-Two weeks ago, I ran the SoFi Golden Gate Half-marathon with a time of 2:01:16. Not bad, especially considering the amount of uphill.
This Sunday I’ll be across the Bay and running the Berkeley Half-marathon for the first time (it’s also my 5th and final race for this year). The course is a little flatter than San Francisco, so while coming in under 1:55 would be great, I’ll also be happy with anything under 2 hours.
Once again proving that the journey to succeed really is a (half) marathon, not a sprint.
Chances are you came to this blog/post via a link from an online screenwriting group or forum. (If you’re a first-timer – welcome! Feel free to subscribe.)
When time permits, I’ll browse through some of the groups to check out what kinds of subjects and topics are being discussed. There are also questions. A LOT of questions. Those can range from “How do I get an agent?” to “What’s the proper format for this?” to “How do these pages look?”, all of which will yield a wide variety of answers.
I don’t usually comment because most of the time I come into it late and somebody with just as much if not more experience than me has already said what I was going to say.
There was a recent post where somebody asked what the best screenwriting book was. Answers ranged from several well-known titles to “read scripts instead”.
To a certain extent, I think those are both good answers. The books that helped me the most were Dave Trottier’s The Screenwriting Bible, primarily in terms of getting a good handle on formatting and the basics of structure, and Paul Lucey’s Story Sense, which expanded on both (and appears to be out of print, but still worth tracking down a copy.)
While some books might help you get a grasp of the basics, the real learning comes from immersing yourself in reading scripts and working on your own. Another helpful practice is to watch a film with the script in hand, following along with the action onscreen while seeing how it’s written on the page.
Reading a script can really help show you what should and shouldn’t be there, which you can then apply to yours.
This doesn’t just apply if you’re just starting out. I still get a kick out of reading scripts, whether it’s from the Black List, or one somebody recommended, or even when someone asks me for notes. Bonus points if it’s somebody within my network of writing colleagues; I know they can deliver the goods, and that’ll be reflected in their script.
I’ve also seen my fair share of terrible scripts, usually identified as such by the content of the first page. If that’s not good, there’s little hope of improvement for the rest of it. The silver lining here is you will quickly see how NOT to do it, thereby ensuring you won’t duplicate it.
So while you should definitely devote time to writing your script, make sure you set some time aside to read scripts. You’ll be entertained AND learn at the same time.
-Filmmaker/script consultant/friend of the blogJimmy George is offering a special limited-time discount for first-time clients – 50% off all script services. No matter what you’re working on, whether it’s a feature, a short, or TV, Jimmy’s ready to help you out. But better hurry – the offer’s only good until October 11th.
Stepping onto my proverbial soapbox to utter a few thoughts on something that needs to be said.
If you’re part of an online forum, and you post your material in that forum seeking feedback from other members, you will get all kinds of responses. Some will be positive, and some will be negative – maybe to point of being outright condescending.
How do you respond to the positive ones?
“Thanks. I appreciate it.” Maybe elaborate a little, or a follow-up question or two. Possibly even ask to communicate with the person in private.
The negative and/or condescending ones?
That’s it. No matter how much you feel the urge to respond with a stinging retort written in ALL CAPS and a lot of exclamation points, just don’t. You asked for comments and you got ’em.
A thick skin is a necessity in this business. Arguing or getting angry because you don’t like what somebody said won’t help you or your writing, and it makes you look petty and unprofessional.
Now let’s address the other side.
Somebody asks you for notes, and based on the quality of the material, you do the best you can, trying to be as helpful as possible. Be honest with your suggestions of what needs to be fixed.
Does it have potential? Mention that. Are there problems? Identify them and how they could be fixed.
If the writing reflects an amateur, or a poorly constructed idea, point out how and why in a constructive manner. There’s no need to be insulting or talk down to them. Chances are they’re still learning, so they don’t know as much as you do.
They may not like what you have to say, maybe even going so far as to insult you and your experience, or deride your comments. But that’s on them. You’ve done your part.
So let’s review.
You want help? Take what you get, even if you don’t like it. After your temper cools down, take a serious look at what was said. There may be something in there worth using.
Somebody asks you for help? Be professional and as helpful as you can. Don’t hold their lack of experience against them.
No matter whether you’re giving or receiving, be patient, tolerant, and open-minded.
An acquaintance recently told me about a small production company seeking material, and they (the acquaintance) thought one of my scripts might be a good match for it.
“Great!” I responded. “What do they need?”
“Your synopsis (with a logline), along with your writing resume. If they like what they see, they’ll ask for the script.”
Hold on one second. I had the synopsis, but a writing resume? Never heard of that before, let alone including it with the script material. Did such a thing even exist? What would it even look like? Was this some new trend of which I was unaware?
Apparently they do exist, but based on my experience and research, it sounds like being asked to provide one happens very, very rarely.
You’re probably thinking “Couldn’t they just look you up on IMDB Pro?” They could, but that doesn’t contain all my relevant details and information.
But this place wanted a resume, so I had to put one together. What to put on it?
I looked up what I could for “writer’s resume”, but got a lot of non-screenwriting-related information and examples. This resulted in a lot of tinkering around and adapting the best I could.
It all boils down to listing all of your screenwriting and screenwriting-related experience, along with any applicable accomplishments. Many writers with a personal website or blog have a page featuring some kind of version of it.
I wasn’t a produced writer, except for a writing credit on somebody else’s film school short, so I could mention that. Plus some material I’d written and filmed years ago as part of a freelance assignment which at last check was still available on YouTube.
Some of my scripts have won awards in reputable competitions. I listed the titles and their assorted results.
I included being a reader for a few screenwriting contests. (True!)
Oh yeah. THIS BLOG. Been going strong for years, plus a few accolades along the way. This triggered the realization that I could use some other screenwriting-related materials I’d written.
Turns out I had a somewhat decent amount of material to work with.
A little editing and revising, and off it went, along with the one-pager.
Unfortunately, the prodco passed. Not because of my lack of experience, but the script “just wasn’t what they were looking for.” No big surprise and no big deal.
But now I have a writer’s resume, which I keep updated. Chances are nobody’ll ever ask for it again, but I’m glad I put it together and have it ready to go. Just in case. Stranger things have happened.
There’s no doubt that some follow-up thoughts and comments to this will be of a “this is the most ridiculous thing I’ve ever heard” nature. And in some ways, I totally agree. But I chalk it up to just adding another tool to your arsenal of self-marketing materials. It took all of 15-20 minutes to put it together, so no harm done.
Normally, this would be the end of the post, but part of the reason I wrote about this is there are always writers on assorted online forums seeking feedback from other writers, and they get a lot of volunteers eager to offer up their two cents.
While it’s great that somebody’s so willing to help you out, what if their level of experience isn’t similar to yours? What if you’ve written ten scripts, and they’ve written two? Or still working on their first one? How much value would you give their notes?
It’s not a bad thing to ask somebody about their writing experience. It’s also not the best idea to ask a bunch of strangers to give you notes. You’re much better off building and developing strong professional relationships. Most seasoned writers don’t seem to have a problem discussing their experience.
So the next time somebody you’re not too familiar with says they’d be more than happy to give you notes on your script, don’t feel bad asking them how much experience they’ve had.
Or you could even ask to see their writing resume.
I can’t remember exactly where I saw it, but a couple of days ago there was a comment in a screenwriting forum that read something like “All you wannabe dreamers are just wasting your time”.
Oh, how I adore the encouraging words of total strangers.
But in all seriousness, I take issue with that statement. Nothing wannabe about me at all. I’m a total dreamer, through and through, and I don’t see this as wasting my time.
Far from it.
I think up stories and put ’em down on paper, and I really like that I can do that. A lot. (So much to the point that I think I could actually make a living at it. Here’s hoping, anyway.)
Other dreamers express themselves using any form of different methods. They’ll paint, draw, sculpt, compose, act, or sing. And it’s probably correct in assuming they get the same joy out of doing it that I do.
Is everybody good at it? No. Does that mean they shouldn’t even try? Of course not. We do it because we enjoy it.
One consequence about being a dreamer is that there will always be somebody like that anonymous naysayer. You don’t have to listen to them. It’s a lot easier to tear someone down than it is to build them up. That person may have had been bad experiences trying to do the same thing, and if they couldn’t do it, then nobody else can (or so the theory goes).
But you should also be realistic. Not everybody’s going to create The Most Amazing Thing Ever. Don’t let that stop you from trying. Speaking from my own perspective, even though I’ve made some forward progress for both skills and career, it’s taken a long time, with the number of setbacks and disappointments being significantly higher, but despite all that, there’s nothing else I’d rather be doing. Better to put myself through all of that rather than to have given up and not tried at all.
What can I say? It’s the dreamer in me.
So here’s to all of us dreamers. Long may our imaginations and the ability and methods in which we express them reign in an effort to make the world a slightly more enjoyable place.