A scary good Q&A with Jimmy George

JImmy George

Jimmy George, aka Script Butcher, has been writing and producing films for over a decade. Along with optioning several screenplays, Jimmy has lent his name as co-writer/co-producer to six award winning feature-length films, garnering rave reviews, and boasting international distribution.

He has a talent for engineering fun and innovative productions on shoe-string budgets with few of the modern technological marvels used in major Hollywood blockbusters. Each of his films have been praised for circumventing their meager budgets, standing out through memorable storytelling.

Jimmy co-wrote and co-produced WNUF Halloween Special (2013), which won numerous festival awards, alongside national press from The New York Times, VICE, MTV, Birth.Movies.DeathFandango, and Red Letter Media, and is currently available on the AMC Networks’ streaming service, Shudder.

After tearing up the festival circuit, his most recent film, Call Girl of Cthulhu generated enormous buzz in the horror industry. Harry Knowles of Aintiticoolnews declared it “fun, better than it should be and quite splattacular.”.

Jimmy’s current project (and his seventh feature), What Happens Next Will Scare You, will be released next year.

In addition to writing and producing, Jimmy has a passion for helping creators succeed. As the Script Butcher, he consults with screenwriters, empowering them with the necessary tools to sharpen their scripts into dynamic stories that slice through the competition.

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

The pilot episode for GLOW. The world-building is excellent. It takes you into a sub-culture that’s mysterious and relatively unknown. The characters are memorable and entertaining. We meet the lead character at her lowest point. It leaves us with so much promise for what could take place during the series. Does everything a pilot should do and more.

How’d you get your start reading scripts?

There are many screenwriting gurus out there. I am not one of them. I’m just a guy who’s written a ton of screenplays, produced a half-dozen movies of my own, and learned a lot along the way.

Over the last ten years of making movies, I’ve become the go-to script doctor for a lot of friends and colleagues. I’ve been doing this for free for a decade and it became clear a few years ago that this was my purpose. So I decided to start this service and try to make a living doing what I love.

Telling stories is what I was put on this Earth to do. Helping others fine tune their stories is a close second. I’ve been in your shoes. I know the blood, sweat, and tears it takes to complete a screenplay. This isn’t a job for me. It’s my passion. It’s what I live for.

Where does the moniker “Script Butcher” come from?

Whenever someone would ask for notes, I always delivered their script covered with red ink. The pages looked bloody. I once joked with a friend that I was their “script butcher” and it just stuck. To this day, every time I finish a set of notes my hands are covered with red ink splatters. I have a background in horror so a lot of people assume those are the only scripts I work with, but I provide the same exhaustive notes for all genres. I’d say 75% of my clients don’t write horror.

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

Writing well and recognizing good writing are skills that go hand in hand. Both can be taught and learned. For me, recognizing good writing as compared to bad has come from reading thousands of scripts at all levels of the talent spectrum. Having my own scripts brought to life on a frequent basis, sitting in theaters watching what works and doesn’t has also taught me invaluable lessons most script doctors haven’t had the opportunity to learn or pass along.

Studying the work of pros is a must too, but a lot of scripts available to the public are shooting drafts which are different from spec scripts and teach new writers bad lessons. So much can be learned from script consultants as well. I wouldn’t be where I am today without the mentoring advice and guidance I received from my own trusted script doctors.

I didn’t go to film school. The notes I received from these professionals over the course of a decade and a half, became my film school. By failing time and again, by continuing to experiment with the form and seeking constant feedback, I learned the craft. I never stopped trying to get better. Growing thick skin and learning how to use feedback to improve your stories is an important skill set for a writer.

Sending my scripts for notes became a crucial part of the writing process and continues to be.

What are the components of a good script?

A good script should have an original, marketable concept.

With flawed relatable characters who are actively seeking something they care deeply about, that we can emotionally connect with and root for, and that deals with the most important events of these character’s lives.

It should present a visual goal for the character or characters to achieve which form the central story question, and present primal, relatable stakes for what will happen if they fail to achieve those visual goals with formidable forces of antagonism that cause never-ending complications, standing in the way of the character’s achieving their goals.

It’s properly formatted on the page, relies on visuals instead of dialogue to tell the story, with plausible surprises and reversals of expectation at every turn.

And it builds to an emotionally satisfying climax that answers the central story question of whether our characters will achieve their visual goal in a positive or negative manner.

Other elements such as a quick pace, character arcs, thematic resonance, and memorable dialogue are a bonus, but not absolutely necessary for a script to do its job.

(Some of this is inspired by Terry Rossio’s 60 Question Checklist, which every screenwriter should read here.)

What are some of the most common mistakes you see?

1) FAILURE TO DELIVER ON THE PROMISE OF THE PREMISE

A story is a promise. Imagine Mrs. Doubtfire if the story followed Robin Williams working as an accountant instead of following the trials and tribulations of trying to reconnect with his wife and kids while dressed as an old woman.

The audience is waiting for you to deliver on the promise of your concept. If your script is about killer beer, you better have a beer pong massacre scene.

2) TONAL IMBALANCE

If you’re writing Schindler’s List, there’s no room for campy comedy. Vice versa.

Even if you’re mixing genres, keep your characters’ reactions to the events around them and the events themselves consistent in tone.

3) LACK OF CLARITY EMOTIONAL OR OTHERWISE

Clarity of what a character is feeling in reaction to a situation or what is being conveyed in general is a common issue I encounter with client scripts. Because the story is alive in your head, it’s difficult to tell what is and isn’t conveyed on the page. It’s all crystal clear for the writer, but often muddled on the page.

There are many more common mistakes, but these are the big ones.

What story tropes are you just tired of seeing?

UNDESERVED CELEBRITY STATUS – I see so many scripts that give their characters a level of celebrity status that’s unbelievable simply for the sake of telling the media-frenzied story they’re trying to tell. The paparazzi and press are very specific about the types of people they will follow. Make sure your characters are worthy of the celebrity status you’re giving them in your story.

USING NEWSPAPER HEADLINES AS EXPOSITION – Many of my clients rely on one newspaper headline after another to show the passage of time and relay important exposition. Media has changed. This is an antiquated story device that no longer holds weight with the audience.

What are the 3 most important rules every writer should know?

1) REVERSE EXPECTATION at every turn in a way that feels organic to the story and not calculated or contrived.

2) FIND THE CLICHE AND THROW IT AWAY. If we’ve seen it or heard it before, find another way to show it or say it. This will ensure your story always feels fresh and unique.

3) MAKE IT VISUAL. If dialogue comes last instead of first when you’re crafting scenes, it will ensure your story is cinematic and not better suited for the stage.

Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

I have once, it’s called BaSatai by my longtime client Suzan Battah. She’s in the process of turning it into a graphic novel. You can find out more here. https://www.patreon.com/suzanbattah

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

Not worth it. Writers put so much time, emphasis, and worst of all, money into contests. In my opinion they’d be better off spending that time improving their craft and spending their money on attending networking events and writing workshops.

While I understand the allure of getting a festival or contest win to stand out from the crowd of writers trying to break in, a contest win can be detrimental to a writer’s sense of skill level and give them a false sense of completion with their scripts.

I’ve worked with dozens of screenplays that were “award-winning” with multiple festival monikers to their name, that I don’t feel would get a RECOMMEND from a single studio reader.

Writers are paying money to contests, being assured their scripts are good enough, when they aren’t ready yet. There’s nothing more detrimental to your career than trying to shop around a script that isn’t ready.

How can people get in touch with you to find out more about the services you provide?

My website has all the details you’ll need at www.scriptbutcher.com/services

You can also find me on Twitter at www.twitter.com/scriptbutcher

Instagram at www.instagram.com/_jimmygeorge

And Facebook at www.facebook.com/scriptbutcher

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

Offbeat answer here. My wife and I were passing through Intercourse, Pennsylvania, otherwise known as Amish country. There was a gift shop that sold Shoofly Pie with cartoonish construction paper flies advertising how fresh it was. We bought a slice. Needless to say, it was so delicious we left with two whole pies.

All that on a single piece of (digital) paper?

bad 1st impression
It can only go downhill from here

You only get one chance to make a good first impression. And that also applies to a screenplay. If your first page doesn’t make us want to keep going, why should we? Chances are the rest of it is exactly the same.

The first page is your golden opportunity to start strong straight out of the gate. Show us from the absolute get-go you know what you’re doing. A lot of the time, I’ll know by the end of the first page what kind of ride I should be expecting.

Just a few items to take into consideration.

-First and foremost, how’s the writing? No doubt you think it’s fine, but face it. You’re biased. You want a total stranger to find it fault-free, so look at it like one. Is it easy to follow and understand? Does it flow smoothly? When I read it, do I get a clear mental image of what you’re describing? Does it show, not tell?

-Is there a lot of white space? Are your sentences brief and to the point, or do they drone on and on with too many words?

-Do you point the reader in the right direction and let them figure things out, or at least get the point across via subtext, or do think it’s necessary to explain everything, including what a character is thinking or feeling? Yes, that happens on the first page.

-If your protagonist is introduced here, are they described in the way you want me to visualize them for the next 90-110 pages? Does a notable physical characteristic play a part in the story? Are they behaving in such a way that it establishes the proper starting point for their arc? Are they doing something that endears them to us, making us care about them?

-If your protagonist ISN’T on the first page, does it do a good job in setting up the world in which the story takes place? Do the characters introduced here play any kind of role later on in the story?

-Are there any mistakes regarding spelling or punctuation? Are you absolutely sure about that? SPELLCHECK IS NOT YOUR FRIEND. A team does not loose a game, nor do I think they should of won either. Two glaring errors that your software will not recognize. But a reader will.

-Does it properly set up the genre? If it’s a comedy, should I be prepared to have my sides ache from laughing too hard? If it’s a horror, should I make sure the lights are on, even if it’s 12 noon? If it’s a drama, should I have a box of tissues within arm’s reach to dry the expected river of tears?

-Do your characters sound like people saying actual things, or are they spouting nothing but exposition and overused cliches?

Not sure about any of these? Read it over with as critical an eye as you can muster, or get help from somebody within your network of savvy writing colleagues. DO NOT go to somebody who doesn’t know screenwriting.

Think I’m being overly critical? Ask any professional consultant or reader, and I bet 99 out of 100 will say they know exactly what kind of read they’re in for by the end of the first page. And number 100 might also agree.

Then again, there’s also the possibility that the first page could be brilliant and it stays that way until FADE OUT.

Or the wheels could fall off anywhere between page 2 and the end.

Your mission, and you should choose to accept it, is to make that first page as irresistible as you can, grab us tight, and not let go. Make us want to keep going. Then do the same for page 2, then page 3, page 4, etc.  Make us totally forget what page we’re on.

Take a look at the first page of your latest draft. Does it do what you and the story need it to?

-Didja notice the spiffy new look? Had to make some behind-the-scenes changes, and this is the result.

The bulletin board returns!

bulletin board 2
No need to crowd. Plenty of pushpins to go around.

Today is once again all about promoting the projects of some very savvy creative folks, each one definitely worth checking out.

-Author/podcaster/friend of the blog Justin Sloan has released an audiobook version of his book Creative Writing Careers 2. Justin is also one of the co-hosts of the Creative Writing Careers podcast, which examines careers in writing not just screenplays, but also books, comics, and video games.

-Writer/filmmaker Luke Oberholtzer has a new proof-of-concept trailer (somewhat NSFW) for his proposed horror-comedy DRAIN BABIES. Contact Luke at Luke@LegacyEntertainmentFilms.com for more info.

-Writer/author/script consultant/friend of the blog Howard Casner has launched a crowdfunding project for his short film 14 Conversations in 10 minutes. Donate if you can! Howard is also offering a great new service for screenwriters – $20 to review the first 20 pages of your script.

-Filmmaker Scotty Cornfield‘s crowdfunding project for his short film Goodbye, NOLA is going strong! They’re getting closer to reaching their goal, but can still use a little help. Donate if you can!

Got your own project you’d like to promote? Drop me a line.

Take us along for the ride

roller coaster.jpg
Hang on tight.

Here’s a two-part question for you. Pencils at the ready, please.

Up first – Are you enjoying the actual process of writing your script?

Sure, we all like “having written”, but what about getting there?

Do you get a thrill from figuring out your story? Mapping out the plot? Developing characters and crafting dialogue?

Do you get so engrossed and involved in your writing that when you check the time, you discover a lot more time has passed than you thought?

If you’re really excited and enthusiastic about your script, you’re going to feel that way even before you start writing it.

Now for the second part of the question:

Is all the aforementioned excitement and enthusiasm evident on the pages of your script? Could someone read it and think “Wow, they really like this stuff.”?

While it’s often said that you can gauge a writer’s grasp of the craft just by looking at the first page, you can also tell if they’re really into their story by how it reads.

Does it grab you from the get-go? Is the tone of the writing a solid match for the tone of the genre? This is not a case when “good enough” will cut it. What would you think if you read a horror that was “sort of” scary, or a comedy where all the jokes fall flat?

Exactly.

You want the reader to be as thoroughly entertained as you were in putting it together. You want them to be as compelled to keep turning the page as you’d be if you were reading it yourself.

A lot of the time you’ll hear a writer wrote something because “they had a story they had to tell”. That story was so strong and powerful inside them, they had no alternative but to write it out.

As creative types, that level of excitement and enthusiasm exists in all of us. We’re all eager to tap into it, but need to take the time to learn how to do it properly so it can be done in the most effective way possible.

Pencils down.

Ask a Truly Superlative Script Consultant!

Terri Zinner

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on writer-producer-consultant-instructor Terri Zinner of afilmwriter.com.

Terri Zinner has been in story development for over 15 years. She began as a reader for Blue Cat competition and then a reader for Gallagher Literary, who eventually promoted her to SVP of Development.

Terri is also a produced writer and Producer of independent feature films such as EL CAMINOTHE BRIDE FROM OUTER SPACE and other independent projects. Terri worked on the award-winning film MONDAY MORNING.

Terri has provided story consultation on such films as AMERICAN SNIPER, ALBERT NOBBS, KILL YOUR DARLINGS, BREAK THE STAGE, THE HOWLING: REBORN, WHAT MAISIE KNEW, THE BRASS TEAPOT, LOUDER THAN WORDS and more….

Being named as one of the top story consultants in Creative Screenwriting Magazine, Terri is a sought-out story and screenplay analyst. Terri founded the website A FILM WRITER and developed the Screenplay Reader Training. She mentors and trains a team of screenplay readers.

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

I had the honor of reading the script AMERICAN SNIPER. It’s one of those rare occasions when you know that this script is something special from the very first page. The script was heart pounding and riveting from the opening through the ending. The story just came to life for me, as if I were actually watching the movie. The writer, Jason Hall, earned a well-deserved nomination for a harrowing script. I’m also always in awe of TV writers, who have a special gift with words. I admit I haven’t had much time for watching TV, but DAMAGES was one of my favorite shows because I thought the writers did a terrific job of creating a complex character in Patty Hewes. She was a fascinating, morally corrupt character to watch, and I found the dialogue to be very powerful. I try to watch a variety of films, but when I watch now, I tend to pay more attention to the structure. In fact, I forced my friend to go to a horror film, EVIL DEAD, just to analyze how the structure worked.

2. How’d you get your start reading scripts?

Like most readers, I began by writing screenplays. I optioned a few, but then I was provided the opportunity to become a reader for Gallagher Literary and a reader for Gordy Hoffman’s Blue Cat competition. I found that my real skills were in deconstructing a screenplay and guiding the writer in the development of their script. I read all I could on developing screenplays, structure, and what makes for a great character. I went from a reader to Sr. VP of Development. It just became a passion that I haven’t overcome. I created my own website AFILMWRITER.COM with the idea of helping writers at an affordable rate. Through word of mouth my business began to grow and expand. I also freelance for other agencies and have produced independent films. I developed a program to help teach and mentor others on how to become an effective professional screenplay reader. I enjoy nothing more than the creative process and mentoring writers in their craft.

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

Like writing, I think being a screenplay reader or story analyst is a craft. It requires a fundamental understanding of the rudiments of structure, plot, tension, character, dialogue, and what makes for a great story.

I actually teach a course for potential readers. It’s an intensive course and the reader is given the opportunity to practice coverage. I’ve seen my readers grow as analysts, but like anything, it requires ongoing learning and understanding the craft, being open to visionary worlds, and having a passion for the craft. It’s not about being punitive or negative, but for me it’s about finding the strengths in the writer’s script and helping the writer build upon those strengths. I do become concerned about people who claim to be professional readers, but know little about the craft. A reader has to have the ability not only to deconstruct what’s on the page, but also to be able to deconstruct what’s not on the page.

4. What are the components of a good script?

There’s so much that goes into writing a great screenplay. It’s a skill to bring those elements together. You can have a terrific idea, but executing that idea is the major challenge. Creating an original concept, or taking a tried and true concept and telling it from a new point of view is one step in crafting good script.

Understanding structure, pace, and how tension and conflict works is pivotal to the craft. Creating deep and complex characters with not only a well-identified external goal, but with inner conflict and struggle is part of writing a great character. Giving characters strong moral choices to make and defining moments can create powerful storytelling. Powerful dialogue can propel a script. Incorporating an emotional theme that’s well assimilated into the script can make for a compelling script.

A writer should be asking questions like this: Is there a ticking clock tension and sufficient tension to sustain the story? Does this tension build? Is there a relationship component to the story? Is there a satisfying ending that involves a hero/foe conflict or confrontation?

A reader knows a great script when they can visualize it as a film in their mind vs. on the page.

For me, the most significant component of a great script is that the script provides an emotional experience, in which not only does the character learn something about life, but so do I.

5. What are some of the most common mistakes you see?

Normally, it’s the lack of the writer having the ability to convey a clear and compelling story. It can be challenging to read a script and not be able to visualize what the writer is attempting to convey. I honestly want to be able to provide constructive notes, but sometimes you run into a script and you’re simply bewildered by what the script is truly about. This commonly occurs when the writer doesn’t stay on task with the goal and the script isn’t goal-focused. The hero may not be proactive. Without a strong structure it’s going to be a long, difficult read for the reader.

For new writers, certainly professional presentation is a common mistake. First impressions are important, but these elements are easily correctable. Writing “ordinary” characters or on the nose dialogue is also more typical with new writers. Some writers tend to over write. They add dialogue when dialogue isn’t necessary and they forget the power of visual storytelling.

6. What story tropes are you just tired of seeing?

I recently wrote a blogpost on this topic. Several scripts involved slacker men playing video games. Script after script, all these immature men are obsessed with video games. Some of the other common tropes for me are lines of dialogue that make me cringe. My most feared line in a script has to be: “You’ll never get away with this.” If I read a comedy, most likely in the first act the character will lose their job, get evicted, and break-up with their significant other. If the character races to the airport at the end of the script to stop the person they love from leaving, it’s not original. I have to admit I’m not fond of the script in which the world is in jeopardy of being blown up. There’s always a way of taking the tried and true, and crafting it to be more refreshing.

7. What are the 3 most important rules every writer should know?

-Learn the craft. Study structure. Understand conflict and tension.

-Understand it’s a creative process. Feedback, coverage, and rewrites are part of the process. It’s not personal.

-Be passionate about what you write.

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?

I have been fortunate to read some great scripts ranging from American Sniper to Killing Your Darlings to Albert Nobbs. All were recommends. I’ve read other scripts that I have given a recommend to and they are in development. On the other hand, I have given “consider” to scripts that have also been produced. I’ve watched some of films I’ve recommended and haven’t enjoyed the film as much as the script. “Rating” a script can be somewhat subjective. I’ve given recommends on scripts that others have passed on, and I’ve passed on scripts others have given considers or recommends to. The lesson for writers is that every reader is not always going to love or like your script. That’s okay. You also shouldn’t just rely on one reader. I always encourage getting coverage from more than one professional reader to get a good idea of how readers are reacting to your script. Make sure they know their craft.

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

There are many screenwriting contests, so I think the writer has to be selective in which ones they enter. It can be an opportunity for writers to get their name out in the community and receive feedback, but it’s also a business and can be costly. A writer has to remember that placing in a contest doesn’t necessarily mean the script will receive a consider or recommend from a professional reader. On the other hand, a great script may not place. Contests are very dependent on the reader you get.

10. How can people get in touch with you to find out more about the services you provide?

I am always open to writers or potential readers. They can contact me at afilmwriter@aol.com or visit my website afilmwriter.com

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

Cinnamon Crumble Apple Pie.