I (and others) will not hesitate to help

Unless you’re collaborating with a co-writer, the actual process of screenwriting is for the most part a solitary process. All of the work involved depends on you, and you alone. It can be tough and frustrating.

And that’s just the writing part. We haven’t even touched on dealing with notes, rewriting, or marketing your script.

It’s an uphill climb. Practically vertical, even.

“Argh! It’s too much for one person to take on by themselves!” you might exclaim.

Never fear. You are most assuredly not alone. Every other screenwriter has gone through the exact same things you have, and will continue to do so.

And one of the most powerful weapons to help you get through it all is easily at your disposal: those other writers.

I can honestly say both my writing and my career (such as it is) would not be at the level they are today if it hadn’t been for other writers lending their helping hands over the years.

Whether it was notes, leads, or connections, my network of writing associates has proven to be an indispensable resource.

The writing community wants to see writers succeed. Sure, we all want it for ourselves, but if you can give somebody else a boost, why wouldn’t you?

I get all the usual “scripts wanted” emails. About 98 percent of the time, I don’t have a script that matches what somebody’s looking for. But due to interaction with all my fellow screenwriters, I might see something and think “Hey! I think _____ has a script like this.” I’ll then forward it to that writer, saying I thought of them when I saw it. Sometimes they’ll have already seen it and applied, or it’s totally new and they’re very grateful for the lead.

Additionally, because I’ve spent so much time cultivating relationships, a lot of these writers know me and what scripts I have, so they’ll send me a listing. Even if it doesn’t work out, it’s still more results than I would have gotten by myself. Like with the writing, any progress is good progress.

And speaking of the writing, after I think a latest draft is ready to show, I’ll go to my usual circle of reliable note-givers to get their feedback, and they’ll do the same with me. Every once in a while a writer I’ve only interacted with via social media will contact me, asking if I’d be willing to take a look at their script. If there’s no deadline, and I can squeeze it in, I’ll gladly tell them to send it along.

There will also be those times where you’re feeling low; like nothing’s going right. Guess what? This is definitely another one of those “it happens to everybody” scenarios, and believe me – everybody can relate to it. Want to talk about it and get it off your chest? Writers are willing to listen – and offer a solution if they can. Just getting it out of your system can be helpful.

Also very important – return the favor. Somebody’s helped you out? Offer to do the same – in any capacity you can. When I ask somebody for notes, I make sure to say I’m more than happy to return the favor – because I am. They were willing to put in the time and effort to help me, so the least I can do is the same for them.

A big part of all of this is to accomplish any of this, you have to become part of the community itself. Fortunately, even that’s pretty easy. There are so many ways to get to know your fellow writers.

My recommendations:

-screenwriting groups on Facebook, but mostly the smaller ones. The bigger ones tend to be a lot of egos and sniping.

-Script Pipeline’s #PipelineWriters on Twitter. 5pm PST on Fridays. Especially helpful if you like mugs.

-#scriptchat on Twitter. 5pm PST on Sundays

Regarding all of these, groups and communities overall, you get out of them what you put into them.

Leave your ego at the door. Be nice to people. Treat them the way you’d want to be treated.

Ask questions. Make it about them, not you.

Establish relationships. Be supportive for good news and bad news.

You may be working on your scripts by yourself, but you’re most definitely not alone.

Ups, downs, and everything in between

What a hectic bunch of weeks.

Been splitting time among several projects, including developing a few new ideas, including sketching out an idea for a new short, and the ongoing rewrite/overhaul of the horror-comedy.

Also been working through a lengthy list of specs from fellow writers in need of notes. Latest tally: halfway there! At this rate, hope to be totally done with it by the end of March.

Just wrapped up the latest batch of query letters. No read requests yet, which is admittedly kind of disappointing, but no big deal. Did get a few “not for me”s and “not taking on any new clients right now”, plus one “we’re a bit swamped at the moment, but you can try again in a few months”.

There was also one “we don’t rep writers”, which raises the questions ‘then why is Literary Management part of your firm’s name’ and a ‘writers submit here’ link on your website? Am I missing something?

Yet with everything I’ve been doing, there are still times where good things and positive news seem unattainable. I still have no intention to stop trying, but as any screenwriter will tell you, somedays it’s just really tough.

As I’ve said in numerous conversations, I enjoy the writing part of this too much to want to even consider giving up. Many of you have been more than generous with your encouragement and positive vibes, and I really appreciate it. Never underestimate the effectiveness of telling somebody you believe in them.

So as this week wraps up and we head into the next one, I’ll keep at it, doing what I can to make the dream come a little bit closer to becoming a reality. Sure, it might not happen right away, but like with the writing itself, any progress is good progress.

Q & A with Aiko Hilkinger

Aiko Hilkinger is an award-winning, queer, German-Japanese screenwriter from Colombia. She primarily works in fantasy and animation, and her pilot “Kate and Ava” placed her in Network ISA’s “Top 25 Screenwriters to Watch in 2021”. Hilkinger creates magical worlds filled with diverse characters that children and teenagers can relate to and see themselves represented in. Not only does she strive for diversity and inclusion in her stories, but most importantly, she believes that through her animation work she can connect with kids and help teach healthy communication and to own up to their mistakes.

When she’s not writing, Hilkinger works as a script analyst for big screenwriting contests and has recently started her own script consulting business.

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

I feel like I’ve said this to the point where the people who know me have gotten tired of hearing it, but Kipo and the Age of Wonderbeasts on Netflix has to be my pick. I honestly think the show made my 2020 much more bearable while also blowing my mind with their imaginative storytelling. The show was planned as a three-season arc and you can tell when watching it that it was meticulously planned as the story is just so tight and has a clear message all the way throughout.

How’d you get your start in the industry?

I actually don’t feel like I’ve “made it” into the industry yet. I joke that I graduated from “baby writer” to “toddler writer” in 2020 since it was a learning year for me. After I graduated from film school, one of my teachers helped me get an internship with an agency where I perfected my coverage skills. After that I applied to work as a script analyst for a contest site while entering some contests here and there for the first time.

I won some pretty cool awards this year and was named one of the Top 25 Screenwriters to Watch in 2021 by Network ISA. I’m looking forward to new opportunities this year, like getting signed and hopefully selling my first script or getting staffed in a room.

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

I think you can teach someone what to look out for (structure, format, clear goals, etc.) in a script but after a while it becomes a feeling. It sounds strange, and it definitely is, but after reading as many scripts as I have, you start to very easily pick up on things that make a script good or bad. At times it has everything to do with those “rules” we’re taught in film school, and it’s easy to technically say why something isn’t working, but it’s only through practice of your own craft and opening yourself up to criticism that you really learn what works or doesn’t for you, and how to break those rules.

What do you consider the components of a good script?

A good script has something to say. I’m a sucker for a good theme, and I always suggest looking at it as a “thematic statement” or “the lesson the protagonist or antagonist will learn”. When a writer knows what they want to say with their piece, it gives the story direction, and it is much more enjoyable to see them get there.

Oftentimes when a script doesn’t know where it’s going, you can feel it, it’s like you’re wandering around aimlessly through a world, surrounded by characters who don’t know what they want and thus you don’t know what they need. Definitely start your writing journey by knowing your why (why do you want to tell this story and why does it need to be told now?).

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

One of the most common mistakes I see is characters not having a clear goal. A goal is the driving force behind the protagonist accomplishing something by the end of the script and without it, the story can drag on and become repetitive. We don’t want to see someone live their life day to day because it’s not dramatic; not every action pushes the story forward. That’s why it’s important that not only the protagonist has a clear goal, but the antagonist does as well, since they’re the ones who will get in the way of the protagonist.

I also recommend giving other characters goals of their own so that they can be more rounded and have something going on that gives them more depth other than doing whatever the protagonist needs them to do.

What story tropes are you just tired of seeing?

I’m exhausted of seeing every queer story be about “coming out” and dealing with homophobic families, friends, etc. It’s the same annoyance I have about POC films, especially Asian-American stories, only being about the struggle of immigration. There are so many other beautiful stories that can be told outside of the constant struggle to be accepted by a straight, white society that need to be told in order to showcase the beauty of our cultures and communities.

I want to watch a film about queer love that has nothing to do with strife or struggle, and I’m so happy that we’re slowly starting to get there with shows like Schitt’s Creek and She-Ra. And I would love to take my family to watch a film with characters that look like us where they’re just living their lives unapologetically, like Crazy Rich Asians and One Day at a Time.

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

Write with a purpose. Know your why. Why are you writing this story? And why is it important to tell it now?

Fill out a bullet point list of your main structure in order to know your main emotional turns before you start writing.

Always outline, even if you don’t like it. Look at your outline as your first draft.

Make sure your characters have clear goals (wants) and clear needs (areas for growth).

Sneak exposition through conflict.

Make sure your characters are emotionally motivated.

Antagonists should have a clear driving force behind them.

Read as much as you can and make it a variety (both produced and peer scripts) in order to figure out what works for you in terms of storytelling, and to practice pinpointing why they don’t work for you.

You don’t have to take every note you get. Take the ones that resonate and throw away the ones that don’t.

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

The main reason is that it’s clear the writer has something they want to say. I know I’ve mentioned this a lot, but it truly is the most important thing you can do. The second I get your voice and understand your point of view, I’m in. It’s our job to make that as clear as possible because our voice is what will set us aside from other writers. It’s what we bring to the table, what we’ll get hired based on, so it’s the most important thing to develop. And through a lot of practice, giving and receiving notes, you’ll get there.

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

Contests can be worth it if you have money to splurge. I know a lot of people who haven’t had a lot of success from them and it can definitely be frustrating. I’ve had a very 50/50 experience. I didn’t make it into a few contests that I was excited about, but then I made it into one that really, really worked for me.

You have to be very clear with yourself about what you want out of these contests (exposure, management, etc.) and make sure you know they’re not your only chance to get into the industry. Also, be sure to ask fellow writers about their experiences in order to find out which contests are the best for you and your goals.

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

I am super active on Twitter – @aikohwrites. That’s where you can find me saying things I probably shouldn’t. And if you’re interested in my coverage services, you can go to aikohilkinger.com/script-coverage to find more information.

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

This is such a good question! My favorite is apple. My mom has always had her own recipe and her apples for some reason always taste amazing. But if we’re being more specific, I love a good, warm and buttery strudel (maybe with some ice cream and caramel).

New year, new plans, and all that

It all comes down to a two-part question:

What do you hope to accomplish in 2021, and what are you going to do to make it happen?

This year for me is primarily about one thing: getting better, writing-wise. My screenwriting game needs to be severely upped if I want to make any kind of headway in becoming a working (i.e. paid) writer.

Part of this also involves totally stepping away from entering contests. Many are nothing more than a money drain – I’ve already saved over $1200 in registration fees – and I’d rather work on improving my craft.

And if I’m not spending money on contests, I plan to redirect it into another long-gestating project. Part of my 2020 involved writing a short script which I’d really like to make myself. After talking with a few filmmaker chums (many of whom offered up their services and advice), it’s definitely doable.

Another thing I’d like to accomplish this year is to read more scripts; at least one a week. Two, if possible. The Black List, produced works, what have you. Of the handful I’ve already enjoyed, it’s already been most helpful.

I’ve started reading and giving notes on other writers’ scripts. Always nice to see what others are up to and check out some original material, and it also lets me develop my analytical skills.

My approach to this year will be a little more laid back than in years past. The drive and desire are still there, but I want to enjoy my time making the journey more than focusing solely on the destination.

There will no doubt be the usual ups and downs. While the ups will be enjoyed and celebrated, the downs will be endured to the best of my ability, and then viewed through the lens of “what can be learned from this so it yields a more positive outcome next time?”.

As always, I am extremely grateful to all of you who’ve enjoyed my posts over this year and those past, and hope you decide to stick around for this one. I wish all of you a 2021 filled with numerous good writing days, positive career news, TV shows and movies you enjoy, and at least one piece of your pie of choice; sharing it is optional.

Q & A with Michael Lipoma

Michael Lipoma is a WGA writer and a producer whose scripts have placed in the semifinals or higher in every major screenwriting competition, including winning Best Feature and Grand Prize at SLAMDANCE last year. With experience writing on assignment for features and television since 2010, Michael enjoys backing his characters into corners, forcing them to fight their way out or die trying.

He has developed multiple producers’ original ideas into commercially viable screenplays and pilots. He is co-creator and co-writer of a new television series currently in development in New Zealand. He is the lead producer on a feature film project currently in partnership with an A-List actor’s production company. Before writing and producing full time, Michael was Vice President of a $150M company. He also finds writing in the third person a little weird.

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

I have been binge watching The West Wing, and am dazzled by the dialogue–but it’s more than that. Sorkin doesn’t just write great dialogue–it’s the situations he places the characters in that give great dialogue even greater depth. And the dialogue wouldn’t be as meaningful if he hadn’t made these characters people we care about.

How’d you get your start in the industry?

I wrote spec scripts. Bad ones. Then I went to school and learned the craft. Then I just kept writing. While working on a script with a partner, we met a producer at AFM, and within 24 hours, we had a handshake deal to write a feature based on her original idea. That script was The Fall, and last October, it won Slamdance Grand Prize and Best Feature. But that makes it sound too easy. That journey started seven years ago. We attached another producer, have been through more page-one rewrites I can imagine, and have gotten–and incorporated–notes from many, many people.

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

I believe recognizing good writing can be taught and learned–and you don’t need a teacher. The way to recognize good writing is to read ALL writing. I’ve learned more from giving really deep notes to scripts that were in terrible shape, than reading great scripts. Read every script you can, and when you read something good, you’ll feel it. It’ll sing to you from the center of your chest. But read all of it. After a while, you’ll internalize what’s good and what to stay away from. You’ll feel when a story turn is necessary. And you’ll realize that when watching a movie. I can’t tell you how many times I’ve hit pause on a movie, checked the timer, and said, “Yep. That’s midpoint.”

What do you consider the components of a good script?

The obvious, of course: structure, dialogue, making every syllable mean something. A story that turns, and delivers on the promise the writer made in the premise or opening. Also, a great opening. A killer first page. I’ve been working as a producer for the past five years, and I know within a page whether the script I’m reading has a chance at getting me interested. I do read all the way through, but I’ve always been able to tell within a page or two how it’s going to go. Haven’t been wrong about that yet.

There’s one more component, and it’s just as important to me as any of the other factors that make a good script, and that’s what people are calling today, “voice.” I read a lot of scripts, and many deliver what a script should deliver: Compelling characters, solid structure, serviceable dialogue. All good stuff. But when I read a script with an original voice, that delights me, and makes me want more, more, more!

I’ve also found that writers with a unique voice are fun people to hang with. And when you option a script, you’re going to be hanging with the writer for a few years, and hopefully you’ll end up friends for life. Also, I recognize I’ve strayed a bit from the original question about components of a good script. I do that. I stray.

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

Big blocks of action with no white space. My job as a producer is to read a script all the way through–but when I see solid pages of text, I take a breath, because I know it’s going to be a slog to get through. That’s not to say the script might not be great, but if I can offer advice to writers, make hitting the return key one of your best friends. Your reader will love it.

Another mistake is having dialogue move the story forward. In these cases characters usually tell each other what’s happening or how they’re feeling. That means everything’s on the surface.

What story tropes are you just tired of seeing?

Movies starting at funerals–ugh. Seen it too many times. Watching a big, surprising reversal or twist and discovering it was a dream (that happens more in TV, but still). Also, movie shorthand: a woman throwing up = she’s pregnant. You see a woman SPRINT to the bathroom and barf. Next scene: she’s pregnant.

Another trope that’s actually harmful in my view is when you see scars on someone that indicates they’ve been “cutting” (non-suicidal self-injury), and it’s just “movie shorthand” for a “troubled” teen, or a violent character about to shoot up a crowd. That easy-way-out character development is not only lazy, it stigmatizes people with mental health issues. It needs to stop.

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

1. If you want to write what speaks to your heart, you should absolutely do so. You get to write whatever you want. But…if you want to sell, or make writing your career, you should understand what the marketplace wants. And I’m not talking about chasing trends. I’m talking about a script with a recognizable structure (I believe humans are hard-wired to respond to structure), a story that makes us want to know what happens next, and a satisfying ending. Oh, crap. I strayed again.

2. Spend as much time on your concept as you possibly can before putting a single word to the script. You’re going to spend the next few months writing this script–make sure the concept is firing on all cylinders before you commit to it. If you do this, you will discover a lovely surprise: people will probably love your script.

3. Sort of a continuation of 2: before I dig into a new spec script (whether TV or feature), I test the concept. I tell it to people and watch them react. Then, I refine it. What’s nice is at this stage, I’m not invested in any great scenes–it’s just a few sentences, so nothing’s precious. Once I get a concept, and I’m satisfied it’s working and marketable, I write the pitch. Straight from concept to pitch–before writing one word of the script. This does a couple things: it helps me discover cool, hooky moments (that only seem to show up when I’m writing a pitch) and it helps me know where I’m going when I start outlining. I think this solves the problem I faced for so many years: writing loglines and pitches after the script is written.

4. This may not work for everybody, but most successful writers I know do this: outline. Outline, outline, outline! You can start at the end, middle, or wherever, but do yourself the favor of writing a solid outline for your script. This is one of the most freeing things a screenwriter can do. It also keeps you from getting blocked or stuck because you always know where you’re going. My analogy for outlining is this: it’s like an actor getting off-book with their dialogue. Once they’ve memorized the dialogue, and it flows through them, only then can they bring the real bits of themselves to their performance. Same with outlining. Once you do the hard story work and get that outline done, your story is there, and it’s working–then, you put in all the cool stuff that delights readers.

5. Make me want to care about your characters. Many scripts I read from emerging writers use their characters as tools to move their story along. People go to the movies and watch TV and immediately try to relate to the character on the screen. There’s a moment when people ask themselves (sometimes unconsciously–but they feel it) “Would I ever do that?” or “Oh, no, what would I do if that happened to me?” The writer needs to make their characters human, relatable, and empathetic. Not necessarily likeable, but relatable. It’s a thing of beauty when an antagonist makes a reader/viewer see a dark side of themselves reflected in the antagonist. So do the character work up front, know who they are and how they’d respond in any situation.

There’s an exercise I’ve asked people to do: take a line of dialogue, and rewrite it as if the character were at gunpoint. Now rewrite it if they were trying to seduce someone. Now try it if they’re terrified. Exact same meaning, but different situations. This exercise can seem absurd, but if you lean into it, it’s actually a lot of fun, and it will reinforce the need to really understand how your character would react in any situation. Once you really understand this about your characters, the audience will respond to them, readers will lean forward when reading them.

6. Make sure your lead is the most interesting.

This has happened to me. My supporting character was way more interesting than my lead. It took a bit of rewriting and really killing some darlings, but once I did that, my lead really sparked off the page. No actor is going to attach themselves to a project if the supporting character has a better part.

Have you ever read a spec script that you immediately thought “this writer gets it?” If so, what were the reasons why?

Absolutely. And I’ve only read two that did that. It started with character. These characters were not only real and full of life, their dialogue was crisp, clear, and every character had a unique voice. Most of the actual meaning was delivered through subtext–and that’s not just for dialogue, it was for the action too. Characters took action that delivered on who they are, or what they needed, or what their wound was that’s been holding them back. Also: there was a lot of white space on the page, which made it a fast read, and allowed me to forget I was reading a screenplay.

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

I know there’s a lot of debate about this right now. For me: they’re worth it–but you have to realize the goal, and I think there are two: 1) you want feedback, and 2) you want wins/credibility. For feedback: You’re sending your material out to sets of eyes who have no stake in your success. If you can afford it, get the notes/coverage, too. Look, we all have people who love us, read our stuff, and tell us it’s great. And that feels wonderful, but not really helpful if your goal is to improve your writing and yourself as a writer. There’s nothing more sobering than not placing in a contest, and looking at the 375 names who did, and think: “Damn, every one of those scripts is better than mine–what do I need to change in my script or my writing to get me in that group next time.”

If you can afford the coverage, it’s great to see what a neutral set of eyes thinks about your material. And sure, sometimes the notes are spotty, but there’s ALWAYS something in there that can help if you’re open to it. And being in lots of contests can help you open up to that. For credibility, contest placements/wins in the major competitions can truly open doors. All of that said, be wary. There are some contests that just feel like money mills. Do a little research, and maybe don’t submit to “Jimmy Joe’s Upstairs Screenwriting Bonanza.” Look into competitions. Who are the sponsors, how many years have they been running, what kind of press do they get?

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

The best way to learn more about what I do is to contact me directly through my gmail account and not through the production company email or website because those get filtered before I see them. Email: mlipoma@gmail.com.

Right now, I write on assignment for television and features, and provide TV and feature script development, consultation, and rewrite services for projects that have been optioned or have a significant element attached. Since I’m a WGA writer, any writing I do must be with a signatory, but for non-signatories I can provide script consultation and development services, and work with the writer and producer to help the production reach its goals. I tailor my services based on the needs of the project: from a dialogue punch-up to extensive restructuring and rewriting. One of my recent efforts was a page-one rewrite of an action script. 

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

You and I are kindred spirits! Pie is one of my favorite things on the planet! Picking one is kinda like deciding which of my kids I love most, but if forced, I’d have to say cherry. Or a really deep apple. Or pumpkin. Ok, sorry…

Cherry.

There. I said it.