I finally got a chance to see “Iron Man” the other day and it got me thinking about character arc. I know, weird coming from a big action movie, huh? But the writers and actor obviously went to great lengths to clearly spell out the characters arc. And you know what? They did a pretty damn good job of it if you ask me.
The movie starts with Tony Stark, a guy with absolutely no moral compass, a real jerk and a womanizer. But did you notice what else they did? You can’t help but like the guy, as much of an a-hole as he may be. Yes Tony’s an irresponsible alcoholic who glibly sells the Pentagon a bar for every lethal missile they order. But he’s funny, he’s personable, and he talks to the little guy when most guys in his position wouldn’t give them a second glance. Most importantly, you see that he’s got a good woman who cares about him so he can’t be all bad, right? For me, the set up all went on a bit too long but still it effectively gave you a flawed character who you still wanted to spend two hours with to see how he redeemed himself.
And therein lies the problem with 80% of the scripts I read. After about five pages I just don’t like the main character. Yes, you need to give your hero a place to go. He (or she) needs to grow/change/maybe improve as a result of the journey they go on through the course of the story. But they don’t have to be whiny, bitchy, completely unlikable people! You want the reader and eventually a viewing audience to be drawn into their story despite their flaws and foibles, not be repelled by their basic nature.
Usually the problem is that it’s impossible to understand what the character wants and what’s in their way. If you only knew that, you might excuse the whiny, bitchy behavior. In “Iron Man” you know that deep down Tony wants to be the kind of man everyone thinks his father was but is conflicted. Was dad that good? After all, he made millions selling death and destruction and no matter how you rationalize it that’s still got to be confusing. So rather than deal with it he hides behind his own outlandish behavior. Complex, but no so overly complicated you can’t figure it out. And RELATABLE. No, most of us aren’t billionaire weapons dealers but we do have deep conflicts about who we are, what’s our purpose in life, etc. This is so not going to go over well with the artsy fartsy crowd but I think they movie makers – whether it was the writers, director or actor – did a fantastic job making a comic book hero into a real, flesh and blood man.
Whether you agree or not, think about it the next time you start a script and make the lead character a) stupid b) mean as a snake or c) a combination of a & b all in the name of giving your character some place to go. Take a step back, make them human first, and then work out the arc.
Monday, June 23, 2008
Monday, June 16, 2008
MAKE YOUR FIRST TEN PAGES COUNT
Whether you’re entering a contest or you’ve gotten some overworked, underpaid executive somewhere to read your script, the fact of the matter is you’ve got just ten pages to get their attention. If they aren’t drawn into the story by then, they either won’t read the rest at all or will breeze through it just to get to the last ten pages so they can pretend to know what happened in the end. Think about it – can you blame them? Any executive will tell you it’s not just about what’s good but what they can sell. Sorry folks, it’s the entertainment business, not the entertainment arts. Save the artsy fartsy stuff for your second script and stick to good basic storytelling for your first script sale.
Make sure that your first ten pages accomplish three major goals in an interesting and concise way. They need to establish the tone/genre of the script, the time and place of the story takes, and who the lead character is if not his or her goal.
The very first words on the page should set the tone of the entire script. Is it a comedy? Is it a drama? A thriller? Make it clear to the reader ASAP. Nothing is worse than reading a script and not being sure if you’re supposed to be laughing or crying at a story point. The more time it takes for the reader to figure out just what sort of animal this script is, the more time he or she will spend removed from the script and therefore not engaged with your characters or storyline.
COMMON MISTAKE #1: You don’t want to stand outside the script with the reader looking in. Saying things like, “we hear the pounding of a heartbeat, the woman is terrified,” may set it up as a thriller but it also keeps the reader at arm’s length. “We” don’t hear anything; the description could read something like, “Jolene’s heart pounds in her chest, her eyes dart everywhere, looking for an escape.” You’d get the same idea – this is a thriller – and yet be drawn into the story rather than solidly set outside of it.
You also need to establish the time and place that the story takes place. Sure you could just super, “Virginia, 1863”. However, if instead your description was something like, “An angry crowd gathers while an effigy of President Lincoln is burned in the small town square,” you establish the same general feel for time and place without being boring or stiff. If your next sentence is something like, “The sheriff nervously reached for his phaser, ready to stun the crowd at the first sign of trouble,” you’ve added another level of intrigue. You’ve set up the time, place and tone as being completely unexpected. The story could be futuristic, it could be about an alternate reality, the audience isn’t sure but hopefully they’ll be intrigued enough to read on. That’s your job in a nutshell; set up the time, place and genre in a way that the reader MUST keep reading.
COMMON MISTAKE #2: Don’t over describe the situation with mundane details that have no direct bearing on the story. I don’t need to know what color the character’s parka is, I just need to know that it’s cold. Remember also that this is a script, not a book, so dialog is king. The sooner you get to characters making some comment on their surroundings, time, place and/or current ordeal the better.
Finally, you need to set up the main character in the first ten pages. It could be like the classic movie, “Casablanca” where we hear a lot about Rick before meeting him. Or like the film version of “Lord of the Rings” where we hear a lot of back-story directly related to the main characters’ quest before we meet them. Or possibly like “Gladiator,” where we meet the character straight away and immediately know what he wants – to be with his family. The only thing we don’t know is that he’ll accomplish this goal in a non-traditional way – by joining them in Paradise. However you choose to do it, make it organic to the story and INTERESTING. You could, for instance, just say something like, “Hank pulls his ship into the Nabu spaceport, stirring up unrest in his Tyrolean crew.” Unfortunately, since most of your readers will never have been to Nabu or Tyro, the reference will be lost on them. It’s boring and disengaging.
What if instead you wrote something like, “Hank edges his beater of ship past the luxury liners around the restricted Nabu spaceport, dwarfed both in size and class. Fred, his first mate, leans down. “I hope you know what you’re doing.” Has he turned pale? Hank could never read his friend even after all these years, the striking blue Tyrolean skin that all of his crew shares make them too hard to read especially at a time like this.” Granted, it takes a little longer but, lame example that it might be, still draws us into the story faster than the previous option.
COMMON MISTAKE #3: Don’t ever assume that the reader has as much interest or knowledge of your lead character as you. For instance, I once read a script where much of the opening pages where written in Celtic. Hey, I love Ireland as much as the next guy but I’m not slogging through old Celtic to read a script. Why? Because it’s off-putting and I know it’s unlikely I’ll be able to sell it up the ladder. Yes, I’m sure someone out there reading this will know of an exception to the rule but do you want to count on being the million to one exception or the more traditional rule? By the way, the rest of the script may have been written in Celtic as well, I never went past page 10.
You don’t have to formulaically spell out whose story this is, what they want and what’s in their way if you don’t want to. For instance, in the original “Raiders of the Lost Ark” you got to know Indy first, warts and all, before you found out the story that drives the movie. It worked in that case because the character was so appealing that you were too hooked to stop watching. You can hold surprises until later, make the audience THINK they know what the script is about only to spin it around 180 degrees down the road but they have to at least think they know what the script is about to keep reading. Mystery is one thing; complete and baffling confusion is something else.
Use the first ten pages to set the stage for the story and characters, and then end it with something exciting or intriguing enough to change the course of the story or character and pull us along with it. Otherwise, all your beautiful prose that you labored over in the middle of the script will be lost to the ethos, never read or appreciated by anyone who doesn’t have a direct connection to you the writer.
Make sure that your first ten pages accomplish three major goals in an interesting and concise way. They need to establish the tone/genre of the script, the time and place of the story takes, and who the lead character is if not his or her goal.
The very first words on the page should set the tone of the entire script. Is it a comedy? Is it a drama? A thriller? Make it clear to the reader ASAP. Nothing is worse than reading a script and not being sure if you’re supposed to be laughing or crying at a story point. The more time it takes for the reader to figure out just what sort of animal this script is, the more time he or she will spend removed from the script and therefore not engaged with your characters or storyline.
COMMON MISTAKE #1: You don’t want to stand outside the script with the reader looking in. Saying things like, “we hear the pounding of a heartbeat, the woman is terrified,” may set it up as a thriller but it also keeps the reader at arm’s length. “We” don’t hear anything; the description could read something like, “Jolene’s heart pounds in her chest, her eyes dart everywhere, looking for an escape.” You’d get the same idea – this is a thriller – and yet be drawn into the story rather than solidly set outside of it.
You also need to establish the time and place that the story takes place. Sure you could just super, “Virginia, 1863”. However, if instead your description was something like, “An angry crowd gathers while an effigy of President Lincoln is burned in the small town square,” you establish the same general feel for time and place without being boring or stiff. If your next sentence is something like, “The sheriff nervously reached for his phaser, ready to stun the crowd at the first sign of trouble,” you’ve added another level of intrigue. You’ve set up the time, place and tone as being completely unexpected. The story could be futuristic, it could be about an alternate reality, the audience isn’t sure but hopefully they’ll be intrigued enough to read on. That’s your job in a nutshell; set up the time, place and genre in a way that the reader MUST keep reading.
COMMON MISTAKE #2: Don’t over describe the situation with mundane details that have no direct bearing on the story. I don’t need to know what color the character’s parka is, I just need to know that it’s cold. Remember also that this is a script, not a book, so dialog is king. The sooner you get to characters making some comment on their surroundings, time, place and/or current ordeal the better.
Finally, you need to set up the main character in the first ten pages. It could be like the classic movie, “Casablanca” where we hear a lot about Rick before meeting him. Or like the film version of “Lord of the Rings” where we hear a lot of back-story directly related to the main characters’ quest before we meet them. Or possibly like “Gladiator,” where we meet the character straight away and immediately know what he wants – to be with his family. The only thing we don’t know is that he’ll accomplish this goal in a non-traditional way – by joining them in Paradise. However you choose to do it, make it organic to the story and INTERESTING. You could, for instance, just say something like, “Hank pulls his ship into the Nabu spaceport, stirring up unrest in his Tyrolean crew.” Unfortunately, since most of your readers will never have been to Nabu or Tyro, the reference will be lost on them. It’s boring and disengaging.
What if instead you wrote something like, “Hank edges his beater of ship past the luxury liners around the restricted Nabu spaceport, dwarfed both in size and class. Fred, his first mate, leans down. “I hope you know what you’re doing.” Has he turned pale? Hank could never read his friend even after all these years, the striking blue Tyrolean skin that all of his crew shares make them too hard to read especially at a time like this.” Granted, it takes a little longer but, lame example that it might be, still draws us into the story faster than the previous option.
COMMON MISTAKE #3: Don’t ever assume that the reader has as much interest or knowledge of your lead character as you. For instance, I once read a script where much of the opening pages where written in Celtic. Hey, I love Ireland as much as the next guy but I’m not slogging through old Celtic to read a script. Why? Because it’s off-putting and I know it’s unlikely I’ll be able to sell it up the ladder. Yes, I’m sure someone out there reading this will know of an exception to the rule but do you want to count on being the million to one exception or the more traditional rule? By the way, the rest of the script may have been written in Celtic as well, I never went past page 10.
You don’t have to formulaically spell out whose story this is, what they want and what’s in their way if you don’t want to. For instance, in the original “Raiders of the Lost Ark” you got to know Indy first, warts and all, before you found out the story that drives the movie. It worked in that case because the character was so appealing that you were too hooked to stop watching. You can hold surprises until later, make the audience THINK they know what the script is about only to spin it around 180 degrees down the road but they have to at least think they know what the script is about to keep reading. Mystery is one thing; complete and baffling confusion is something else.
Use the first ten pages to set the stage for the story and characters, and then end it with something exciting or intriguing enough to change the course of the story or character and pull us along with it. Otherwise, all your beautiful prose that you labored over in the middle of the script will be lost to the ethos, never read or appreciated by anyone who doesn’t have a direct connection to you the writer.
Friday, June 6, 2008
Interview with Writer Benjamin Ray
This interview with writer Benjamin Ray is the first of what (hopefully) will be a monthly feature. The point isn’t to sell you on how great my services are, although Benjamin’s kind words are greatly appreciated. The driving force behind the interviews and the ReelWriter blog in general is to foster practical information and advice on how to be a writer in Hollywood without losing your soul. Or your mind.
Newbies, experience writers who have hit a wall or just folks who love to hear great underdog stories will find something to appreciate in these monthly tales of how writers just like you are putting their talent to work telling stories that mean something to them even when they aren’t getting paid the big bucks. Yet.
Benjamin sent me his script, “Marcus and Faith” a while back for coverage and I was thrilled to hear that since then, it has racked up some impressive awards. Here’s his story...
MW: HOW DID YOU GET STARTED IN ENTERTAINMENT?
After I graduated from University of Toronto, I realized I made the greatest mistake of my life. No wonder my friends told me I was lost.
Ever since I could remember, I always had an interest in stand-up comedy. I tried it, got off to decent start but soon I was finding it hard to behave like a LIGHT SWITCH – you know -- jump on stage and you have to be ON -- happy, happy, happy. Listen, I don’t mind being happy, just I’m happy being unhappy, sometimes. It’s too exhausting to fake this happiness thing. Well maybe I could fake it real good if I did drugs which are fashionable in the comedy business. But I knew if I chose that path I would be dead in the gutter. Screenwriting came to rescue.
MW: DO YOU LIVE IN LA?
I live in Toronto. It has been proven; you don’t have to live in Los Angeles to make it in this business. If you have a solid business plan for unexpected expenditures, then taking that risk is possible. When the time is right I will be in LA.
MW: WHAT DO YOU DO FOR A LIVING WHEN YOU AREN’T WRITING?
I’m a business plan writer and tax preparer. I had to pick a job. One that keeps me stressed out, which a good thing, sometimes.
MW: WHAT AWARDS/RECOGNITION HAS “MARCUS & FAITH” GARNERED?
Semi-finalist with 20/20, Quarterfinalists with -- Fade in Magazine, Writers Network, Script Shark, All Access Screenplay Competition. And of course -- winner (finalist) with Pacific Northwest Screenwriting Contest whose Judge Daniel Yost -- co- screenwriter for Drugstore Cowboy – starring Matt Dillon
MW: HOW IMPORTANT DO YOU THINK IT IS FOR A WRITER TO ENTER CONTESTS? WHAT’S THE MOST VALUABLE THING YOU GET OUT OF THEM?
If you want to stay in this game – enter selective contests, at least 4 per year. Stick only with contests with proven judges/filmmakers/producers. Look, study and research their current and past winner list and identify similarities. Find what kind of scripts the contest gate-keepers like. This is a business with no rules. Some contest providers push only the genre and style they like. I really don’t want to sound discourteous – some Contests don’t think like producers or studio heads. Grab the bull by the horn and ask tons of questions. And stay away from writers who open up screenwriting contests. I want to grow as a writer and as to understand the business of Hollywood, not just to write. So I have to be selective. Also, some Screenwriting Contests think they have a monopoly on cinematic vision when in reality they are not trained in the business world where the producers are the Kings, the Queens and the Jokers.
MW: WHAT MADE YOU DECIDE TO GET YOUR SCRIPT COVERED?
Needed to find out if Hollywood would appreciate my style of screenwriting. I write on a “cinematic visualization style”. You know the camera films most of it, so I must write scripts, not novels. Fore-mostly, I wanted to know if I was writing a lean mean “blueprint” or just building a damn estate for some trophy wife while sleeping with the interior designer. If you know what I mean.
MW:A LOT OF WRITERS HAVE A HARD TIME LETTING GO FOR THE FIRST TIME AND HAVING AN OUTSIDER TAKE A LOOK. WHEN DID YOU KNOW IT WAS TIME? WAS IT A TOUGH CHOICE?
It wasn’t a tough choice; I knew I could write a cinematic script. Got coverage from Scriptapalooza. The guy slaughtered me but he did like my Act 1 and went on saying that it grabbed him by the throat and it was well written. The day you become fearless of coverage is the day you realize that only parts of your script are good. Only parts!!! There is no such thing as a perfect script and those that praise you writing 100%, are wasting your time. And those who give scripts high marks are also wasting your time.
Trust me, after a while, mean-spirited coverage does not affect me anymore. Okay I lied, maybe for 2 whole minutes, then their notes go in the garbage and I will delete you from my hard-drive. So far the only fair coverage I got was from you at www.thescriptfixer.com.
MW: HOW DO YOU THINK COVERAGE HELPED YOUR SCRIPT?
I had 5 professional coverages for “Marcus and Faith”. Most of them were trying to shove their genre and their cinematic likings down my throat. One coverage provider told I should learn to write like Shane Black and went on to say that I should make it into a drama instead of a thriller.
Your coverage gave me confidence to pitch it live. Your logline and coverage of the script’s theme was motivating and respectful to my prerogatives. You told me the good, the bad and the ugly in a professional way.
MW: HAS IT HELPED YOU PREP TO TAKE IT OUT AND TRY TO SELL IT?
Of course, your positive coverage gave me confidence to accelerate my marketing plan. If a coverage provider is negative, demand a refund. Negativism is a natural force and it can slow down your progress if you don’t have the experience to fight back.
You are truly a leader in this business.
MW: YOU MENTIONED BEING SELF-TAUGHT – WHAT BOOKS DO YOU RECOMMEND FOR OTHER WRITERS STARTING OUT?
I read some screenwriting books by not taking them seriously while have my ADD moments. I always believed that screenwriting cannot be taught. I did not and will not attend film-school. Every time I read a book on screenwriting, I lose my motivation and get temporary writer’s a block. It’s not for me.
I learned to write screenplays by watching ICONIC movies and taking notes.
And I also learned for reading one exceptional book which changed my life forever. It’s written by Phil Gladwin at www.screenwritinggoldmine. It’s the most truthful book out there on this business.
Also, I learned from reading biographies of ICONIC film directors. Read how writer/ director Francis Ford Coppola mortgaged his house to make a movie. Or how a director wanted to kill the producer if they changed one word in his script. Read their scripts, it’s the most economical piece of art. That’s screenwriting! They believed in their story-telling instinct.
It’s good to consult, but only with those who know what they’re talking about.
Consult with people that actually made movies. If you believe in you story, stick to your guns and make it happen. Work with people that can inexpensively test a scene on a cinematic level with Cinematographer. Consult with people who have worked with an editor or involved with mixing of music to some scenes. I don’t think there is a book out there that analyzes screenwriting from a director-/screenwriter angle. I learned by “method writing”. If you’re going to write about a boxer or a dancer or teacher – think like a director – they will tell you -- go out there and live in their shoes – then thank them for that experience.
MW: HOW DO YOU THINK LEARNING ON YOUR OWN HAS MADE YOUR WRITING DIFFERENT FROM SOMEONE WHO WENT TO FILM SCHOOL?
I would like to answer this question without insulting anyone. Here it goes -- I enjoy visualizing all the scenes in my scripts. We are servants of our imagination. The mind does not have a map and cannot be tamed. Film school is not for me. . Don’t get upset if one day you’re 88 years old and haven’t sold a script or made a movie. Do what you want to do, listen to only a few trust-worthy consultants. There is no formula or strategies. Sorry, film-school does not work for me. I get so upset when people tell me to go to film-school. If they have film-school, why don’t have music-school – and we all can go there learn how to be the next Mick Jagger or Amy Winehouse or Eminem . You see what I mean.
MW: HOW DID YOUR EXPERIENCE AS A STAND UP COMIC INFLUENCE YOUR WRITING IN GENERAL?
Jokes or dialogues, same thing – edit, edit over and over and over and then test it out in front of the mirror or with a microphone. Tape and listen.
MW: DO YOU MISS THE INSTANT FEEDBACK OF A LIVE AUDIENCE VS. THE AGONIZING WAIT FOR WORD BACK ON A SCRIPT?
I don’t miss it. I use the internet, forums and blogs and unexpected office staffs for instant feedback.
MW: HOW IMPORTANT IS FEEDBACK, BOTH GOOD AND BAD, TO YOUR SELF-EDUCATION PROCESS?
Stick to your guns, feedbacks can be wishy-washy. Again, just find one or two coverage providers who will honest with you and treat you with respect.
MW: WHAT HAVE YOU FOUND IS THE MOST PRODUCTIVE WAY FOR YOU TO WRITE? FOR INSTANCE, DO YOU HAVE A SET SCHEDULE? DO YOU WRITE 20 PAGES A DAY, WRITE FROM MIDNIGHT TO 3AM, JOT DOWN THOUGHTS WHILE YOU’RE IN YOUR CAR, ETC.
I change my writing environment every time – Subway, buses, accidental long distance travel, office space, hopping from one library to another or in the middle of a breakup with psychos and angels. I don’t think about the routine of writing, I just make it fit in my circle of life.
MW: HOW MANY SCRIPTS DID YOU START BEFORE YOU FINISHED YOUR FIRST?
Marcus and Faith is my second. My first script was “Sin So Well” – it’s a B movie/script thing with lots of action and R-rated jokes. Actually some of the coverages found the jokes offensive. They’re probably the same people who found BORAT offensive.
MW: WHAT WAS IT ABOUT MARCUS AND FAITH AS CHARACTERS THAT COMPELLED YOU TO WRITE THEIR STORY?
Marcus and Faith had a controversial lifestyle and aspirations. Most artists come from a dysfunctional background. Some can’t adapt and give up in life by becoming self-destructive. I wanted to show that Marcus and Faith are survivors not matter how bad their childhood was. Whatever happened, we cannot blame our parents, teachers, bosses for the stress and pain we have in this life. We have to take control. Marcus and Faith found each other and they helped each other survive.
MW: WHAT ABOUT THEM DO YOU THINK WILL MAKE THEM, AS YOU EXPLAINED TO ME, “LIVE IN THE HEARTS OF YOUNG ADULTS AND TRANSFER FROM GENERATIONS TO GENERATIONS”?
I did a survey, when the movie Saturday Night Fever came, out – a specific crowd was able to identify with Tony Manero. Young adults with their problems with careers, unsupportive parents, sex-in-the –city syndrome and dead-beat friends.
Young adults love a lifestyle where they can piggyback vicariously on the entertainment culture. They temporary think that they will achieve stardom in anything they do and their future will be cozy and comfortable. But they fail to realize that this chase is a dangerous game and we have to tread carefully. It’s possible, no to drown….Marcus and Faith helped each other.
MW: YOU’VE SAID THAT FOR A “STORY TO FLOURISH IN OUR MODERN TIMES AND TOUCH OUR HEARTS, IT MUST BE DARINGLY DIFFERENT AND DARK.” DARINGLY DIFFERENT I GET BUT WHY DARK?
It has to be dark in some parts, in order to justify the happy ending. For a movie to play the immortality game, it has to be dark.
MW: THE SEX CLUB, KAMA-SIN, IS INCREDIBLY VIOLENT. DO YOU THINK THAT’S A COMMON EXPERIENCE FOR AUDIENCES OUT THERE? A TYPICAL FANTASY?
Mel Gibson was very vivid with Apocalypto and The Passion of Christ.
The Kama-Sin is my forecast of the danger that awaits society if we don’t put end to this addiction people have to sex vices. I’m just showing what happens when men get bored with certain things and they CAN’T GET SATISFACTION – until they find a temporary fix – the birth KAMA SIN, for example. In certain business culture – the rich and famous really like to experiment on this level.
MW: IF YOU COULD PICK FIVE WRITERS (ALIVE OR DEAD) TO BE IN A WRITING GROUP WITH YOU, WHO WOULD YOU PICK?
1. Frank Miller
2. Guy Ritchie
3. Robert Rodriguez
4. David Cronenberg
5. Spike Lee
MW: WHERE DO YOU GO FROM HERE WITH “MARCUS AND FAITH”??
I ‘m getting ready to market “Dance Desire Violence” – a dramatic thriller which takes place in 1977 New York. It’s about a college dropout, dirty dancing, schizophrenia and a crime boss and his promiscuous wife.
Also putting the polishing touch on “Don’t Hit My Mommy” – -- takes place in modern New York about a retired boxer/father, HIV, AIDS and an illegal escort business.
Lastly -- marketing a sit-com version of a tamer version of “Marcus and Faith”.
Email me for full synopsis of any of the above.
I believe in these scripts. New projects are always happening
Newbies, experience writers who have hit a wall or just folks who love to hear great underdog stories will find something to appreciate in these monthly tales of how writers just like you are putting their talent to work telling stories that mean something to them even when they aren’t getting paid the big bucks. Yet.
Benjamin sent me his script, “Marcus and Faith” a while back for coverage and I was thrilled to hear that since then, it has racked up some impressive awards. Here’s his story...
MW: HOW DID YOU GET STARTED IN ENTERTAINMENT?
After I graduated from University of Toronto, I realized I made the greatest mistake of my life. No wonder my friends told me I was lost.
Ever since I could remember, I always had an interest in stand-up comedy. I tried it, got off to decent start but soon I was finding it hard to behave like a LIGHT SWITCH – you know -- jump on stage and you have to be ON -- happy, happy, happy. Listen, I don’t mind being happy, just I’m happy being unhappy, sometimes. It’s too exhausting to fake this happiness thing. Well maybe I could fake it real good if I did drugs which are fashionable in the comedy business. But I knew if I chose that path I would be dead in the gutter. Screenwriting came to rescue.
MW: DO YOU LIVE IN LA?
I live in Toronto. It has been proven; you don’t have to live in Los Angeles to make it in this business. If you have a solid business plan for unexpected expenditures, then taking that risk is possible. When the time is right I will be in LA.
MW: WHAT DO YOU DO FOR A LIVING WHEN YOU AREN’T WRITING?
I’m a business plan writer and tax preparer. I had to pick a job. One that keeps me stressed out, which a good thing, sometimes.
MW: WHAT AWARDS/RECOGNITION HAS “MARCUS & FAITH” GARNERED?
Semi-finalist with 20/20, Quarterfinalists with -- Fade in Magazine, Writers Network, Script Shark, All Access Screenplay Competition. And of course -- winner (finalist) with Pacific Northwest Screenwriting Contest whose Judge Daniel Yost -- co- screenwriter for Drugstore Cowboy – starring Matt Dillon
MW: HOW IMPORTANT DO YOU THINK IT IS FOR A WRITER TO ENTER CONTESTS? WHAT’S THE MOST VALUABLE THING YOU GET OUT OF THEM?
If you want to stay in this game – enter selective contests, at least 4 per year. Stick only with contests with proven judges/filmmakers/producers. Look, study and research their current and past winner list and identify similarities. Find what kind of scripts the contest gate-keepers like. This is a business with no rules. Some contest providers push only the genre and style they like. I really don’t want to sound discourteous – some Contests don’t think like producers or studio heads. Grab the bull by the horn and ask tons of questions. And stay away from writers who open up screenwriting contests. I want to grow as a writer and as to understand the business of Hollywood, not just to write. So I have to be selective. Also, some Screenwriting Contests think they have a monopoly on cinematic vision when in reality they are not trained in the business world where the producers are the Kings, the Queens and the Jokers.
MW: WHAT MADE YOU DECIDE TO GET YOUR SCRIPT COVERED?
Needed to find out if Hollywood would appreciate my style of screenwriting. I write on a “cinematic visualization style”. You know the camera films most of it, so I must write scripts, not novels. Fore-mostly, I wanted to know if I was writing a lean mean “blueprint” or just building a damn estate for some trophy wife while sleeping with the interior designer. If you know what I mean.
MW:A LOT OF WRITERS HAVE A HARD TIME LETTING GO FOR THE FIRST TIME AND HAVING AN OUTSIDER TAKE A LOOK. WHEN DID YOU KNOW IT WAS TIME? WAS IT A TOUGH CHOICE?
It wasn’t a tough choice; I knew I could write a cinematic script. Got coverage from Scriptapalooza. The guy slaughtered me but he did like my Act 1 and went on saying that it grabbed him by the throat and it was well written. The day you become fearless of coverage is the day you realize that only parts of your script are good. Only parts!!! There is no such thing as a perfect script and those that praise you writing 100%, are wasting your time. And those who give scripts high marks are also wasting your time.
Trust me, after a while, mean-spirited coverage does not affect me anymore. Okay I lied, maybe for 2 whole minutes, then their notes go in the garbage and I will delete you from my hard-drive. So far the only fair coverage I got was from you at www.thescriptfixer.com.
MW: HOW DO YOU THINK COVERAGE HELPED YOUR SCRIPT?
I had 5 professional coverages for “Marcus and Faith”. Most of them were trying to shove their genre and their cinematic likings down my throat. One coverage provider told I should learn to write like Shane Black and went on to say that I should make it into a drama instead of a thriller.
Your coverage gave me confidence to pitch it live. Your logline and coverage of the script’s theme was motivating and respectful to my prerogatives. You told me the good, the bad and the ugly in a professional way.
MW: HAS IT HELPED YOU PREP TO TAKE IT OUT AND TRY TO SELL IT?
Of course, your positive coverage gave me confidence to accelerate my marketing plan. If a coverage provider is negative, demand a refund. Negativism is a natural force and it can slow down your progress if you don’t have the experience to fight back.
You are truly a leader in this business.
MW: YOU MENTIONED BEING SELF-TAUGHT – WHAT BOOKS DO YOU RECOMMEND FOR OTHER WRITERS STARTING OUT?
I read some screenwriting books by not taking them seriously while have my ADD moments. I always believed that screenwriting cannot be taught. I did not and will not attend film-school. Every time I read a book on screenwriting, I lose my motivation and get temporary writer’s a block. It’s not for me.
I learned to write screenplays by watching ICONIC movies and taking notes.
And I also learned for reading one exceptional book which changed my life forever. It’s written by Phil Gladwin at www.screenwritinggoldmine. It’s the most truthful book out there on this business.
Also, I learned from reading biographies of ICONIC film directors. Read how writer/ director Francis Ford Coppola mortgaged his house to make a movie. Or how a director wanted to kill the producer if they changed one word in his script. Read their scripts, it’s the most economical piece of art. That’s screenwriting! They believed in their story-telling instinct.
It’s good to consult, but only with those who know what they’re talking about.
Consult with people that actually made movies. If you believe in you story, stick to your guns and make it happen. Work with people that can inexpensively test a scene on a cinematic level with Cinematographer. Consult with people who have worked with an editor or involved with mixing of music to some scenes. I don’t think there is a book out there that analyzes screenwriting from a director-/screenwriter angle. I learned by “method writing”. If you’re going to write about a boxer or a dancer or teacher – think like a director – they will tell you -- go out there and live in their shoes – then thank them for that experience.
MW: HOW DO YOU THINK LEARNING ON YOUR OWN HAS MADE YOUR WRITING DIFFERENT FROM SOMEONE WHO WENT TO FILM SCHOOL?
I would like to answer this question without insulting anyone. Here it goes -- I enjoy visualizing all the scenes in my scripts. We are servants of our imagination. The mind does not have a map and cannot be tamed. Film school is not for me. . Don’t get upset if one day you’re 88 years old and haven’t sold a script or made a movie. Do what you want to do, listen to only a few trust-worthy consultants. There is no formula or strategies. Sorry, film-school does not work for me. I get so upset when people tell me to go to film-school. If they have film-school, why don’t have music-school – and we all can go there learn how to be the next Mick Jagger or Amy Winehouse or Eminem . You see what I mean.
MW: HOW DID YOUR EXPERIENCE AS A STAND UP COMIC INFLUENCE YOUR WRITING IN GENERAL?
Jokes or dialogues, same thing – edit, edit over and over and over and then test it out in front of the mirror or with a microphone. Tape and listen.
MW: DO YOU MISS THE INSTANT FEEDBACK OF A LIVE AUDIENCE VS. THE AGONIZING WAIT FOR WORD BACK ON A SCRIPT?
I don’t miss it. I use the internet, forums and blogs and unexpected office staffs for instant feedback.
MW: HOW IMPORTANT IS FEEDBACK, BOTH GOOD AND BAD, TO YOUR SELF-EDUCATION PROCESS?
Stick to your guns, feedbacks can be wishy-washy. Again, just find one or two coverage providers who will honest with you and treat you with respect.
MW: WHAT HAVE YOU FOUND IS THE MOST PRODUCTIVE WAY FOR YOU TO WRITE? FOR INSTANCE, DO YOU HAVE A SET SCHEDULE? DO YOU WRITE 20 PAGES A DAY, WRITE FROM MIDNIGHT TO 3AM, JOT DOWN THOUGHTS WHILE YOU’RE IN YOUR CAR, ETC.
I change my writing environment every time – Subway, buses, accidental long distance travel, office space, hopping from one library to another or in the middle of a breakup with psychos and angels. I don’t think about the routine of writing, I just make it fit in my circle of life.
MW: HOW MANY SCRIPTS DID YOU START BEFORE YOU FINISHED YOUR FIRST?
Marcus and Faith is my second. My first script was “Sin So Well” – it’s a B movie/script thing with lots of action and R-rated jokes. Actually some of the coverages found the jokes offensive. They’re probably the same people who found BORAT offensive.
MW: WHAT WAS IT ABOUT MARCUS AND FAITH AS CHARACTERS THAT COMPELLED YOU TO WRITE THEIR STORY?
Marcus and Faith had a controversial lifestyle and aspirations. Most artists come from a dysfunctional background. Some can’t adapt and give up in life by becoming self-destructive. I wanted to show that Marcus and Faith are survivors not matter how bad their childhood was. Whatever happened, we cannot blame our parents, teachers, bosses for the stress and pain we have in this life. We have to take control. Marcus and Faith found each other and they helped each other survive.
MW: WHAT ABOUT THEM DO YOU THINK WILL MAKE THEM, AS YOU EXPLAINED TO ME, “LIVE IN THE HEARTS OF YOUNG ADULTS AND TRANSFER FROM GENERATIONS TO GENERATIONS”?
I did a survey, when the movie Saturday Night Fever came, out – a specific crowd was able to identify with Tony Manero. Young adults with their problems with careers, unsupportive parents, sex-in-the –city syndrome and dead-beat friends.
Young adults love a lifestyle where they can piggyback vicariously on the entertainment culture. They temporary think that they will achieve stardom in anything they do and their future will be cozy and comfortable. But they fail to realize that this chase is a dangerous game and we have to tread carefully. It’s possible, no to drown….Marcus and Faith helped each other.
MW: YOU’VE SAID THAT FOR A “STORY TO FLOURISH IN OUR MODERN TIMES AND TOUCH OUR HEARTS, IT MUST BE DARINGLY DIFFERENT AND DARK.” DARINGLY DIFFERENT I GET BUT WHY DARK?
It has to be dark in some parts, in order to justify the happy ending. For a movie to play the immortality game, it has to be dark.
MW: THE SEX CLUB, KAMA-SIN, IS INCREDIBLY VIOLENT. DO YOU THINK THAT’S A COMMON EXPERIENCE FOR AUDIENCES OUT THERE? A TYPICAL FANTASY?
Mel Gibson was very vivid with Apocalypto and The Passion of Christ.
The Kama-Sin is my forecast of the danger that awaits society if we don’t put end to this addiction people have to sex vices. I’m just showing what happens when men get bored with certain things and they CAN’T GET SATISFACTION – until they find a temporary fix – the birth KAMA SIN, for example. In certain business culture – the rich and famous really like to experiment on this level.
MW: IF YOU COULD PICK FIVE WRITERS (ALIVE OR DEAD) TO BE IN A WRITING GROUP WITH YOU, WHO WOULD YOU PICK?
1. Frank Miller
2. Guy Ritchie
3. Robert Rodriguez
4. David Cronenberg
5. Spike Lee
MW: WHERE DO YOU GO FROM HERE WITH “MARCUS AND FAITH”??
I ‘m getting ready to market “Dance Desire Violence” – a dramatic thriller which takes place in 1977 New York. It’s about a college dropout, dirty dancing, schizophrenia and a crime boss and his promiscuous wife.
Also putting the polishing touch on “Don’t Hit My Mommy” – -- takes place in modern New York about a retired boxer/father, HIV, AIDS and an illegal escort business.
Lastly -- marketing a sit-com version of a tamer version of “Marcus and Faith”.
Email me for full synopsis of any of the above.
I believe in these scripts. New projects are always happening
Tuesday, June 3, 2008
NOBODY WANTS TO READ YOUR SCRIPT
Here’s a big Hollywood news flash: nobody wants to read your script. Industry pros like producers, agents and even top level readers are going to actively look for reasons to not read your script. Does that mean you should give up? NO! But it does mean you need to do your job and take away all reasons for them to reject your work at first glance.
“But I’m an artiste,” you say, “I can’t be bothered with all those mundane details!” Then have fun living in that garret for the rest of your life where the only people to ever see your stories are your friends and even they cringe at reading your epic one more time. Never forget that this is Hollywood and appearance is everything. Is it wrong that the way your script looks can affect whether it’s made or not? Maybe, but the development executives who sort through hundreds of scripts a week looking for the next sellable script are the most under appreciated, overworked folks in the business. The same goes for readers. They just don’t have the time to see the diamond in the rough and even if they did, they know they won’t be able to sell it up the ladder to their bosses. And make no mistake, scripts are commodities to be sold, not pieces of art to be put on a wall and admired. That’s the reality. This is the entertainment BUSINESS after all.
This goes double for entering your script into contests. If you aren’t going to make sure that your script is as professionally written as it can be then I suggest you hand the entry fee to the guy at the freeway on ramp with the cardboard house. You’ll gain more in karma points then you have any hope of benefiting from the contest.
You can’t control whether you’re the next Diablo Cody or not but you can eliminate some really simple reasons for your script to automatically go to the slush pile, domain of the intern and underpaid assistants.
Remember, no one in Hollywood ever lost their job for saying “no.” You owe it to yourself and your script to make them at least work for the “no” rather than passing on your script with barely a glance.
“But I’m an artiste,” you say, “I can’t be bothered with all those mundane details!” Then have fun living in that garret for the rest of your life where the only people to ever see your stories are your friends and even they cringe at reading your epic one more time. Never forget that this is Hollywood and appearance is everything. Is it wrong that the way your script looks can affect whether it’s made or not? Maybe, but the development executives who sort through hundreds of scripts a week looking for the next sellable script are the most under appreciated, overworked folks in the business. The same goes for readers. They just don’t have the time to see the diamond in the rough and even if they did, they know they won’t be able to sell it up the ladder to their bosses. And make no mistake, scripts are commodities to be sold, not pieces of art to be put on a wall and admired. That’s the reality. This is the entertainment BUSINESS after all.
This goes double for entering your script into contests. If you aren’t going to make sure that your script is as professionally written as it can be then I suggest you hand the entry fee to the guy at the freeway on ramp with the cardboard house. You’ll gain more in karma points then you have any hope of benefiting from the contest.
You can’t control whether you’re the next Diablo Cody or not but you can eliminate some really simple reasons for your script to automatically go to the slush pile, domain of the intern and underpaid assistants.
- Do not put pictures on your title page. Nothing says, “this script sucks” like a photo, painting or drawing on the title page. In all the years I’ve been doing this only once did a picture on the title page work and that was for a campy horror script about a giant prehistoric crocodile. The writer put a close up of - you guessed it – a crocodile head with a yellowed out eye and all. It was ridiculous and silly but absolutely matched the tone of the script. But even then it was only because a friend gave it to me an assured me it was worth the read. Don’t take that kind of chance, just stick with the title, your name and, for the love of God, your contact info.
- Use 2 heavy-duty brads to bind your script. That’s it, nothing fancy. Spirals, metal clips and cheap flimsy brads tend to fall apart, catch on clothing and all around make the reader cranky. The cardinal rule of getting your script read is thou shall not annoy your reader.
- Here’s another hot tip – the fact that spell check doesn’t catch everything is no excuse for you not to. About the third time the wrong “your” is used, you’re screwed. Proofread your script the old-fashioned way, one page at a time. If you’re lousy at it then get a friend to do it. Better yet, get two; two sets of eyes are better than one. Yes, it’s a small detail but one that says so much about you. If you aren’t careful enough to catch typos then why should I trust you to be careful enough to seed in great subtext or character arcs?
- Keep your script between 100 – 115 pages. Roughly speaking, one script page is equal to a minute of screen time. Even more if it’s chock full of action. (The phrase “and then they fight” takes very little space but about fifteen minutes of movie.) If it’s longer than that, unless you happen to be Peter Jackson you need to go back and edit. You’ll be surprised how much better your script is anyway without the extraneous scenes you thought you couldn’t live without. And by the way, you aren’t fooling anyone when you jimmy with the margins; people who read scripts for a living know just by looking at it that you’ve played around with them. Chances are they’ll disregard the script and you as not only a hack but also a cheater without getting past page 1.
- Writers write, directors direct: Leave out all direction unless it’s absolutely vital to telling your story. Putting in the description “CU of John’s eyes are he weeps” isn’t vital to the story, it’s directing and a sign of an amateur, not to mention annoying to a potential director and you’re going to need them to get your movie made. Getting the script made into a movie is the goal so check your ego at the door.
- Formatting: Absolutely, positively have your script properly formatted with the correct margins. Every script-writing program will do it automatically but if you don’t have one of those, most screenwriting books will tell you the proper format. This format is not meant to squash your artistic whim; it’s there partially to help the director, producer and artists who will hopefully make it into a movie. Part of formatting is using Courier 12 pt., the current industry standard font. Writing in another font doesn’t say, “I have a unique voice, read me.” It mostly says, “I think I’m too special for the rules and will probably be a pain in the ass to work with.”
- More formatting tips: Beyond the proper margins, there are common practices that professionals follow that make a script easier to read and are sure signs of an experienced writer. DO NOT WRITE EVERYTHING IN CAPITALS. IT FEELS LIKE THE SCRIPT IS YELLING AT YOU AND IS VERY ANNOYING. Remember your cardinal rule – do not annoy your reader. Aside from sluglines, the only time you use capitals is denoting the first time a character is introduced. As a reader, it helps you keep track of characters. If you capitalize them every time, we may not be sure if we’ve met them a few scenes ago or if this is the first time. Sometime readers have to put a script down and pick it up a day later so don’t make it any harder by confusing them about characters, locations or dayparts.
- Let the actors act: Parentheticals are one of the most over used writing devices around. You don’t to put (annoyed) (sad) (tenderly) with dialog to let the actor know how to deliver the lines. Hopefully your work will speak for itself. There are exceptions but if a scene is truly well written and a character well established, those times are few and far between.
- Remember your Schoolhouse Rock: Avoid common grammatical errors, especially gerunds. For instance, “John runs” instead of “John is running.” It’s minor but the continued use of the passive voice weakens your story. Always make sure your write your script in the present tense. If grammar isn’t your strong suit, then have a friend or a professional proofreader go over it.
- It’s a script, not a novel: Nothing makes a reader groan more than opening a script and seeing the entire first page is all description. There’s no point in going into such details as “John, a fan of the band Air Supply since the 1980’s, took his Border Collie out for a walk down his magnolia lined street, thinking to himself that he should get a haircut.” The viewing audience will never know any of this so why should the reader have to suffer through it all? Put in only the visual details that are important and break it up with dialog. It’s easier to read and shows you know how to write drama as well as description.
Remember, no one in Hollywood ever lost their job for saying “no.” You owe it to yourself and your script to make them at least work for the “no” rather than passing on your script with barely a glance.
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