Q & A with Angela Bourassa and Tim Schildberger of Write/LA

Write LA Logo

hs-e1521810938693.jpgTim S

Screenwriters enter contests for a variety of reasons: industry connections, cash, software, notes on their script. And there are a lot of contests to choose from. How your script places can make a significant impact on helping you establish a screenwriting career.

And now there’s a new contest that wants to help you do just that.

Write/LA launches today (with early bird pricing in effect until April 30th), and is the brainchild of Angela Bourassa and Tim Schildberger. I had the opportunity to speak to them about it.

But first, a little background info…

Angela Bourassa is the founder and editor in chief of LA Screenwriter, a leading online resource for working and aspiring screenwriters around the world. Angela graduated from UCLA back in 2008 and has been writing feature screenplays — mostly comedy — ever since. In addition to writing, she spends much of her time wrangling her 18-month-old son, watching Survivor (#DropYourBuffs), and trying to keep track of which jail her public defender husband is visiting today.

Tim Schildberger is the founder of LiveRead/LA as well as a script consultant, writer with thirty years’ experience, an expat Australian, creator/writer of a Travel Channel comedy/reality series no one saw, and the man who led the team who found all the people for the feature film Borat. He’s a big fan of Aussie rules football (which isn’t anything like football or soccer or any other known sport) and baking treats with his twin girls for LiveRead/LA’s events.

Both of you have extensive experience providing information & resources to screenwriters. Tell us about your respective paths to get there.

Tim: I started writing for an Australian soap opera called Neighbours when I was 21. For the last twenty years I’ve been in the USA, and I’ve been a member of a writing group that holds weekly live reads. Not only has working with actors helped me enormously as a writer, but so has hearing all the feedback from my peers. That experience helped me overcome my hatred of re-writes (does anyone like re-writing?) and showed me the only path to becoming a better writer is writing more, sharing your stories, and being open to feedback. It also showed me I have an aptitude for identifying strengths and weaknesses in other people’s work, offering suggestions while maintaining the writer’s self respect.

In 2016, I decided that rather than continue assisting others with their scripts as a favor – which was becoming a little time consuming – I would put my own spin on the live read concept and build a new collaborative community, so I launched LiveRead/LA – and it’s already helped many writers. But I wanted to do more – to help more writers, to reach more people. I couldn’t make it happen alone, though, so it wasn’t until I met Angela and we discovered we had a similar sensibility about helping and giving back that Write/LA was born.

Angela: I started LA Screenwriter in 2011, and at first it was just a small blog where I would bring together produced scripts that I wanted to read and screenwriting articles that I found helpful as I worked toward my own dream of becoming a working screenwriter. But over the years, it’s really taken off, and now thousands of people a day come to the site for advice and resources, and that’s a responsibility I take very seriously.

I’ve thought about launching an annual competition before, but I honestly think that a lot of the screenwriting competitions out there – maybe even most of them – are ripoffs that don’t have the writer’s best interests at heart, and I didn’t want to be part of that cycle. I only wanted to start a competition if I had the ability to offer great prizes and great judging that could actually help writers in their careers, and that ability showed up in the form of Tim.

What prompted you to create Write/LA?

Tim: I was prompted to create Write/LA because I wanted to share what I’ve learned about writing, about the power of hearing your work read by actors, and about giving and receiving feedback. And the importance of interacting with working industry folk. Los Angeles is the global epicenter of writing for TV and film, so it seemed obvious to try to find a way to bring people to LA to learn, connect, and be celebrated for what they’ve achieved so far.

Angela: And I really wanted to be a part of Tim’s vision, because his idea for this competition and the prizes got me excited. Both of us are writers, so we know what it feels like to do well in a competition and then end up with no real benefit. We’re trying to change that by creating a competition that we both would want to enter.

What makes Write/LA different from other screenwriting competitions?

Tim: Write/LA is a competition aimed at the process of writing at a professional level. Most other competitions offer prizes in the hopes of discovering a script that can sell or a writer who can get representation. We’re focused on building command of the craft. Let’s be clear – our three grand prize winners will be writing while they’re in town. They’ll also be mingling with working writers and Industry people and gathering knowledge and experience that’s vital for lasting success. We aim to help our writers become professionals, not just one-hit wonders. It’s that combination of experience, education, and celebration that sets us apart.

What sort of criteria are you looking for in scripts that are entered?

Tim: We’re looking for evidence of command of the craft. That means we want original stories, compelling characters, an understanding of format and genre, and way above all else – an emotional connection with the material. There has been so much written about the structure of writing for TV and film: act breaks, inciting incidents, midpoint turns, and the rest. As a result, many writers are good at moving characters from point A to B to C.  But very, very few are good at letting us know what this particular story is doing to the emotional well being of the characters. An audience needs to feel something, or the script is flat.

As I like to say, no teenage girl saw Titanic ten times because it was a cool special effects movie about a boat sinking. They felt for Jack and Rose. We want to find scripts that make us feel, show us the writer knows how to tell a story, and will really benefit from the grand prize we’re offering.

Angela: That’s why we’re not judging film and television scripts separately. We’re accepting both, and we might end up with completely different genres and formats for the three grand prize winners, which I’m personally really excited about. We’re interested in emotional, engaging storytelling above all else.

Seeing as how this is Write/LA’s inaugural year, what are you hoping to establish with it in terms of opportunities for screenwriters?

Angela: We want to establish ourselves as a different kind of screenwriting competition. Our prizes stand out from the crowd, and we’re hoping a lot of writers out there understand the undeniable value of a private, intensive writing lab, an inside look at the industry, and the value of having their words read in front of an invite-only LA crowd.

Tim: Our winners will have a rare gift for any writer – a moment to be celebrated. Obviously, we hope their time with us will be a springboard to a writing career, or perhaps the final step toward breaking through, but what we’ll be focused on is helping them make connections and bring their writing up to a professional level so that – when they’re ready – they can begin long and successful writing careers.

We will also give everyone who makes the quarterfinals and above something of value. Being named a quarterfinalist feels good, but usually means little else. We want to change that.

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

Tim: Gosh. I love pie. But if you’re forcing me to choose, I think I lean toward the more pudding/custard pies. In Australia we have custard pies, which are my absolute favorite. But here in the US, I love a good banana cream pie. No disrespect to the fruit pies – as I said, I wouldn’t say no to any of them!

Angela: For me it has to be blackberry. Blackberry pies remind me of my childhood. But I’m a sucker for basically any sweets that don’t have nuts. (Apologies to the pecan pie fans out there.)

banana cream pieblackberry pie

O, the joy of a southernly jaunt

gable colbert
Fortunately, I didn’t have to resort to this

The suitcase is put away. The dirty clothes laundered. The thank-you notes sent.

All the result following your humble blogger’s recent trip to the land of potential future employment, aka Los Angeles, which continues to yield results and, hopefully, keep on doing so.

“Los Angeles? How in the world did that come that about?” you may ask, and probably just did.

I was invited. At the behest of a new media company (as in “new media” i.e. online content, not “a media company that is new”) called AfterBuzz TV that produces a myriad of programs about an even wider variety of topics – all entertainment-based.

This one in particular is called The Unproduced Table Read. As the title implies, after finding a heretofore unproduced script they deem appropriate, they assemble members of their core group of actors and do a table read of the script – first as livestream video, then viewable on Youtube. Following the read, there’s a brief q&a with the writer. Sometimes the writer’s there in person, or if they can’t make it in, done via Skype.

Seeing as how the City of Angels is an hour-long plane ride away, I opted to attend.

They’d found my fantasy-swashbuckler in the archives of the Black List website and thought it fit the bill. The producer contacted me earlier this year, and after some informative back-and-forth emails, it was all set.

Seizing the opportunity of being in town, I also went about setting up meetings of both personal and professional natures. Although the scheduling didn’t work out with a couple of potential representatives, I was able to have some very productive conversations with some exceptionally talented professional contacts.

Networking, people. Establish and maintain those contacts! SO worth it.

But getting back to the table read. It was great. And fun. The actors did a fantastic job, and as a bonus – they really, really liked the script on several levels. I’m quite thrilled with how it turned out.

Was it worth doing? I’d say so, and not just because it got an enthusiastic reception from the people involved. It’s probably a little early to see if it’ll contribute to the career-building aspect, but it definitely makes for a strong marketing tool.

If you ever get the chance for a table read to be done for one of your scripts, take it. You can even put it together yourself. It’s a great way to evaluate the material, plus the actors might provide some unexpected insight. All you need is a workable space and the ability and willingness to feed your performers.

While talking afterwards with the show’s producer and some of the actors, somebody asked what other scripts I had. I mentioned the western. “We haven’t done one of those,” was the reply. Thus raises the possibility of a return trip. Time will tell.

Ask a One-person Multimedia Empire Script Consultant!

Pilar Simpsonized
This is what happens when you offer me a choice of photos

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 Pilar Alessandra of On The Page.

Pilar Alessandra is the director of the writing program On the Page®, host of the popular On the Page Podcast and author of “The Coffee Break Screenwriter.” She started her career as Senior Story Analyst at DreamWorks SKG and, in 2001, opened the On the Page Writers’ Studio in Los Angeles. Her students and clients have written for The Walking Dead, Lost, House of Lies, Nip/Tuck and Family Guy.  They’ve sold features and pitches to Warner Bros, DreamWorks, Disney and Sony and have won the prestigious Nicholl Fellowship and Austin Screenwriting Competition.  As a teacher, Pilar has traveled the world teaching in the UK, Vietnam, Poland and across the United States.  In Los Angeles, she’s trained writers at ABC/Disney, CBS, Nickelodeon, UCLA and The Los Angeles Film School.  Pilar was named “The Script Whisperer” by Script Magazine and was one of LA Weekly’s top 100 people. For more on Pilar go to www.onthepage.tv

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

Keep an eye out for a script called “Bullies,” written by Mike Grebb, one of the writers in my writing groups. It’s dark, honest and incredibly well written.   I also just read a student’s script inspired by the classic “Shane,” that takes place in the world of Mexican drug cartels. I loved how it captured the tone of an old western, while also updating the story. That one is called “Rip Current.”

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

I was one of those oddballs who actually loved writing term papers in college. A friend of mine knew that and asked me to read a few scripts for an independent company she was working for. When I found out this was a real job, rather than just nerdy fun, I sent in my coverage samples to Amblin Entertainment and they hired me.

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

Good analysts have a strong story sense to begin with, but I they also need to keep learning about how genres and writing styles change. They need to be observers of human nature to truly empathize with and understand characters.

4. What are the components of a good script?

A fresh idea. A compelling story. Descriptive but concise scene direction. Authentic dialogue.

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

Writing “movie” characters. Many writers actually do this well, but they’re borrowing behavior and voices from characters they’ve seen onscreen, rather than inventing new ones from their own imagination.

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

A man’s family is kidnapped or missing and he wracks up a high body count getting them back.   Though to be honest, I wouldn’t mind seeing this with a female lead. Could be a fresh take.

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

-There are less “rules” in screenwriting than you think.

-Learn what those are anyway.

-Then break one of them purposefully and artfully.

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

“Adding insult to his already tragic life, a man is terrorized by a small bird.” The script is called “The Starling.” I know it sounds weird, but it’s beautiful. It was written by Matt Harris, a student of mine. It’s received lots of attention over the years, but has yet to be made. Cross your fingers.

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

Worth it because some agents and managers use the big ones to vet material. Worth it too because they’re writing contests, not selling contests, so you have a chance with a script that isn’t conventionally commercial.

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

Check out www.onthepage.tv to find out about classes, consultations, online offerings, book, DVD and the “On the Page Podcast.” You can also e-mail me directly at: pilar@onthepage.tv

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

Pumpkin, of course! It’s sweet and spicy. What’s not to love? (This is the best question ever.)