A very hands-on Q&A with Geoffrey Calhoun

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Geoffrey D. Calhoun of wefixyourscript.com is listed as a Top 100 Indie Writer in the World. He has optioned several screenplays and has worked as a writer on two features coming out in 2017: The Little Girl and Studio 5. His multi-award-winning thriller Pink Bunny is scheduled for a 2018 release. Geoffrey has won multiple screenwriting awards and has worked as a producer, an assistant director, and director on indie film productions. He has been sought out by studios as a script consultant and a re-writer for various stages of development and production.

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

The last thing I watched I couldn’t stop thinking about was Arrival. I loved this film. It had depth and really explored her character. I loved how they played around with the structure of the film in creative ways that really built up to a climax. It was fantastic. I could see how Eric Heisserer did over 100 drafts to make that story perfect.

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

I actually began writing on a bet. A friend of mine was an editor for a local kids show. He wanted to push himself to write a script so he challenged me to see who could write better. Personally, I wasn’t interested because I have dyslexia. I agreed to do it, and ended up really enjoying the process. Since then it became more than a passion, almost like a volition. I wanted to be the best screenwriter I could possible be, so I started studying and learning from the greats such as Syd Field, Robert McKee, Viki King and reading screenplays by modern legends as well like David Goyer, Jonathan Nolan, and Christopher McQuarrie.

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

I think it can be learned. It comes with time. The average movie attendee can recognize a bad film. Now, some people prefer bad films, but that’s a whole different form of self- torture (wink). I like this question. It reminds me of the debate about raw talent vs. learned skill. Some teachers out there believe if you don’t have a modicum of innate talent with writing, then you’ll never be a good writer. I completely disagree with this. Their defense is that this is an art, and thus you must have a certain amount of “taste” in order to know the difference between what’s good and bad. I think what we do is more than an art. It’s a craft; a learned skill plain and simple. Something that can be mastered with just two things, time and practice. That’s all you need. We are craftsmen, like the blacksmiths of old. At first creating something small and simple like a horseshoe, then with time we master our skill and create compelling stories and works of art like the ornate armors of old.

4. What are the components of a good script?

It all starts with having something to say in your script. What are we trying to pass off to the audience? What do we want to tell them about life? Something that will open their eyes and help them see things from a new perspective? Or something that will reassure them and speak to the struggles they are going through? When we have a theme like this and we pair it with a sympathetic character, then we create a compelling story that’s unforgettable and emotionally moving. Take Arrival. It’s about a woman’s struggle with loss. That’s something that speaks to everyone, which is why it resonated so well with people.

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

Wow, that’s a tough one. I see mistakes of all kinds from new screenwriters to professionals. One mistake I often see is having underdeveloped characters. They’re superficial and are around just to be a face. Sometimes they’re even described as pretty or handsome, which reinforces this. When I get hired for a rewrite, the first thing I do is take the characters and layer in depth to make them more human and sympathetic; give them reasons to do what they’re doing and why they make the choices they do. I create depth by adding to them traits that we all suffer from but never talk about such as secretly insecure, lonely, or lost, etc.

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

This is more a genre thing for me but I’m sick of the false ending in horror films. Here we spend at least 90 minutes emotionally involved with a character. If it’s a good one – Dawn of the Dead is a good example – then you’ll have me on my seat the entire film. Then at the end, the lucky few characters that have survived finally make it…until there’s a surprise jump scare right before the credits roll and we discover the characters we’d been rooting for this whole time never make it. I’m so frustrated by this. For me it feels like a waste of my time to discover they all die because of a dirty trope in the end.

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

1) STEAL: Steal everything from everyone. Writers are the best thieves in the world. I’m not saying plagiarize, but when you find a technique or scene that really works for you, break it down and make it your own so you can add it to your toolbox.

2) STUDY: This goes with stealing. Learn from the masters. Writers like John August have a blog that you should be following. Don’t stop there. Learn from the masters that taught the master such as Aristotle. If you pay attention, all the great screenwriters will quote Aristotle. There’s a reason for that.

3) IGNORE THE BS: There’s a lot of flack out there towards aspiring screenwriters. I recently read an article where a Hollywood writer was bragging about telling screenwriters they’ll never make it. He tells them they should just give up because they aren’t talented. It’s BS. You can make it, but it takes time. A long time. If a dyslexic from Detroit can make it, then you can too. One of the reasons I founded wefixyourscript.com was exactly for that purpose: to give screenwriters that extra helping hand to not just  improve upon their screenplays, but to help them become better screenwriters. That’s why we include the one-on-one consultation.

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

Definitely. In fact, I just did some coverage on a dramatic short that had a fantastic concept. I helped them tweak it, but only a little. I guarantee it won’t have a dry eye in the audience when it films. Unfortunately, that’s all I can say about it.

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

I think they’re great, and I strongly recommend contests in festivals. That’s where you can really make headway as a writer. You need to network and make connections to build up your reputation. You can meet other writers, producers, and directors that will eventually land you in a spot where you’ll be getting work. When you go to these fests you want to be the life of the party. Have fun. Get yourself out there. And make sure you’re handing out business cards. It will get you work.

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

They can contact us at info@wefixyourscript.com. They can also sign up for a free 15-minute consultation on our website. With our consultation, we offer ways to help your work or answer any questions about us or the industry in general. We’ve had some great feedback on this service.

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

I’ve got to go with mom’s pumpkin pie. There is one caveat though: it must be smothered with a big dollop of whipped cream.

Things that get in the way

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Today’s guest post comes courtesy of psychotherapist and script doctor/coach David Silverman.

As a writer-producer in film and tv, David Silverman worked on shows like Mork and Mindy, One Day at a Time, ALF, Newhart, Dilbert, Duckman and South Park. He learned firsthand that “staring into a computer screen day after day could make you feel isolated, frustrated, anxious and even depressed.” Today, he works as a script doctor/coach and as a psychotherapist where he “tries to help writers cope with creative blocks, mountains of rejection, job insecurities, stress, couples problems and the occasional knife in the back.”

A while back, I gave a talk to a group for writers trying to get back into the workforce after a hiatus. It was titled “Things That Get In The Way of Writing”. A quick bit of backstory about this organization: it’s made up of television writers; WGA members who won a class action suit against the studios based on ageism. 

They were able to show that they’d lost income and jobs because they were labeled as “old.” The studios paid out some settlements and included was membership in this group. So there were a lot of older disgruntled writers; some who’d created TV shows, some who’d won Emmys.

They were all so used to getting paid lots of money to write when they were last working, the prospect of writing on speculation didn’t motivate them much. Yet they all wanted to reinvent themselves and restart their writing careers. Some were writing screenplays, others were writing half-hour and hour TV writing samples.

Everything seemed to get in the way of writing for them. So we talked about how writers get motivated to write  – without being paid. They’d done it before, but times were different now.

Having done so much research into the subject of productivity and motivation for screenwriters and TV writers, I didn’t know where to begin. I ended up talking about the methods that make the most sense to me, that I actually use myself, or that I find most interesting.

Most ideas about how people can change themselves involve changing the way they think about things. Psychologists call this “reframing.” Look at things differently. For example, too many writers believe they’ll write one screenplay that will sell and make them rich and famous. Not likely. Sorry.

Instead, it helps to think of this whole selling scripts thing as a long-term process. Tell yourself you’re going to write dozens of spec screenplays over your career. It’s possible that none of them will sell. However, they may get you an agent or a pitch session with a producer.

The producer will hopefully say, “I love the writing in your script! Tell me about some of your other ideas.” They may also say, “Your writing is great and we think you’d be perfect to write this feature idea.” Either way you get paid to write.

So don’t get hung up about having to sell each screenplay you write. Hopefully you will sell one or two. However, writing spec screenplays can have many positive outcomes besides selling. Some writers get locked into this wrong-headed way of thinking. If that first script doesn’t sell, they give up. Or they keep trying to sell that same script for the rest of their lives.

Thinking about the long view also helps you handle rejection better. A rejection (such as when the studio says they’re not going to buy your script) isn’t a soul-crushing experience when you realize there are other positive outcomes that come from writing a spec script.

Another favorite reframe comes from the Woody Allen quote “80% of success is showing up.” It simplifies the writing process. It’s always overwhelming to think of sitting down and immediately writing this great Nicholl-winning script.

Break down the process. The simplest piece is “show up at the keyboard.” A screenplay is not going to pop out fully-formed. Everybody should think about writing as a process. You show up. You have some ideas. You figure it out.

You break the script down into an outline, a treatment, a first draft. Don’t expect perfection in a first draft. In fact, don’t think about writing a perfect script. Write a great script, or a script that will sell.

I remember trying to be a perfectionist about writing a screenplay. I got all detail-oriented, and polished each scene and every piece of dialogue. However, the more I focused on polishing up the little stuff, I seemed to lose track of the big picture. Be careful – the big picture is the one that counts. Tell a great story.

So I brought up these ways to think about writing differently in my talk. Some of the writers thought they could put these ideas to work. I noticed, however, that some of these writers were truly stuck and needed real psychotherapy.

There’s another thing that gets in the way of writing – overthinking. How can you write when your mind is telling you you’re not good enough? Because that’s what your parents told you your whole life? How can you write when you have doubts? Will this sell? Am I wasting my time with this genre?

You have to center yourself and stop dwelling on all these thought while you write. You have to be able to clear your mind. And that’s not easy, because we have all these expectations. Our brains are more than happy to supply us with reasons we’ll never succeed. Learn to let go of those thoughts.

It’s basically Darwinism at play – the survival of the species. A gazillion years ago when sabertooth tigers were lurking around every corner, our brains needed to keep us hyper-vigilant. We doubted all our moves. We lived in a state of “fight, flight or freeze.”

We got civilized, but our brains didn’t catch up. We still overthink everything and have doubts. You can’t write with all those thoughts getting in the way. You have to center. Different writers have done it in different ways. Some hole up in a beach house, or a cabin in the woods. Some go to Starbucks.

Some, like Stephen King, wrote through a haze of beer and cocaine. Phillip K Dick wrote everything – the stories that spawned Minority Report, Blade Runner, and The Man in the High Castle – on amphetamines.

The key is not to let all the noise and overthinking interfere with your writing. Some people have simple rituals that help them center. They make a cup of tea and listen to their favorite music. They go to the same hotel lobby everyday to write.     

Rituals calm us down because of their familiarity. So get that latte at Starbucks, drive to the art gallery where you like to write, open your laptop, plug in your earbuds and listen to U2. Whatever works for you. Then stick to it.

Perseverance pays off.

Remember that bunch of “old” writers? I found out they sold a pilot – no doubt from putting all of my advice to work. But in all seriousness, it was more likely they were doing what I advised them to do – not because I gave that talk, but because that’s why they were successful in the first place.

A lot of writers have learned these lessons, these ways of thinking about their craft and their careers, through experience. Some might have known about them instinctively. Hopefully some of this advice can help you skip years of learning the hard way.

Proofreading Q&A panel – part 2

Tammy Gross
Tammy Gross
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Bill Donovan and friend (friend occupying Bill’s lap)

Here is the second of a two-part panel discussion with professional proofreaders Tammy Gross of proofmyspec.com and Bill Donovan of screenwritingcommunity.net about proofreading and its connection with screenwriting, along with some info about the proofreaders themselves.

Part one can be found here.

When you proofread a screenplay, do you also take on the role of story analyst?

Tammy Gross (TG): Not as a primary service, but yes. Since I’m reading it anyway, I do offer inexpensive add-ons if a writer wants some basic “coverage.” And even with proofreading, there are some story issues which may be addressed during the edit if there’s a problem with consistency and/or continuity.

Before I started my proofreading service, I took a course on story analysis and offered a coverage service. I soon learned how bad formatting and text were too distracting for my left brain. It’s agony for me to look past multiple errors/issues.

Bill Donovan (BD): To a limited degree, yes. However, I put these and other words at the top of every set of notes I give back with the proofread copy:

“These are not the words of an expert script analyst … I strongly hope not to hurt your feelings … To the extent that you find my comments on your story to be wrong-headed, pointless, or insensitive, you are hereby counseled and, with regret for any hurt feelings, encouraged to ignore them.”

What’s your writing background?

TG: The agony of trying to look past typos sent me down an editing path in my 20s. I read a book published through a major publishing house that had multiple errors in the soft-cover version. I sent my corrections to the publisher, and the author contacted me personally to thank me. Ever since, I’ve honed my editing skills.

My life plan was “sing while I’m young and write when I’m old.” I did write a couple of novels in my 20s and managed to have some sort of writing or editing responsibility in every “real” job I ever worked, whether at a church, a bank or Fortune 500 company.

In 2008, while taking a break from singing, I learned about a couple of female pirates. These historical swashbuckling stories fascinated me. I traveled the world researching pirates (including falling victim to real ones in the Bahamas) and learning about writing screenplays. I haven’t looked back.

So far, every script I’ve entered in contests has placed or won. In fact, my first script won the first contest I ever entered. Since then, I’ve realized that my ability to write in “the language of screenplay” was getting me further than better storytellers due to their weaker technical skills.

I’m currently writing an adventure story for a producer who found me because of one of my scripts (which I also turned into a YA book).

BD: -Screenplay contest judge (three contests)
-Screenplay contest executive (11 screenplay contests, 5 scene-writing contests, two logline contests)
-Two of my own screenplays won three first prizes equaling $30,104 in prize money in today’s dollars.
-Former Editor of Creative Screenwriting Magazine
-Author of three e-books for screenwriters to date; a fourth is upcoming
-USC Master of Fine Arts, Screenwriting and Filmmaking
-Copy desk chief at a daily newspaper, the Morristown, N.J., Daily Record
-Copy editor at the Associated Press
-Copy editor at another daily newspaper, The Record, Hackensack, N.J.
-Copy editor for several business-to-business trade publications
-11,200+ published pages and screenplays edited/proofread over the years
-News stories I wrote and/or edited won five national journalism awards.

How’d you get into proofreading?

TG: Totally by accident. I started a screenwriting group where we would table-read 10 pages of each writer’s script. I found myself making lots of corrections on everybody’s pages, and many of them asked me to proofread their entire scripts. It was a little overwhelming, due to also running a thriving music-arranging business at the time, so I put up a website to help me prioritize and charged a low but fair fee.

And it’s good that I did, because after the 2007 writers’ strike, followed by the recession, the spec-writing business boomed while music arranging fizzled.

BD: For an upcoming book, I surveyed and interviewed producers, agents, screenplay readers, directors, contest judges, and contest executives, asking them for their comments on the most common and the worst mistakes they see. Within the screenplay, proofreading and editing mistakes were named both the most common and most disliked by people in the industry.

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

TG: The order page functions as a quote calculator, or send an email anytime: Proofreader@ProofMySpec.com

BD: Email me at Bill@screenwritingcommunity.net or use this form at my website.

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

TG: Humble. I should eat more of that and less Key lime.

BD: 1. Great pizza. 2. Pumpkin, my own homemade recipe. 3. Blueberry, Comstock filling, augmented.

You don’t know me, but can you help me?

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Let’s not complicate things with petty details like who I am

So this email arrived yesterday.

“Hi, Paul, Do you know any past or current Executive Producers that might be eager to engage in a new multi-billion dollar franchise that could be as good as “Harry Potter” or “Star Wars”?”

Immediate smartass answer: Well, of course I do, person-I’ve-never-communicated-with-before! I like the cut of your jib, especially with that totally unsolicited request for help! I’ll pass your info along straightaway! Even though I think smoking is a totally unhealthy thing, I’m going to learn how just to be able to literally light cigars with hundred-dollar bills which I’ll be grabbing out of the huge bags o’cash which will no doubt be continuously rolling in once Hollywood gets its mitts on this!

Secondary upon-reflection answer: Do you really think this is the best approach?

Sure, we’ve been connected on a networking site for several years, but as far as I can recall, have had absolutely no interaction during that time. No emails. No comments on a post. Not even a single “Hey, how’s it going?” And then, totally out of the blue, you come to me and ask for help.

I’m more than happy to help somebody out when I can, but it has to be somebody I know, somebody I’ve communicated with, and somebody I think is worth helping. Apart from this nebulous “connection” we have, to me you’re little more than a total stranger.

And you’re not asking for just any kind of help. You have what you proclaim to be “the next big thing”. If I had a dollar for every time I’ve heard or read that about a script/story/idea, I’d be able to fund my own franchise.

It’s great that you have a high opinion of your material, as you should, but keep in mind you might be the only one who does. You can prognosticate all you want, but that’s not going to impact anything. You can’t say something’s going to be a hit because you want it to be.

I’m still a little fuzzy on the details, but I think the title “Executive Producer” depends on the extent of that person’s involvement with the project. Until then, I believe “producer” is the appropriate title. Feel free to enlighten the rest of us in the comment section.

Let’s also discuss the fact that you sent this to me. Me. Why? I’m not exactly Mr Industry Insider. In fact, I’m more likely in the same boat as you; a nobody busting his ass trying to establish a career. Did you know that? Did you do any research, or are you just sending this to as many people as possible, hoping one of them works out?

I never responded to the email in question, simply because I don’t think it’s worth it. I suspect anything short of “Here are those names you asked for” would not be welcome, let alone “This is a really unprofessional email, and here’s why”. As always, I wish them the best of luck.

I’ll admit I’ve made a lot of mistakes over the years, but each one has been a learning experience unto itself. I’ve learned how to network, how to communicate, and how to interact. I know how to seek out help and how to offer it. I’m a firm believer in researching and finding out everything I can about whatever it is I’m working on.

I always strive to be as professional as I can when it comes to this sort of thing. Everybody’s a potential future partner/connection/resource, but I don’t take it for granted.

I’ll treat you with respect provided you do the same.

Q & A with Rick Ramage of The Screenplay Show

Rick Ramage

Rick Ramage is a writer, director and producer with numerous credits on major motion pictures and television shows. During his 25-year career as a screenwriter, he has set up or sold over 40 scripts in Hollywood.

Rick’s latest project is The Screenplay Show, a new 10-part online series to educate about the art, craft and business of screenwriting and storytelling.

What is The Screenplay Show, and what inspired you to do it?

The Screenplay Show is an actual show about writing, presented in a fun, narrative style. It’s a ten-part webseries that will focus on the trade secrets I’ve developed (and learned) from Hollywood’s most talented writers, directors and producers during my 25-year career.

As to what inspired it, a few years ago, a buddy of mine started a writer/actor group called, “Write to Act” and he asked me to put on a seminar for his people in Denver. I was reluctant to say the least. For the last 25 years, my only job has been writing and producing film and television. Speaking in public? Not so much. He kept twisting my arm and after about a year of hounding me, I finally gave in and promised him I would do a one-day seminar. Then reality hit me: What could I possibly say for six hours that would interest other writers and actors? In an effort to alleviate the poor souls who would be stuck looking at my ugly mug all day, I pulled in my editor and we put together a long list of writing samples and clips covering every element of screenwriting so they could actually SEE what I was talking about – instead of listening to me pontificate as I clumsily tried to explain it.

For instance, using stills from The Shining, I put every moment of Jack’s character arc into a still photo sequence. You can actually visually track his descent into madness. I then put the page number from the script beside each expression. The audience literally gasped, because it was the first time they had actually seen a character arc moment by moment. I did the same thing for all the other elements of storytelling. As screenwriters, we have to write visually – so I figured it would work for seminars, too. But one thing really surprised me: the audience had as many questions about the writing experience as they did about the nuts and bolts. Personally, I’ve always been fascinated by the methods of actors, athletes, and other writers, so I guess it’s fair that they wanted to know about my method – and how a life and career in the film business actually works.

What sets The Screenplay Show apart from other online seminars?

One look at the teasers we’re putting out there will let people know this isn’t your father’s seminar. I can’t honestly say I had an epiphany and The Screenplay Show was suddenly born. But doing the seminars over the next year or two, it definitely evolved into a rolling narrative; my personal Hollywood experience merged into describing actual methods that have worked for me and many of my colleagues. So far, I’ve set up or sold over 40 scripts. But I have to give credit where credit is due: I didn’t learn how to survive the biz, or sell scripts from books. I learned from working closely with tremendously gracious agents, managers, producers, directors, executives and actors who were generous enough to share their knowledge with me for one purpose – to get the story right.

My goal with The Screenplay Show is to share what they’ve taught me with other writers and storytellers. And when I say storytellers, I mean anybody involved in the film and television business. Directors, actors, producers, cinematographers, and even executives. They are storytellers because they impact the script and help bring it to life.

Tell us a little about your writing background. How did you get started?

I didn’t finish my degree. Instead I went into business with my dad, selling tractors. But I wanted to be well-read and well-spoken, so I sat down with 100 of the great novels and voraciously read them back-to-back. In the process, I began to see how the authors worked the elements. The storytelling process fascinated me. So when I was out covering my sales territory, I began to daydream about becoming a writer. Eventually, I tried to write a novel. Long story short – it sucked. But the person who told me it wasn’t very good also told me I was a good writer. That seemed like a contradiction, but it wasn’t. He told me I had a very visual style, and suggested I write a screenplay. So I turned my bad novel into a bad screenplay! (But that process lit a fuse in me, and I’ve never looked back.)

What have you recently read or watched that you thought was incredibly well-written?

When I’m deep into writing one of my own scripts, I don’t usually watch or read much. By the end of the day, more words and plot lines are the last thing I need to relax. But two shows I try not to miss are Game of Thrones and House of Cards. From their production values, to the great characters, to the tight, well structured scripts, I admire them both a great deal. In fact that’s how I can tell when I’m in the hands of great storytellers – they make me forget I’m a writer. I become a fan.

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

Definitely. Recognizing good writing can and certainly should be taught and learned. I’ve known some executives who were by no means writers, yet they learned to identify good writing and write smart notes. Their jobs depend on it. I’ve learned to recognize good writing by the way it makes me disappear into it.

What do you consider the components of a good script?

For me, the single most important component of a good script is simply this: It must have soul. I need to feel what the writer is trying to say through his or her characters. If that happens, I know the other elements are working.

What are the three most important rules a writer should know?

-Dialogue:  When to shut up and let the subtext play.

-Action:  When not to overwrite. (more often than not, you’ll lose your reader.)

-Characters:  We write in search of ourselves. (makes them real.)

How can people find out more about The Screenplay Show?

We’re really encouraging people to go to their most comfortable social media site and follow us. Also, we’re really hoping they go to www.thescreenplayshow.com and sign our landing page. We won’t bombard you with trivial junk, but we do want to build a steady audience so we can let people know about events and new material.

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

My grandmother made the best pie I’ve ever had. Golden, flaky crust made from scratch, crisp green apples sliced thin, and lots of cinnamon! I do miss that woman.