A few weeks ago, I’d mentioned on social media that part of my plan for this year was to continue doing script notes. The responses were overwhelmingly positive, as well as inspiring a few other writers to do the same thing.
(I’m really cutting back on how many scripts I read. I like the idea of putting more time into my own stuff.)
One writer commented that they’d love to be able to do the same for other writers, but they didn’t have much confidence in their own analytical skills.
We’ve all been there. Giving notes isn’t easy, and some are better at it than others.
Like with everything about screenwriting, there’s no secret formula.
It’s all about taking time and effort to learn how to read a script and be able to recognize what works and what doesn’t. And even that takes time to learn how to do properly, or at least effectively.
I’d suggested to the writer they start by just reading scripts. Could they see what’s good, and what’s not? Opinions vary whether it’s better to work with specs or produced material. I tend to favor the former because that way I’m not influenced by an existing film.
Another option was to get feedback on their own scripts, either from a professional or someone within their personal network whose opinion they trust. Do they understand why the reader made the notes they did?
As cliched as this may sound, when it comes to being able to recognize good writing, you eventually learn to know it when you see it.
I really hope this writer decides to start working on honing their analytical skills. Being a good reader really can help you become a better writer.
The past few weeks have been all about working on developing this new script.
After a bit of a rough start, I’d come up with what seemed like a solid storyline. I had my plot points mapped out, and started filling in the blanks between them.
The ideas were coming at a decent pace, but things started to feel…odd.
I got to around the midpoint when things suddenly came to a grinding halt. Something just wasn’t clicking, and it was up to me to figure out what was wrong AND how to fix it.
My mind started racing for potential ideas. But the more I thought about it, the worse the ideas became. It was getting to the point of ridiculousness.
Being so laser-focused on this was severely messing up my creativeness. Since you can’t force inspiration, I took the easier path:
I stepped away.
Like any good writer, I’ve got more than a few projects in various stages of development, so I let this one simmer and turned my attention to something else.
Over the next couple of days, I made some progress plotting out this other project and didn’t even think about the first one.
I’ll also admit to spending some time doing some script notes and indulging in some pulp-y books featuring tales of adventures
And all of it really helped.
Feeling a bit more prepared to face my story problem, I opened the file and looked things over.
Thus did the wheels start turning…
I’d originally thought I’d have to delete a majority of what I’d already come up with, but a lot of it still worked, so I needed to figure out another way to utilize it.
Taking a closer look after a bit of a break helped to shine a spotlight on the problem as well as presenting an effective way to resolve it. Without going into too much detail, it involved expanding on what I already had for the first half of the story (along with a little rearranging of scenes), then expanding on those results, along with some relevant subplot goings-on, for the second half.
I’m sure there are many more bumps in the road ahead for this script, but it’s still great when you make this kind of headway.
Now – back to the story and filling in the rest of the blanks.
Hope your weekend is equally as productive, if not more so.
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.
-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.
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.
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).