out to writers everywhere and share what we have learned after almost two decades of consulting with writers the world over. I provide writing services/ghostwriting on occasion, but consulting is my main work.

What inspired you to write your book Get It On The Page: Top Script Consultants Show You How?

Over the years we had clients comment that we should write a book, stating that our general feedback and approach was constructive, inspired and very helpful. So a few years ago, we decided it was time to give the book idea a green light and started putting the chapters together – with the sole purpose of sharing observations and approaches to writing, which have proven the most helpful to writers we’ve worked with to date.

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

We hope to offer something which is more intuitive, less “left brain” – a book that invites the writer to stay close to their own experiences, their own strong feelings and their own instincts so that the storyteller inside of them can more easily come to the fore.

Follow-up: having read a lot of screenwriting books, I found this one to be very different in that it’s not so much about “how to”, but more of a “here’s something to consider as you work on your story/script”. Was that your initial intent, or did it gradually develop that way?

Many thanks for your feedback! Yes, that is a wonderful way to describe it. We didn’t set out to compete with the screenwriting greats who’ve written comprehensive “how-tos” beautifully and exhaustively. Instead, we wanted to contribute to the conversation from the hands-on perspective of our day-to-day work with a very diverse range of writers – some of whom have studied the gamut of how-to books, yet continue to struggle with actually realizing their own visions on the page. We wanted to offer a book that helps writers get closer to  “hearing” their “own voice” so to speak – to accessing the vivid, original stories and characters that live inside of them.

One of the chapters that really resonated with me was the one about the practice you call “sandboxing”. Could you explain what you mean by that, and how it could benefit a writer?

Inspiration, ideas and the desire to write often come out of writers having creative shards and glimmers that have emerged from their minds. They get an idea for a scene late at night and jot it down on scrap paper. They encounter some person they think would make a great character type and make a note of it on a napkin. They hear an anecdote that suggests a story and scribble it on an envelope. All these pieces of creative inspiration are wonderful fuel for writing a screenplay, but a few glimmers and shards aren’t enough to justify starting at page one of a one-hundred-plus-page three-act film. Yet zealous writers will often do just that. They plow forward on the faint fumes of too few ideas and assure themselves the rest will come as they write. This approach rarely makes the cut, for the writer hasn’t given enough time and thought to what it is they are actually writing.

Rather than starting a screenplay prematurely, we therefore recommend “sandboxing,” which is a simple method wherein the writer slows down in order to create a much bigger arsenal of ideas from which to choose. Each day they jot down additional possibilities for scenes, character angles, key plot lines etc. – adding to their original seeds of inspiration. It thoroughly preps the writer to eventually sit down to page one of their new script armed with a truckload of ideas from which to write.

What do you consider the components of a good solid script?

A clear, strong story is key. Characters who are relatable and believable. A hero with whom the audience can empathize and who breaks into a serious sweat as much as possible. Dialogue that rings true. Lots of suspense, urgency, and conflict that keep the audience riveted and the pacing clipped.

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

-Writing IS rewriting, even when you’re a pro, so best to embrace this notion and learn to enjoy the process of writing, revising and polishing your script before declaring it “done”.

-Getting a script sold, or made, doesn’t happen on any predictable timeline. Just keep writing and derive your pleasure from the creative process, rather than focusing on it as a means to an end.

-If you are cloudy about any part of your script, stop and take the time to fully explore that cloudiness, addressing it head-on. Don’t try to finesse it, or gloss over it, or avoid it in order to deal with the parts of the script that are clearer to you. Otherwise, your audience may get stuck in those foggy sequences and then start detaching from your content as a whole.

-Never lose sight of the fact that a film is a visual art form. As you write, always ask yourself if there’s a way to dramatize the story development through images, cinematic sequences and visual cues first and foremost.

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

-Writers who tend to overwrite and hence interfere with needed momentum. Setting a strong, galloping pace is essential.

-Scripts that are confusing because the writer hasn’t maintained consistent continuity in the plot line or in terms of the character trajectories.  

-Scenes that don’t build the story or move narratives in the film forward.

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

We can be found at hollywoodscript.com and are on Twitter, Facebook, and Linked In – Craig and Judy. And of course, check out our book Get It On The Page: Top Script Consultants Show You How.

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

HA! I’ll take pie over cake any day – especially coconut, chocolate, vanilla or banana cream. Craig likes ice cream too much to think about any other type of dessert.

banana cream piesoda jerk