A very hands-on Q&A with Geoffrey Calhoun

7D25AB88A8B448A9ABA793263FCBF2F3

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.

How does “gamut” make you feel?

emotions
Somewhere in here

No matter what your screenplay is about, or what genre it is, it really comes down to one thing: telling a story about the characters and what happens to them.

While some may put more emphasis on the latter part with its vast number of variables and possibilities, it’s equally important to put a lot of effort into developing the former.

You want your characters to be relatable. Let us see ourselves, or at least part of ourselves, in them. How they act and interact. What they do. Even if it’s within a completely ridiculous or unbelievable scenario.

A good example: the works of Judd Apatow. “Comedies with heart,” is often used to describe them. By injecting emotion into what might otherwise be just something silly, he adds that extra layer of humanity. Notice you never heard the phrase “wacky hijinks ensue”? Because it’s about the emotion within the comedy, not just going for the cheap laugh.

Nobody only experiences one emotion, and neither should the fictional population within your pages. If a character’s happy, sad, or angry, show us why. Don’t hold back. Put it there for us to see.

Do they act like a real person? Is this how they would act in this kind of situation? Is it a real reaction or a “movie” reaction? Getting your characters to act using their emotions makes them come across as more realistic, which makes for a better story.

“The characters are too one-dimensional,” or “He/She’s just a one-note character.”  Heard those before? If your character only acts one way, or remains static and never changes, or doesn’t even react accordingly, that’s what the response will most likely be. And you don’t want that.

A savvy writer knows how to use emotion without being blatant about it. Maybe it’s a subtle action, or a turn of phrase, or the subtext within a line of dialogue.

Find the way that works best to develop and advance the character both within their own story and the story overall.

Digging towards the emotional core

big-dig
I don’t think you’ll need that much gear

Due to both of our busy schedules, my daughter and I go for some quality father-daughter time when we can. Sometimes that means we’ll watch something together.

It might be a movie or a TV show. We’re not picky. No shame in admitting she’s picked up my enjoyment of superhero- and fantasy-based (LOTR, Hobbit, etc) material.

Despite her occasionally sullen and blase teen exterior, V is, at heart, an empathetic and sensitive soul, so no matter what we’re watching, if there’s any kind of hint of emotional resonance in a particular scene, she will feel the full brunt of whatever emotion the film/program is conveying.

Almost any kind of a joke (the sillier the better), and she laughs her head off. Something scary and she hides under the blanket. Something sad and she immediately tears up. Even after years of me saying, “You do know this is just a movie/TV show, right?”, her emotional receptors remain cranked up to 11 (and the teenager reappears with the immediate response, “Will you stop saying that?”)

Looking at these from the writer’s perspective, I can’t help but examine how the writers were able to do that. How did they get to the emotional core of the scene? Jokes and scares aren’t hard to figure out, even though each is pretty subjective, but a good, solid tug at the heartstrings, when done effectively, can be some pretty intense stuff.

A key part is making it relatable. Love. Joy. Heartbreak. Loss. All are universal. Everyone’s experienced them in some form or another. As the writer, you want to convey that emotion so anybody reading or watching your story will not only immediately identify it, but also connect with it on a personal level.

Like this. One of the most effective emotional sequences ever. And not a single word spoken. If you don’t feel anything as a result of watching it, you have no soul.

Even though we may not have gone through the same things as Carl and Ellie, we can relate to a lot, if not all of it.

This isn’t saying that every scene has to be a major tearjerker, but you want to really let us know how the characters are feeling in that particular moment. They’re human, so they feel the exact same things we do. Make us feel how they’re feeling.

Each scene serves three purposes: to advance the story, the characters, and the theme. Let the emotions come through via the best way you envision them enhancing the scene (making sure not to overdo it). It might take a few tries, but the deeper you venture into the emotional level, the easier it’ll get for you to show it, and it’ll also be easier for us to identify it and relate to it.