Q & A with Brooks Elms (pt 2)

Brooks Elms is a screenwriter and independent filmmaker. His specialty is grounded personal characters and writing stomach-churning story tension.

He’s written 30+ screenplays, a dozen of them on assignment, and sold several scripts, including one this year with Brad Peyton as Executive Producer. Brooks was recently hired to rewrite a screenplay started by an Oscar-winning writer. Brooks began his career writing, directing, and producing two indie features (personal dramas) that he screened all over the world.

Here’s an interview with Brooks from last year. He also loves coaching fellow writers who have a burning ambition to deeply serve their audiences, and has two new programs available to give them a helping hand.

You started your new mentorship program ANSWER THE CALL in late 2020 and the online course UNLEASH YOUR SUPERPOWER in early 2021. There are a lot of similar screenwriting courses and programs out there. What is it about yours that sets it apart from the rest?

Depth. I go ALL IN on the success of my writers. Most consultants give you their best for an hour or two, or maybe for the month you take their online course. And they play the numbers game. But since I only work with a few writers at a time, I’m better positioned to move the needle for you in a BIG way. I fully invest in writers: giving my time, my contacts, my everything – for life. I love helping them succeed as much as I love serving my audience with my own screenplays. 

Is this a course more applicable for screenwriters just starting out, those with a few scripts under their belts, or both?

I enjoy new writers, but the best way I can help them is through my free tips found here https://www.brookselms.com/new/. I’m on the planet to serve my own audiences, and to help talented intermediate-level writers turn pro ASAP, and to keep them working at their highest levels – for life. And by intermediate, I mean they’ve written a couple scripts OR they’re a working professional in an adjacent creative field: copywriting, journalism, novels, acting, producing, directing, etc… 

Do you consult with writers regarding which program would be the best for them?

The website helps writers with that. But the summary is that ff you want a working WGA screenwriter to uplevel every facet of your game, consider the in-depth 1:1 story development program – ANSWER THE CALL. If you want help getting your script to people in Hollywood to launch your career forward, consider the outreach course & community – UNLEASH YOUR SUPERPOWER.

What was the inspiration for calling the programs ANSWER THE CALL and UNLEASH YOUR SUPERPOWER?

ANSWER THE CALL is from Joseph Cambell’s work about the mythic CALL that begins every great story. Too often, writers Refuse The Call to get the support they need to move to their next level – and they remain stuck in Act 1 in agony and cynicism. My program is for writers ready for the emotional risk to ANSWER THE CALL. UNLEASH YOUR SUPERPOWER is just a fun way to think about branding and outreach, because that side of the game, more than any other, needs a playful approach to be GREAT at it.

One of the aspects of your ANSWER THE CALL program is that you work with several writers as a group, as opposed to just keeping it one-on-one. Do you find that more beneficial, and why?

The group coaching calls add dimension to learning the system. Sometimes, I’ll show you a craft adjustment 1:1, and you kinda get it, but then in the group call you see me coaching a different writer on that same principle and it will now totally click for you. And the writers I select are super-creative so our group calls are an amazing sounding board for getting quick collective reactions. Plus, having a circle of peers that are ambitious, team-oriented and active in the business – keeps you inspired. Because when one of us win, all of us win.

How extensive is your work with writers for ANSWER THE CALL? Do you help them develop a script from beginning to end, or should they come in with one already written?

We go the full distance. So you can repeat the process, for life. We’ll take a deep dive into your favorite films & shows and why you love them. Then discuss an idea for a new story, or it could be re-writing a previous story you couldn’t crack. 

I take you through every step in my simple, proven professional process, to be sure you’re squeezing ALL the creative juice from your story idea. I help you answer all your audiences questions that you didn’t think to ask yourself. I am your first and best audience member that’s rooting you on every step of the way.

And even when you get several drafts into the screenplay, I’m still with you and tapping into all my personal contacts to get this project set up, get you representation, and get you all the other success you want.

I can’t guarantee WHEN this will happen for you, but I do guarantee you WILL cross significant career milestones with this system if you keep using it. 

And I haven’t found a more comprehensive and effective system for success as a screenwriter anywhere — because of the in-depth 1:1 attention, and the inspired community I cultivate.

Part of the ANSWER THE CALL program is that you select 5 out of all applicants to participate. How do you determine who makes the cut, and what if somebody applies and doesn’t get selected?

I help everybody that applies. Some writers will be the best match for me, and I work with those 5 people myself. And because I’m getting so many serious writers applying, I’ve also brought in 2 guest mentors (with better credits than mine!) to support others I can’t work with myself. IF the writer and that other mentor hit it off, they’re still in my program with my community and group coaching calls, and they just get their 1:1 support from an even more fitting working writer than me.

For the writers that aren’t the best fit for my program, I still make an introduction to another amazing mentor colleague who works hourly, which allows them to still get custom support.

The qualities I look for in the writers that are a match for this program are:

– ambition while being open to earn how to fulfill that ambition

– team player

– talented – I don’t have to love their genre, but I have to love their creative approach and POV on life

– demonstrated commitment to the craft (written several screenplays, or created something else at the professional level and are ready to write screenplays)

– willing to go to the deepest places in themselves, so they can move their audiences in the deepest way

But most of all, I get a feeling when I do the first free coaching session that tells me “Hell yeah I want to help this person succeed myself AND they’re ready” or “I love that this person applied and I’m excited to help them a different way.”

It’s a soft landing for you either way, and just filling out the free (and fast) application will get you leaning forward in your career anyway. Easy!

While ANSWER THE CALL covers the actual writing of the script, UNLEASH YOUR SUPERPOWER is more about what a writer can do once the script is ready to go. Is this a topic that’s challenging to a lot of writers?

Oh yeah. Writers tend to create a lot of drama in the outreach process, and that’s the single biggest factor that’s slowing down your career. Whatever level of talent you have, the speed of your success hinges upon the quality of your outreach game. Lean into your outreach game, and you’ll move into the fast-track of your success.

Follow-up – how would you work with a writer who at the very start says “I’m a complete mess when it comes to pitching”?

I welcome that! We all are on the journey. Myself included. So we just practice, and then we become a little less of a mess, and practice some more — so we become “okay.” And we practice some more until we get good… and even great. And what’s most important is we enjoy that journey of developing our game, and to not take ourselves too seriously as we’re learning. It’s lots of fun.

A lot of writers say lack of access to the industry is one of the biggest obstacles to establishing a screenwriting career. What are your thoughts on that, and how do you help writers with it?

When writers say their problem is “lack of access,” I see the real problem is “lack of a good habit” to face their fears of socializing.

News flash: over half of Hollywood is online posting about all sorts of things. Go to them directly! Get into genuinely engaging conversations with YOUR people – for the sheer fun of it.

Some of those online conversations will escalate into deeper colleague connections and even attachments to your projects – IF and only if – you’ve got the goods. So… the only thing stopping writers from their own amazing outreach game is their habit of wallflowering. But since they chose that habit, they can choose a new one. With practice. Totally in their control and power.

Say a writer completed a script in ANSWER THE CALL that you felt was of above-average quality. What would your next steps be? Pass it along to an agent, manager, or producer? Recommend they enroll in UNLEASH YOUR SUPERPOWER?

Once I make sure their script is as great as it can be, I map out a sales strategy for them and introduce them to my own contacts. I got one of my mentees signed to my own manager. Everybody in the core development program ANSWER THE CALL is automatically enrolled in UNLEASH YOUR SUPERPOWER as part of me helping them succeed.

Are there any success stories regarding former students you can share?

There sure are. In the very first year of the program, writers have already been advancing in contests, got an 8 on the Black List, gotten a handful of paid writing assignments, got producer attachments, and a former client won a Nicholl Fellowship last year (top 5 out of 7200 scripts).

Did I mention it was the first year of the program?

Success begets success, and this snowballing has just begun.

How can somebody interested in either or both of these courses get in touch with you?

Go to https://www.BrooksElmsCoaching.com. The deadline to register for ANSWER THE CALL is October 31st of this year

Last time around, you said your favorite pie was pecan (a la mode), with banana cream coming in a close second. Still the case?

Damn right.

Q & A with Richard Walter

Richard Walter is a novelist and author of best-selling fiction and nonfiction, celebrated storytelling educator, screenwriter, script consultant, lecturer and recently retired Professor and Associate and Interim Dean of the UCLA School of Theater, Film and Television where, for more than forty years, he chaired the graduate program in screenwriting. He has written scripts for the major studios and television networks, including the earliest drafts of AMERICAN GRAFFITI; lectured on screenwriting and storytelling and conducted master classes throughout North America as well as London, Paris, Jerusalem, Madrid, Rio de Janeiro, Mexico City, Beijing, Shanghai, Sydney and Hong Kong.

He is also a pop culture commentator, blogger and media pundit who has made numerous appearances on The Today Show, The O’Reilly Factor, Hardball with Chris Matthews, ABC Primetime, Scarborough Country and CBS News Nightwatch, among many other high-profile national television programs. More than a hundred newspaper and magazine articles have been published about him and the program he directed at UCLA.

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

The new bio MIKE NICHOLS, A LIFE by Mark Harris.

How’d you get your start in the industry, and was that connected to you instructing at UCLA?

I came to California over fifty years ago for, I thought, three weeks, but fell into USC film school at the last minute, and never looked back. It was through faculty and classmates there that I learned screenwriting and made the earliest connections that led to professional assignments.

A little more than ten years later, at a glitzy showbiz party in Malibu, I was invited to join the faculty at UCLA. I was busy adapting my first book, the novel BARRY AND THE PERSUASIONS, for Warner Brothers, who had bought the film rights and hired me to write the screenplay. I was not seeking work. Still, as I would advise my children, you don’t have to eat the whole thing, but at least taste it. I tasted teaching and found that it was the perfect complement to writing.

As someone who actually teaches screenwriting, is recognizing good writing something you think can be taught or learned?

Yes and no. No one needs education to decide what scripts or movies they like. That said, there’s good evidence that studying the art and craft in a worthy program goes a long way toward launching and maintaining a career.

What do you consider the components of a good script?

First of all, story; that is, what the characters do and say. What they do and say also establishes who they are. Regarding the latter, that is, what the characters say, dialogue needs to be worth listening to all for itself, but it can’t be all for itself. It needs at the same time also to advance the story and advance the audience’s appreciation of the characters. Conflict, controversy, and confrontation are required throughout the narrative, and those are just the ‘cons.’

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

Overwriting. Too many pages. Too much dialogue. Too much description, especially regarding instructions to the actors regarding pauses and gestures and such. 

What story tropes are you just tired of seeing?

I’m weary of superheroes and comic-book adaptations.

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

Less is more.

Successful writing is not about adding paraphernalia to a narrative but taking it away, revealing a story that’s somehow already there.

Don’t have one character tell another what you’ve already told the audience.

Movies must appear real, but in fact they are fake. Writers should be wary, therefore, of writing ‘the way it really happened’ and creating dialogue that captures the way people ‘really speak.’

What ‘really happens’ in life is, for the most part, boring. The way people ‘really speak’ is available in the streets for free, you don’t need to go to the movies for that. Also, and again, the way people ‘really speak’ is, for the most part, tedious. Know what I mean? Get what I’m saying? Understand my point?

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

Sure. The give-away is economy: few words that reveal a lot, instead of the other way around. Nothing is present for its own sake but exclusively for the advancement of the narrative. Fancy language that might be appropriate in literature will swamp a screenplay.

**AUTHOR’S NOTE – I’ve often said one of the best pieces of writing advice I ever heard was “Write as if ink costs $1000 an ounce”. Richard said that at a seminar of his I attended very early in my career. It really stuck with me, and I’ve used that as a guideline in my writing ever since.

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

There are some that are absolutely worthy.

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

Visit www.richardwalter.com. There’s info regarding my books, limited-enrollment online screenwriting webinars, whose enrollees’ scripts I’m willing to read, script consultation services, and more.

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

Pecan. And I don’t mind a scoop of vanilla ice cream on it.

Q & A with Tim Schildberger of Write LA

Tim Schildberger is an experienced writer, script coach, and co-founder/Head Judge of Write LA – an annual screenwriting competition that gives writers a chance to get read by managers, and hear their winning script read by professional actors in LA (and posted on YouTube). He cares far too much about helping writers improve their craft and get access to the industry. Tim is an expat Australian, a former TV journalist, writer on the globally popular soap opera NEIGHBOURS, newspaper columnist, creator of a comedy/reality series for the Travel Channel called LAWRENCE OF AMERICA, and one of the key members of the original BORAT team. He has stories.

In his spare time, Tim is a husband, parent, tennis player, road tripper, and he and his family foster kittens. Seriously. Twitter: @write_la Instagram: @writela

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

I hate to be a cliche, but THE CROWN – sets the bar very high. Peter Morgan is a genius. His ability to tell story with and without words, and build tension in scenes that on the page might appear boring, is remarkable. THE QUEEN’S GAMBIT had similar skill, attaching us to an unconventional character quickly and effectively.  Feature films – I loved PALM SPRINGS – structurally, and characters/dialogue, and who doesn’t love a woman solving the problems using education and intellect!

How’d you get your start in the industry?

I was 22, living in Australia (where I’m from), working as a trainee TV News Producer. I had applied to newsrooms, and I’d called up various TV series, asking if they needed a writer. It was a simpler time. A nightly soap opera, NEIGHBOURS, let me do a writing submission, which they liked – and said they’d get back to me. In the meantime I got the job in TV news.

One day, six months later,  I got a call in the newsroom, it was NEIGHBOURS, asking if I’d like to write an episode. I said yes, obviously. They mailed me the scene breakdowns, I typed my script on a typewriter, and ten days later mailed it back. All after working a full day in the newsroom. I did that 5 more times before it all got far too overwhelming. I was the youngest writer they’d ever had, and that experience made it clear to me that writing, in all its forms, was my future.

What was the inspiration for creating the Write LA competition?

We wanted to create a competition we’d want to enter. I’ve been writing for a long time – and I’ve entered competitions large and small. I’ve won a few, placed in a bunch, and it became clear that many of the writing comps out there don’t really do much when it comes to attracting attention, gaining industry access, or launching careers. And pretty much none put any kind of focus on helping writers improve their command of craft. So our goal was to build a competition that somehow combined both goals – to help with the craft, and to help with the access.

What makes Write LA unique compared to other screenwriting competitions?

Two things I think separate us. First, we are a competition run by actual writers. So we are able to deliver a certain degree of respect and admiration for the act of actually finishing a script and entering it – that many competitions lack. We know how it all feels.

Second, we stand proudly in front of the competition. Everyone knows I’m the co-founder and Head Judge. When you email a question, it comes to me. I do an enormous amount of reading, and I’m supervising every aspect of the competition. We try hard not to be a faceless comp where sometimes it can feel like you’re sending your script into a void, and then hoping something emerges. It matters to us that the entrants feel ’seen’.

A big concern for writers entering a screenwriting competition is the quality/experience level of its readers. How does Write LA address that?

I hear that. And I’ve experienced it first hand. A script will make the Nicholl semifinals, and won’t make it out of the first round somewhere else. And then you get ‘feedback’ that feels like it was written by someone who never actually read the script, they just strung a few buzzwords together.

So to address that – I’m heavily involved in the reading process. I’ve handpicked our small team, I do a ton of reading personally, and I set pretty clear parameters when it comes to what I’m looking for when it comes to command of craft. Every script that makes it into our top 15 semi finalists will have been read by at least three different people, including me.

We give every script, whatever the genre, or whether it’s a TV pilot or feature, full respect and attention. And all the additional feedback (offered at an extra fee), is done by me personally. So there is a consistency of the feedback, and a name attached to it (mine). I’m not interested in telling anyone what I would do, I’m focused entirely on maximizing the opportunities presented by the writer and doing my best to empower them to bring the most out of their idea, and their skills. 

What do you consider the components of a good script?

Gosh – this isn’t easy to answer quickly, but I’ll try. For me, a good script needs fleshed out characters, who face clear challenges – no matter how big or small. Because no matter how detailed the world, or ‘big’ the story, if we don’t care about the characters, it’s all a waste of time.

Also, an understanding of the audience experience is awesome. A writer who is aware of audience expectations, and is able to manipulate those expectations is exciting. And finally, a clear sense of where the story is heading. Not a lot of extra clutter. Just a solid story, competently and confidently told.

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

Misuse of Scene Description is HUGE. Using it to reveal character details an audience couldn’t possibly know. Using it to show off a writer’s literary command – with all sorts of flowery descriptions that waste time, rather than establish ‘mood’.

Not writing an outline. I’m confident I can pick within 5 pages if a writer has an outline, and a firm idea of who this story is about, and where it is going. And taking too long to dive into story. Spending page after page building a complicated world, and then finally starting some sort of story – is a big mistake. Even STAR WARS had a brief title explanation, and then we were into Darth Vader storming Leia’s ship. The rest we figure out as we go.

Lastly, I have to add too many spelling errors. A sloppy script does not inspire confidence.

What story tropes are you just tired of seeing?

A character waking up, turning off their alarm, and getting into the shower as the first thing we see. Happens WAY more often than you would expect, and is not only dull, but unwise. What viewer who sits in a darkened movie theatre wants to see a feature film start that way?

I’m also not a fan of drawn out action sequences. It’s great that you see the car chase in your head, but all a reader cares about is ‘does someone important die?’

Oh, and a shot of ‘overdue bills’ on the kitchen table. Anything but that please. I see a lot of stereotypes with the characters too – which usually tells me a writer is basing a character on another character they’ve seen in a movie or on TV – rather than an actual, flawed, complex human being.

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

What you are doing is more about hard work than flashes of inspiration. It’s less about talent than it is about grind.

Accept that re-writing is inevitable. Your first draft will not be a work of art. It’s a starting point.

Learn to receive notes as comments on the words on a page, not a personal attack, or a statement on your writing ability.

Characters are more important than story nowadays. Put the extra effort into figuring out who they are, and their emotional journey through your story.

What you are doing is brave, and awesome, and you should feel very proud of yourself every time you finish anything. Every time. Plenty of people talk about writing something. You went and did it. That’s huge and should never be ignored.

There is no work of art in the history of human beings that has ever been loved by 100% of the people. Accept that your work will not be universally loved – because humans are humans.

Details matter. Every scene matters. Every line of dialogue matters. Everything you do is conveying a message to an audience. Understand and embrace that.

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

I read many scripts like that! I read hundreds of scripts a year, so I regularly find writers who are very skilled. As for reasons, I would say the absolute, clear number one is making me feel something. I’m not alone in this. I tell anyone who’ll listen if you can make a reader feel a genuine human emotion, that is FAR more important and impactful than any set piece, world, intricate story or cute scene description. It isn’t even close.

Also, it’s fun to read scripts by writers who think about the audience, and work hard to provide us with a rich, enjoyable experience. I know the expression “write what you know” is popular. My version is “write what you know, but make it accessible to strangers.”

And while I’m here, let me add that writing what you know really refers to your emotional experience and authenticity. Not your time in middle school. If you can dig into your emotional space, which is uniquely yours, and share that on the page – that authenticity connects you with a reader/audience, and goes a long way to establishing what the industry likes to call your “voice”. I’d like to say it was easy to do. It’s not. But it’s important.

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

I have to say I’m a big fan of custard. There’s a custard tart in my homeland Australia – a mini pie – which is very much my favorite. But as that doesn’t really exist here – I’m going to say I like banana cream, apple, peach, and I’m a big fan of all the cobblers and crumbles too. I don’t think I’d refuse any pie that came my way.

Q & A with Suzanne Gundersen of ScreenwriteNOW

Suzanne Gundersen is Founder of ScreenwriteNOW and Inner Story Consultant who mentors & teaches screenwriters and industry creatives how to clear the path that lets their story flow.

Since 2015, she has skillfully helped screenwriters overcome fears, worries & blocks on demand, get focused and sharpen creativity, build tremendous confidence, and deepen their emotional worldview into wisdom & truth, to hook audiences into wanting more.  She uses natural tools & techniques that relieve tension & stress, so her clients become more authentic and embodied in their work.

She expertly shares a technique she calls Neuro-Energy Tapping, a self-use acupressure technique that calms the mind and relaxes the body; combined with her 3RP Method, creates powerful shifts towards experiencing the 5C’s; centered calm, clarity, creativity and confidence! 

Her programs “Just Write Now” and “Get Pitch Ready” have helped thousands of screenwriters get focused into their creative rhythm & flow, effortlessly finish scripts and pitch with confidence.  “My Worldview”  is a program that helps writers transform their personal hero’s journey, so they can express their authentic value and emotional truth in their writing & presenting their work. 

Her work supports individuals and groups, she speaks & leads online workshops and programs. Visit www.screenwritenow.com to download her free e-book and schedule a complimentary consultation to discuss your needs & goals.

What was the last thing you read/watched you thought was incredibly well-written?

So many things! But the one I’ve been watching recently has been QUEEN OF THE SOUTH. I particularly enjoyed the first two seasons because of the subplots. There were some exciting and integrated subplots that threw the main plot into a lot of twisting. I always feel like really good writing and really good shows have a lot of integrated storylines at lots of different levels; at the surface level, at the deeper level, sideways. I’ve watched other seasons since then, but the writing for those has been a little bit flatter, more one-dimensional.

How did you get started in the industry?

I’ve been working in natural stress management for over fifteen years, and about five years ago, I was approached by a writer who asked if I could help her with her writer’s block. She led me to another published author who was working on a series of books who asked if I could help her with her writer’s block. She then referred me to a good friend of hers who was a showrunner on a network show, and asked if I could come in and help her writers room. I had no idea what that meant. I just knew I could help people clear their blocks.

I got into the writers room and found out that there was a writer who was getting divorced, a writer whose child was diagnosed with autism, and there was another one who had dealt with the recent death of her mother. All of these distractions were coming into play as to why they weren’t cohesive in the writers room. I worked with them as a group to help them get back in the zone together, and I worked individually with those three to help them process what was really going on in their lives and distracting them from being creatively on focus and on point.

From there it’s been a lot of word of mouth. I’ve done podcasts, had my services offered as a prize at festivals, I get to speak and teach classes at different screenwriting schools, including through Zoom during COVID. It’s all been a lot of fun.

You focus more on helping a writer utilize their emotions as part of their writing process, which includes a spot-on accurate description as the writer’s own “hero’s journey”. Why is it important for a writer to focus on their own emotions as much as on what they’re writing?

What else are we writing if not about our own emotional wisdom? We are energy as a person. We’re energy in motion, which is emotion. We’re learning through lots of different experiences that we go through in life. The hero’s journey just seemed to be a really great way to analogize between the story that’s being written in our own lives and what we’re writing about is really our own lives. I take people on their own hero’s journey by looking at the top two or three unresolved life experiences that don’t sit with them very well. When we don’t process things, we put a closed door to it, which keeps us from being able to access the emotional wisdom. I help the writer go on their own hero’s journey to go and resolve those life experiences, so they’re not afraid to write from the places they’re trying to avoid.

When writers are writing, they’re really writing about different parts of themselves. If the writing is flat, it’s often because they haven’t done the work to transform their own hero’s journey and  the unresolved life issues keeping the rich emotionally deep parts of themselves at bay. For them to be able to focus on their emotions and writing, and do it from a place of peace and wisdom, it’s very empowering and helps them to be able to write those deeply connected storylines that are really going to grab their audience.

Another common experience for writers is the dreaded writer’s block, which can be quite an obstacle. How does your Just Write NOW! program help a writer towards overcoming it?

We are either allowing or blocking, and that can be creatively, professionally, or personally. Just Write NOW is a program I developed which shows how to use one simple effortless technique to help the writer get back into focus. And not just mental focus, but into that creative rhythm and flow; that writing zone where they sit down and go “Oh my gosh, I just wrote for hours!”, or “I can’t believe I just made it through the whole first act!”, or “Those ten pages just flowed out of me!” Often that comes from being able to clear whatever is in the path that’s keeping you from your natural creative rhythm and flow.

Just Write NOW is a program that gives the fundamentals of a technique I call Neuro Energy Tapping, and a process I call 3RP, which stands for Resolve, Release, Reframe and Project. Neuro Energy Tapping is a self-use acupressure technique that helps to calm the mind and relax the body, and help the writer get into their rhythm and flow. It’s good for anybody dealing with all kinds of personal or professional obstacles, or experiencing “blank page syndrome”, or feels backed into a corner they can’t write their way out of.

The program lays out using this tapping technique to clear those distractions, and then using the 3RP method to help them transform that stress to get to a place of broader perspective about those distractions and back to the task at hand of that creative rhythm and flow. Once they’re back in there, I ask them to write down what their formula is for that. What do they tell themselves? What do they believe about themselves? What does it feel like to write? What are the best conditions to be able to write in? Is it the temperature? Is it an environment? Is it your favorite sweatshirt? Just Write NOW helps them to clear the distractions and dip into that creative rhythm and flow and really anchor it by identifying all the characteristics that keep them in that zone. That way they can get into it fairly quickly when they’re not there.

You mentioned “the 3RP Method”, which is a big part of your approach. What is that, and how does it work?

Resolve, Release, Reframe and Project, which is a sequence of how you’re processing distractions so you can get focused.

The first R is resolving. “How do we know our distraction?” What’s our evidence or proof? Is it a blank page? Did you get a lot of feedback from a manager or agent, and you’re resistant to doing it? Or maybe you’re feeling stuck. Whatever the symptom is, we’re looking to resolve it. We use the tapping technique to help them loosen the grip on that stress.

The second R is releasing it. When we’re doing this tapping technique, we’re sending a message to the part of the brain called the amygdala, as well as to the central nervous system to say “it’s okay to calm down now”. It’s easier to release something when we’re no longer feeling threatened, so that helps our stressed-out brain start to calm down too.

Once we’ve resolved and released it, we can move on to the third R of reframing it, which means once you’ve stepped out of a metaphorical tornado of blocks in your life and you’re feeling a little bit easier about things, how can you now think about that thing that was blocking you? What new ideas can you bring, whether it’s a new inspiration to write or a new way to look at the thing that was creating the distraction that’s not as big of a deal as it was before. And this happens in a way that’s truly unique and organic to the individual.

When that happens, I guide them towards the P portion, which is to project; to really look forward into their writing and be in that zone, where we can start to identify the formula for what it’s like to be in that creative rhythm and flow, and be able to go there when they need to.

You also mentioned Neuro Energy Tapping. What is that, and what are its benefits? Not just for writers, but for everybody.

I’m kind of a neuroscience geek. I call it Neuro Energy Tapping, but you may know it out in the mainstream world as “emotional freedom technique” or “the tapping solution”. The benefits are that it helps stop and slow the momentum of thoughts, feelings, the body’s reaction experience in the moment. It also helps to be able to open up new pathways for people to feel more at ease and get a result, and start building momentum in the direction they want. It’s a self-use acupressure technique where you literally use your fingertips to tap on energy points, and when you do that, you can shift and experience how you’re feeling your body, your emotions and your mind.

And it’s not just for writers. I just happen to apply it to help writers because it’s really a great technique to help clear distractions and get people focused; specifically for creative people to help them get into their rhythm and flow. Everyone can use it. It’s a wonderful, natural stress relief technique that can be used anytime, anywhere, to break the connection between the mind and body that might be causing stress or struggle.

It goes without saying that writing a screenplay can be exceptionally stressful. Was this part of the inspiration for your “reprogramming your stress” method? Is this something anybody can do?

Yes! Writers have so many great ideas, and that’s the fun part of writing. The real work of writing isn’t just the skill of putting it together, but being able to write from those places of emotional depth and wisdom. The process I take you through for reprogramming your stress is to be able to go to those distractions and processing them with the 3RP method. You can have those experiences and thoughts sit within you with that much more peace.

Once you’re at a place of peace, you can actually write more confidently, and really be able to put all the intricate parts of a script together. This involves a lot of thinking and emotion, so all that tapping helps to reprogram the stress to help spread it out into “bite-size pieces”. Take whatever’s causing the triggers and neutralize them to be able to allow that kind of organic refrain about how to go about doing the real work of putting the story together in a meaningful way.

You also offer a “Get Pitch Ready” package, which involves building confidence as part of pitching a project. Why do you think the idea of pitching is so intimidating to writers, and what are some potential solutions to dealing with it?

Get Pitch Ready is a program I teach that shares how to be able to really connect with your inner authentic value, and that’s what sells stories: you and your willingness to be seen and be authentic. Whatever story you’re writing, it’s probably been written a hundred times, but the way you tell it and your own willingness to be vulnerable to be sharing your own wounds, to expose yourself emotionally, is really what’s going to make you and your story stand out.

I’ve listened to a lot of pitches, and people just write it all out. It sounds great while they’re writing it, but it doesn’t bring that authentic voice to when they share it. I help people connect with their confidence, or what I call “their inner lion/lioness”, so when they stand up onstage like a lion, this commanding presence. That way they can deliver their authenticity in their pitch.

We’ve got to clear whatever references that we have that are keeping us in the way from feeling safe to be seen, whether we’ve been rejected in the past, or seen other people get rejected. I truly believe there’s no such thing as rejection. It’s either you’re being redirected to deeper levels of self-connection, which the more safe you feel within, the more you can authentically express that value to other people, and that’s what’s going to get people hooked onto your story.

People reading this may say, “That’s not how it was in the past.” And that’s true. It was a lot about what people thought others wanted to hear, or what they wanted them to be, but I think the value system of the future is authenticity, and the more you know your own value and can clear any worries or fears of rejection from the past, that’s what’s going to help you stand out and pitch with success.

In your series of YouTube interviews with experienced professional creatives, you ask each person for “the one golden nugget of advice” they’d pass along. Have there been any common themes, and have any really stood out for you?

There’ve been so many! I’ve done so many interviews, so everybody has their own unique story as to why they have that particular “golden nugget”. I don’t want to share anything specifically, because something might resonate for one person, but not for somebody else. All the incredible people I’ve interviewed have had some experience that’s led them to share what they learned from it in their own unique way. That’s what I love about the industry wisdom in the series I’ve been doing.

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

Check out my website – screenwritenow.com, which also includes my online classes, a list of my appearances on podcasts, and if you want to find out about private or group consulting work to help writers process what might be getting in their way of being able to be the best writer they can. I’m also on Twitter – @screenwritenow1

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

Pecan, and I love dark chocolate in it, because why not? With some nice whipped cream on top.

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.