A (not) pre-written Q & A with Michael Tabb

Michael Tabb

Michael Tabb is a working screenwriter, decade-long current and active member of the WGA (the Writers Guild of America, West is the Hollywood screenwriters’ union), a multiple-award-winning screenwriting educator, and author of a film-festival-winning Best Screenplay. His new book, Prewriting Your Screenplay: A Step-By-Step Guide To Generating Stories  will be released on July 27th and explains the secret of how he develops great, cohesive script ideas.

He has developed feature film projects for and with Universal Studios, Disney Feature Animation, The Canton Company at Warner Brothers, Imagine Entertainment, Mandeville Entertainment, Intrepid Pictures, Paradox Studios, Producers Sean Daniel, Lawrence Bender, Branko Lustig, Paul Schiff, comic book icon Stan Lee, writers Jonathan Hensleigh and Evan Spiliotopoulos, Directors Thor Freudenthal and Mike Newell, and actor Dustin Hoffman.

For more information about Michael and his book, please go to and register at: www.MichaelTabbWGA.com, or follow him on Twitter – @MichaelTabb

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

I recently watched the Netflix series Lost In Space and felt it did a lot of things right. The characters are really specific and strong, each with really unique qualities that separate them from each other. There was constant danger, whether through the hostile environment or the characters that found their way into the family’s graces (be they human or robotic). Meanwhile, each episode ends with a new and engaging development that hooks the viewers to binge another episode. Between Lost in Space and Stranger Things, I think Netflix is redefining the kind of television an entire family might gather around the flat screen to watch together.

Were you always a writer, or was it something you eventually discovered you had a knack for?

Star Wars sparked my imagination, and I was drawing and creating science-fiction stories by the age of six. In middle school, I handwrote ten 20-24-page short-form adventure stories of a starship crew called The Alliance inspired by Star Trek. Each chapter was a new mission. I explored superhero and horror spoofs earlier in my high school days until I wrote my first short (44-page) screenplay in a modern, contemporary setting for my final English Lit paper. In short, the more mature I became, the more my stories grew more grounded and closer to reality.

Even though I loved writing, saying I had a knack for it would be far too generous. I was certainly a storyteller, but I was always academically far better at mathematics than English. I did, however, have a knack for drama. I took acting classes at South Coast Repertory and was actively involved in my high school drama program for all four years, participating in every play and musical I could. Acting taught me how important it was to define your character from all the others and to keep the tension at a level high enough to make each scene compelling. Every character had purpose, and it was true no matter what scene or show I was doing. These lessons carry over into writing, but because I wasn’t a gifted English student in my formative years, I never would have suspected I could have a career as a writer. I always thought I was going to be a character actor.

It took me many years and tremendous insight from my teachers at USC, NYU, and UCLA to make me a decent writer. They all earned their money. The time I spent analyzing characters and scripts as an actor was very helpful, including studying at the Atlantic Theater Company in NYC, a brainchild of the great American playwright David Mamet. It took a lot of work to understand how to do each aspect of concept creation and execution correctly. The only thing that came naturally is my escapist imagination.  The rest was hard-fought, learned, and earned over years of writing and rewriting.

What was the script you’d consider gave you your “big break”?

I want to pause a second to say that I think the cliché of miraculously getting that one big break that changes everything is a terribly unhealthy and damaging fallacy. One opportunity may lead to another, and sometimes it doesn’t. Most working writers are constantly “breaking in” over and over again. Anyone who makes a living wage as a creative in this business is fortunate. Just remember, we do this job for our insatiable love of telling great stories. If that’s not your goal, it won’t be worth the amount of work you have to put into this job. Trust me. People have won Academy Awards and not gotten a job for years afterwards. So, if you get a break, save up so the money lasts the unpredictable draughts and keep writing.

With that said, I’ll reply by talking about the script that landed me my first paycheck as a screenwriter.

I was exceptionally lucky that the first screenplay I ever wrote is the one that landed me an agent and my first writing deal. Even so, it didn’t happen overnight. It took several years for it to get into the hands of those in Hollywood that could make a difference for me, and I had written around ten scripts between having written my first and setting it up with producers. The option on that screenplay has since expired, and I own that script again. I still wish someone would make it. It’s a high-concept swashbuckler in the spirit of Shakespeare in Love, The Three Musketeers, and The Princess Bride. It’s a fun-spirited, romantic romp set in the south of France full of swords, gallantry, and a sense of humor.

Taking a look at your bio, you’ve worked in a lot of different genres. Are there any that hold a special appeal to you, and is there a genre you haven’t worked in yet, but would really like to try?

I’ve written in every genre I can think of, most of which were for money, including: rom-com, drama, western, war epic, historical, biopic, science fiction, fantasy, crime, thriller, horror, supernatural, action, and adventure. I love each genre differently and deeply for the gifts each offers us. While I’m very proud of the diversity and breadth of my stories, it has also been my greatest career shortcoming. It would have been a far smoother journey if I picked a lane and stuck with it a bit more, but that’s not how I work.

The more you prove yourself a master of one genre in our business, the more people pay you to write it for them. As an example of this in another profession, when an extremely famous comedic actor gets the chance to play a dramatic role, they often take a big hit in the pocketbook. They don’t get paid the same as they do in the genre of his or her specialty. Even so, working without constraints and limitations is worth it to me. I have a solid batting average for landing writing jobs on which I get to pitch.

When I decide to write a story about something, I refuse to fit a square peg into a round hole. I’m not going to force my story into a genre because that is my specialty. I would rather pick the genre that I feel will be the best and most poignant reality in which to tell it. The story tells me where it must go. Right now, I’m rewriting two screenplays simultaneously, an ensemble reunion-of-old-friends drama and a supernatural thriller. The project before that, which is still being developed, was a period adventure television show. I love writing period pieces, sci-fi, action, adventure, and anything remotely escapist. I adore them all.

What inspired you to write your book Prewriting Your Screenplay: A Step-by-Step Guide to Generating Stories?

I had kept a long document of all the tricks of the trade that I liked using best. It ran almost three hundred single-spaced pages. I developed my own approach to writing by putting those tricks together in a certain order. Since then, I have never had writer’s block.

I work on multiple projects at once, and I’ve been asked by tons of writers how I do what I do. Though editing takes a while, others have always been blown away by how quickly I can create a strong and cohesive initial draft. They’d take me to lunch and pick my brain. Later, they’d tell me I changed their lives and approach to developing stories.

I adore giving back, helping writers. Helping one person at a time was great, but I felt I could do better. I got more involved at the WGA, putting panels together for the Writers Education Committee, and I co-created the first ever WGA Mentor Program in my spare time. I guest lectured and spoke when asked in classrooms and served on panels for writer conferences. Finally, I bit the bullet and agreed to teach an actual class online in Full Sail University’s online MFA program while still taking writing gigs for companies like Universal Studios. I’m also going to speak at the Central California Writers Conference in late September.

When I was asked to be on a panel for the Screenwriters World Conference in L.A., I told Jeanne Bowerman of Script Magazine about my 284 pages of notes I planned to turn into a book one day when I had the time. She asked me to write some articles I could use as a kind of running start to writing the book about my method. So, I did that to get the ball rolling. As I fleshed those articles into a full-fledge book, Full Sail University liked the published articles I wrote on character creation so much, they asked me to take over the Character Creation and Development portion of their online MFA Creative Writing program. Based on that, I knew I was communicating my method well, and I should finish the book.

I figured the book was the very best way of helping the most writers at once. In short, it all stems from the hope of giving back to my craft. I am only as good as I am because the writers who came before me taught what they had learned. My goal was to take that knowledge another step forward in the hopes that someday my book will not only help others, but it will inspire another great writer to take my ideas a step further as well. In short, human knowledge is all about continuing to construct our Tower of Babel, evolving our art form by working together to save the world.

Yes, I said save the world.

I believe storytelling is how we inspire others to invent amazing technology, see the world from new perspectives, and provide a deeper understanding of humanity. So, teaching others to write better is my way of getting others to create stories that change the way we think. When we change the way people think, we can change the way people will behave and treat one another.

My job as a writer isn’t to just tell a cool story and make some money. I wouldn’t need to share my tricks if that were my only goal in this trade. Storytelling is an incredibly powerful medium. Think about how it can bring people to euphoric laughter and devastating tears over events that never even happened and characters that don’t exist. As Spider-Man has taught us all, with great power comes great responsibility. Writers have the ability to make the world better for having written their stories. If I help other writers be more effective, I could be helping thousands of writers convey their impactful messages, bettering our world through teaching empathy, understanding, and the potential paths forward (or to avoid) in order to achieve a greater tomorrow for us all.

Yes, that makes all of you writers out there potential superheroes.

With so many screenwriting books out there, what is it about yours that makes it especially unique?

I always said if I’m going to write something, it’s not going to be something they can find anywhere else done the same way. We can’t help but work off of some universally accumulated knowledge, like genre, character types, and three-act structure, but we can strike out on our own by presenting how to assemble them in a new way. The knowledge is all out there, but it’s about how you put the pieces together and in what order.

So many screenwriting books call themselves a “step-by-step” guide, but when you try to apply the steps in the order they offer them, it’s not a fluid roadmap you can follow to construct a story. It’s not really a step-by-step guide. It’s a series of things that leave giant holes for the writer to fill in to get from one step to the next. There’s a lot of explaining what things are and how they work, but they don’t tell the reader how to create those things for themselves. In fact, it’s a lot of analysis. Don’t get me wrong. They’re very educational, but being able to explain and understand the material makes you a potential critic who understands screenwriting and how it works, but it doesn’t necessarily make anyone a writer. They’re simply a more informed reader. This is a great thing, but it won’t get someone who wants to write to the goal of writing his or her own screenplay.

Prewriting Your Screenplay is actually a true-to-form, step-by-step process by which you construct an original story (starting with absolutely nothing at all) through answering questions and completing exercises at the end of every single chapter until you have a complete and original story idea with the characters perfectly designed to serve that cohesive story. It’s an instruction manual for putting together a story with all the elements that should fit perfectly together like a giant jigsaw puzzle. Then, the book ends by explaining how to do the whole process in reverse in case you’re in a situation of having to fill in the blanks of a preexisting story idea.

The process explains to writers how I create a well-formulated foundation for a movie, whether working from a blank page forward or having to reverse engineer a soul into a preconceived plot idea. I give all I know and can think of to share with you. I’m keeping no secrets because there’s never a reason to keep the logic of how things work secret. No two writers would execute the same idea the same way, so, even if you have my technique, you’d never execute it the way I would. It’s everything that I learned and use when developing a project that has kept me writing as a decade-long, current and active WGA member.

I thought it was very interesting that you use the word “prewriting” in the book’s title, as opposed to simply “writing”. What’s the reasoning behind that, and how does prewriting apply to the craft of screenwriting?

Put simply, Prewriting is the opposite of rewriting. Rewriting is the work a writer does on a script after the first draft, and Prewriting is everything the writer creates before he or she writes the first draft. This entire book focuses on everything a writer needs to consider before writing “FADE IN,” the old-school first words of a screenplay.

There are a ton of books that explain writing and formatting the actual script. Nobody needs to write another book that explains script format. It’s been done to death.

This book explains how to assemble everything a writer needs in order to write a screenplay. It’s the foundation a writer builds upon. There are many things a writer should figure out before leaping into an outline. Doing this work up front will save writers an enormous amount of time normally spent rewriting after the fact trying to make the story congeal. If time is money, this book can save writers a fortune in rewrites.

And because this book is strictly about how to develop a story concept with an incredibly strong foundation and structure, it is applicable to all mediums of storytelling. It’s a universal storytellers playbook for formulating a cohesive narrative. I’m a screenwriter, so the examples throughout the book focus on films, but the logic of my foundation development for storytelling applies to any and all creative writing mediums, including stage plays, episodic series, comic books, novels, video games, animation, and all other media. In fact, someone told me they’re going to start using my method to redesign history lessons to teach history to their students. It’s applicable to anyone who can use storytelling in whatever they do to be more effective.

No doubt a lot of aspiring writers will use your book to improve their skills. Is there a particular piece of advice you think every writer should know?

Uh… My brain just exploded. That’s a book in itself. It’s a series of books! That said, I offer you these 10 pieces of advice:

  1. If you think you can live a happily doing anything else except screenwriting, this business is so obscenely tough, do something else. With books, you can self-publish. With playwriting, the production is not allowed to change the work without the playwright’s permission. Even in television, there are far more opportunities, and the writers have more say. In film, the writers are hired guns and the director is the creative king. In television, the director is the hired gun, and it’s the writers who develop the show and its seasons. I intend to make that jump when the timing is right, too.
  2. Write what you love and would pay to see, not what’s trendy.
  3. Rejection is common, and you should never take it personally. When you’re starting out, people are hesitant to bet on someone lacking experience. You need 50 to 100 rejections in order to get 1 yes. Even if you are not a good writer yet, you may find someone newer to the industry. This person may get what you’re trying to do and wants to work with you.
  4. Never argue about feedback with anyone giving you feedback as a friend or to help. You can ask questions for clarity, but once you understand the notes, thank the note giver profusely and shut the fuck up. Never argue. If you disagree with the notes, you simply don’t apply them. They’re bound to give you one or two notes that lead to a good change. Even a broken clock is right twice a day.
  5. 99% of the time the note giver is correct that there is a problem where they said a problem occurs in your script. 99% of the time, the solution they offer is incorrect. The difference between the note-giver and you is that you are the writer of this story. You will need to figure out how the problem needs to be fixed in order to best serve the story you want told.
  6. Even a horrific writing experience or partnership is a good experience if you learn something meaningful from it.
  7. When you agree to work with someone, get the full terms of your understanding in writing, even a cowriter.
  8. Get in shape. I hate to admit it, but the entertainment business is a ridiculously shallow industry. People hire people they would want to spend time with, of course, and people want to spend time with those who look good and have the confidence that looking good provides them.  You do not have to be attractive; you just need to be the best version of you.
  9. You cannot be afraid to say no and walk away from a deal or offer. If the material isn’t getting you fired up, or the offer is going leave you feeling un-collaborative, it’s best not to engage in something you don’t feel really good about because that will leave an impression. You’ll just ending up not delivering and burning bridges, and there are only so many bridges in Hollywood because it’s such a small industry. Saying no to things you do not feel engaged by is actually a very good business decision. I recently had a dear friend bring me a project with big name people involved. I read the script and instantly knew it wasn’t for me. Friends and industry professionals understand and respect someone that isn’t desperate. They smell desperation from a mile away and find it repulsive.
  10. Always be working on multiple projects at a time. That one actually comes from Robert Zemeckis. I like to work on three. Producers have a slate of projects because they never know which one is going to get momentum or when it will happen. So should you. You never, as an artist, want to put all your eggs in one basket. That leaves the writer feeling desperate, and you know how Hollywood feels about people who are desperate.

You’re listed as serving on the WGA’s Writer’s Education Committee. What is that, and what sort of things do they do?

There are several committees on which WGA members may serve. Some focus on diversity groups and others on general membership. One of the latter is the Writers Education Committee. It was created in 2002 to develop programs that provide WGA members with practical, insider knowledge about how the industry works and how it is changing, emphasizing tips and tools to help writers succeed. The goal is providing the most up-to-date working knowledge for writers.

I’ve chaired and served on a ton of panels for the WEC about the most current trends on going from spec script to studio green light, packaging, multi-platform storytelling, getting writing work with overseas producers, pitching in Hollywood, etc. Any WGA member can join the WEC, run ideas for educational events by the committee, assemble a sub-committee (if approved), and create the event of his or her own design.

You’ve also done a lot of lecturing and moderated panels about screenwriting. Are there any particular points or lessons you make sure to include as part of those?

Be true to you. The only thing no other writer in the world can do is be you. Figuring out who you are, what you stand for, and the original things you want to say to the world before you die will make you a one-of-a-kind writer in this or any industry.

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

This is like asking that genre question again or asking someone to pick a favorite child. It’s just not right. I love rhubarb, coconut cream, apple, pumpkin, banana cream, mixed berry (any berry really – blackberry, boysenberry… is cherry a berry?), and don’t forget the oddly reptilian-named Turtle and Grasshopper pies. So long as it’s filled with something tasty, how can you go wrong? It’s pie. As long as it’s not from Mrs. Lovett’s Pie Shop in London, I’m game.

 

Sweeney Todd

I would like to add one more thing. The shocking and most wonderful thing for me so far has been the reception my book has received when requesting consideration for an endorsement. You can see a bunch of their responses on the Amazon page under EDITORIAL REVIEWS, including the creators and/or show runners of such shows as Lost, The Big Bang Theory, Hawaii Five-0, The Orville, screenwriters of the Dark Knight trilogy, Star Trek reboot, Beauty and the Beast, Guardians of the Galaxy, icons like Stan Leeand the most recent president of the WGA. After that are the endorsements from educators at AFI, USC, UCLA, NYU, and many more. You can read what they are saying and pre-order my book at: https://amzn.to/2HOMVFg.

Equal time for B, C, D, and the rest

support beams
Each one doing its job as part of something solid and sturdy

Got a key set of notes back on the dramedy spec, so from this point forward, it’s all about working with those and making the appropriate fixes. (Fortunately, not as many as I expected, but still lots of tweaking in store.) A future post will cover the gist of the advice I was given.

Up until those notes came in, I’d been dividing my time developing the stories of the two new scripts. One of them was revamping an old story, whereas the other was entirely new, so it was really building from the ground up.

Quick sidenote – I hadn’t realized how long it had been since I’d plotted out a brand spankin’ new story. Quite a while. It felt thrilling and a bit intimidating to take it on, but both sensations were heartily welcomed.

While I knew what the main storyline was, the more I worked on filling in the blanks between plot points, the more it became obvious I’d need to start developing the subplots, especially the ones among the core group of characters.

This new story is unlike anything I’d written before, so as part of putting it together, I watched a couple of films of a very similar nature to get a better idea of how things could go. I soon had a stronger sense of what worked and what didn’t from an overall perspective, but also paid close attention to each character’s story – especially the main protagonist, how it connected to the supporting roles, and how all of them factored into the main storyline.

Doing this really helped in several ways:

-the films made it easier to see how each subplot was a part of the main story, as well as being its own separate (and unique) entity.

-each subplot provided lots of opportunities to show character growth and development, again contributing to the main story, as well as emphasizing the theme as it applied to each of the characters.

-because these stories are set in a specific kind of genre, there are certain elements that are more or less required (or “expected” might be a better term). As a result, the subplots provide an almost limitless number of chances to really let the imagination run wild and go for something totally unexpected, as it applies to those elements, but still have it fall within the realm of “this is the type of thing that would happen in this type of film.”

It’s a lot to take into account, but I suspect the more I plan things out, the easier it’ll be to arrange things so all the pieces fall into their proper places.

So for now it’s all about the dramedy, but I know that when I eventually return to working on these two stories (which I definitely will), I’ll have a stronger sense of not only what should happen for the main storyline, but also all the scenes, sequences, and developments of the subplots that go along with it.

A route most circuitous

twisty road
Hang on! This’ll be a bit of a wild ride.

Most of my attention this week has been on one of my new projects. I’ll admit to originally thinking it would be a little easier to put together, which is most definitely has not.

I started out with the core concept and then proceeded to work on building the story around it. Since that initial effort, it’s probably safe to say I’ve gone through at least half a dozen variations on it. It was a constant state of flux, accompanied by me always thinking “Am I ever going to come up with something I like?”

For a few days, that was the dominant thought. But I knew the concept was solid, so it was just a matter of time and continuous trying before I found the one that worked. A new idea would spark, I’d ruminate over it a little, and if I thought it worked, would keep going. Suffice to say, there were a lot of starts and stops.

Again, I had faith in the concept. The right way to tell the story was out there, but my creativeness still hadn’t connected to it.

The story is in a specific genre, so there were several factors to keep in mind: how this world works, what’s expected, what could be twisted around and given a unique spin while still adhering to the “rules”, and most especially, any original ideas I could add in that reinforced the concept of the story.

As I racked my brain, more and more possibilities for each of those popped up. I doubted I could remember all of them, so I created a second document for the sole purpose of being an idea reference guide. That’s proven to be very helpful.

To also increase the chances this script could actually be produced, I’m putting it together with the plan of keeping things on the cheap: minimal locations, low number of characters, etc. A few of the original ideas threw some of those out the window, so they’d be cut and replaced with something a bit more on the practical side. Again, quite helpful.

As you’ve probably surmised, there was a lot going on both in my head and on the page. But as I continued push forward, with all the writing, cutting, and tweaking, it slowly started to come together.

I like how this new idea builds on that one from a few days ago, but with a great new twist, or modifying this scene in a new specific way does exactly what its previous incarnation did, but now in a more effective way. There’s been a lot of that.

It’s still a work in progress, but despite the delays, the whole thing’s slowly coming together. The plot points and the scenes between them are being filled in a way that works for me and the story.

There will definitely be a lot more work to do on it before I think it’s ready to transfer to script pages, but what was originally a big, jumbled and incoherent mess of ideas is gradually being organized into a well-structured, smartly-put-together (in theory), fun, and entertaining story.

Pushing my way forward (x2)

push
Really putting my back into this

This has been a most interesting week. Based on some quality notes, I wrapped up a polish of the dramedy spec (which is now in the process of getting notes). Feedback so far has been encouraging, which is nice.

So now the focus can shift back to developing the two new stories. With most of my recently-completed projects having been worked on for extended periods of time, it’s been a while since I was really starting out from the very beginning.

I’d totally forgotten how much I enjoyed the process of putting a story together. I know what the core concept for each one is, and now it’s all about finding the best and most entertaining way to tell them.

At times it feels like my mind is going in a thousand directions at once, so I’m constantly writing stuff down. A scene or sequence idea here, a line of dialogue there, plot twists, character development, turning the scene on its head; pretty much the whole kit and kaboodle.

Main storylines have been established, with the expected constant fine-tuning and adjusting, and as I work my way forward, the subplots are making themselves known.

Entirely new worlds (or maybe “settings” might be appropriate, since each story is on the smaller side) are being created, populated with unique and hopefully somewhat original characters.

While one of the stories is based on an old script, there’s a constant discarding of a lot of the original content and trying new approaches. Not necessarily “throw it all at the wall and see what sticks”, but kinda/sorta along those lines.

For the other, this is dipping my toes into a genre I enjoy, but wouldn’t call myself a major fan, so doing what I can to avoid tropes and cliches (of which there are apparently many). If that proves more challenging than anticipated, will do what I can to least go for the unexpected.

Added bonus – watching movies of that genre and style to get a better feel for both.

Sometimes I’ll read a writer’s account about what a chore it is for them to develop a story, or how much they loathe this part of the process. I don’t see it that way. Organizing the story and putting it all together is a key part of screenwriting. Too many times when reading a spec, you can tell when the writer didn’t put in the effort to get all the details of the story right before they started on pages.

I recently asked my online screenwriting newwork their thoughts on outlining versus a “seat of your pants” approach. The responses were overwhelmingly in favor of outlining. Granted, there are some writers who prefer the latter, but I’m not one of them. I’m a firm believer in having a rock-solid outline before starting to write the actual script.

But that’s what works for me. Others may feel differently regarding their own process. No matter how you achieve the end result, as long as you’re happy with it, then more power to you.

The whole creative process in developing a story is a beast unto itself, but I think all the long-term work I’ve done for other scripts is really paying off for these two. For now, it’s still a big and unwieldy mess, occasionally feeling very unorganized and all-over-the-place, but a little bit of work every day will gradually pay off. When all is said and done, I’ll have two new scripts.

Like I said – I’m enjoying it.

Q & A with Melody Jackson of Smart Girls Productions

2018-03-03_17-48-20

Melody Jackson, Ph.D., founder and CEO of Smart Girls Productions and Hollywood Business School, is a self-described “Marketing Person” and Entrepreneur.  After working as a Marketing Person selling to the film industry for several years, she started Smart Girls Productions in 1992.

To learn more about Melody and the services provided by Smart Girls Productions, check out their screenwriting blog.

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

That question is a little bit funky for me to answer and I’ll tell you why.  Years ago I took the famous/infamous Robert McKee screenwriting course, and there was one thing that really stuck with me. In that legendary, deep gruff voice with his big scary face belting from the stage, McKee shouted out:  “I’m not doing this class to try to make you guys win Academy Awards…. I’m teaching this class to try to raise the overall quality of films that are out there.” Something to that effect.

He talked about how, when he was a young boy, he would go watch every single film that came out in the theaters near him — even as a young kid, he went to see everything.  All types of films. He just loved the medium of film.

The thing I learned from him is not to be so hung up on what is great writing, but to learn to enjoy film as a whole.  Most scripts are not going to be great or really well-written. It’s easy to critique and criticize most of them. But in that class, I learned to have a different perspective, and that makes a difference for me as a script analyst and for my clients.  

Sure I can go deep into “analyzing” structure and character arcs and all kinds of stuff. But ultimately, it’s a question first and foremost of “did this script cause me to have some kind of emotional experience? Regardless of anything else.”  Then, and only then, do I engage my left brain and start seeing how it could be made better. With better writing, you tend to appeal across a broader group of people.  

How’d you get your start reading scripts?

Prior to starting my company Smart Girls Productions, I worked for a company that was involved with film distribution — both domestic and international — and I learned a fair amount about that.  At one point, I just had to quit — no really good reason; they were great. But I just wanted to do a business on my own. That’s when I started Smart Girls.

I was actually working on an acting career at that point and need to figure out how I was going to make money.  Since I read scripts as an actress, I thought, “Hey, I could make money typing scripts.” Yes, typing! I ran an ad in the Writer’s Guild magazine and got a call right away.  The truth is, I didn’t even know how to type a script. I called an aspiring producer friend of mine who was also my mentor. And I asked him desperately, “How do I type a script?”  He told me to get some book from Samuel French bookstore and I did. It took me forever to type those first two scripts. But after that, I typed a LOT of scripts…. we still do!

Then once I learned to type a script, I took lots of classes on screenwriting. Then I began writing my own scripts. Got hired to write a couple. I got a WGA agent. I went on to get my Ph.D. in mythological studies.  And along the way, I added script analysis to my list of services and it turns out, I apparently have a knack for it. I ended up being rated one of the top 5 Script Consultants on three different occasions by Creative Screenwriting Magazine.  

Your company’s called Smart Girls Productions. What’s the story behind the name, and what kind of work does the company do?

This one is short.  When I started my company, I brainstormed a list of about 30 company names. I read it to my Mom, and she said, “Definitely Smart Girls.”  And so it was. Told you it was short.

You have a PhD in Mythological Studies. Has that helped you in analyzing scripts?

For sure. Joseph Campbell, the father of bringing mythology into an understandable form, is the one who identified The Hero’s Journey.  That’s the foundation of almost every great Western story. My studies in mythology looked at story from innumerable angles…. not just Campbell’s but many others.  So yes. It is in my DNA that it informs my analysis.

What are the components of a good script?

For me this is where the Hero’s Journey meets Aristotle’s Poetics.  The Hero’s Journey focuses more on the experience of the character and the inner transformation.  The Poetics has more of an emphasis on plot. But if you work both angles, then you’re going to have things that appeal to more audience members.  That’s the big picture.

If I had to say what those elements are, it would be something like… You need to have a character that has something he or she NEEDS to learn, some kind of lesson, some area of their life where they are misguided.

They then get pulled into some external plot in which they will be forced to confront that thing they have not learned. They will come face-to-face with it in the external plot.

Their choice and how they handle it is the big lesson for them and for the audience.  The biggest component for a good script for me is that the the main character has some kind of transformation. That they are somehow a bigger, better or wiser character by the time the story ends.

What are some of the most common mistakes you see?

The most common big mistake I see is no solid theme developed in the story. You have to have some point to telling the story, otherwise it’s a boring story about going to the store.

Gotta have some point about human nature that is revealed in your story, or what’s the point? That is the biggest mistake new writers make. I would also venture to say it’s also why more sophisticated movie-goers don’t like straight-up action films. Too many times, the focus is not on any kind of transformation, but on other fun stuff like chase scenes and explosions and cool special effects. Nothing wrong with that, but it does nothing for the soul. The soul longs for transformation, and personal development. The theme is the highest articulation of that. The most common mistake I see — actually I don’t see it as a mistake, but more like the most underdeveloped aspect of scripts I read is theme. And I say it that way, because I find that most writers have some place of meaning they are writing from; they just haven’t consciously identified what it is.

One of the non-writing necessities of screenwriting is the writer’s ability to market themselves. Seeing as how that’s one of your specialties, what are some key pieces of advice that writers should keep in mind?

You’re not going to be successful overnight or next week. You’re not going to sell your first script for a million dollars. Or even $250,000. The first person who reads your script is not going to fall in love with it and suddenly introduce you as this newly discovered gem that Hollywood has been waiting for.

Many screenwriters really have no idea how hard it is to get a deal and then get your movie made. It’s a long shot. I’m not saying you should give up, but I am saying that my best advice is to learn more about the BUSINESS side of the business. It’s far more likely that a writer will get hired to re-write a script if they’re a great writer than it is that they will actually sell their film and have it be produced. Trying to convey this idea and educate writers on this is why I launched my Hollywood Business School at HollywoodBschool.com.  My mission there is to help actors and writers better understand the business so they can have a much better chance at reaching their goals.

To boil it down to a few simple bits of advice:  Keep learning as much as you can about the business. Get great at your craft. Market market market. Follow-up, follow-up, follow-up.  Enjoy the pursuit. Be positive and be persistent. And don’t quit your day job. — BUT… do everything you can to help your career while you still have that job.

Part of your bio lists being the former emcee at the Hollywood Networking Breakfast. Could you provide a little more detail about the event and is it something screenwriters should consider attending?

My dear friend Sandra Lord is the Networking Guru of Hollywood. She was my manager for a period of time when I was acting. She started The Breakfast at that time, and she excelled at finding top level producers and agents to speak.  For the nine years I emceed that and heard the speakers, I got a deep education in how Hollywood works and what execs want.

Sandra still hosts the breakfast several times a year.  She also runs an event called “Let’s Do Lunch” and the L.A. Film and Television Meetup.  She is the first person that I recommend for every aspiring filmmaker, actor, set designer — anyone who wants to get into the business — go to her events as much as you can.  You will definitely start making connections. And it’s also not just for newbies. You’ll find a lot of working industry people there as well.

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

“Most” important?  I tend to stay away from hyperbole because how can I really boil it down to MOST important?  It’s a great question that writers need to know, so it’s not the question that’s an issue — it’s just my picky resistance to saying what is my most anything…Let me slightly modify and simply tell you what I think are some generally important rules.  Here are the three I pick for now:

  1. Learn story structure.  Study screenwriting. If you haven’t studied screenwriting, I guarantee you don’t know how to do it well. 100% guaranteed.
  2. Tap into your authenticity and write from there. In a very positive way, I think everyone has a great story to tell — of their own life even — if you find the right bits and pieces. Whatever it is that moves a screenwriter to spend weeks, months, and years on their screenplay, that tells me they have something important to say.  This goes back to the theme I mentioned above. They may not have completely identified what their theme is — and why their story is important to them. But I will also guarantee this …. if they tap into their authenticity and why they are so moved by that story, that story will have a hundred times more impact — on them and their audience.  If they get to their authenticity about it, there is deep fulfillment and satisfaction in writing a story like that. Then your passion makes it much easier for others to see its greatness.
  3. Don’t take anything you hear from a producer or agent at face value. You have to know how to read between the lines.

What story tropes are you just tired of seeing?

It’s less a story trope that I’m tired of because they can be told in different ways.  What I find hard to watch or read is when the writer or filmmakers have not tapped into their unique vision — again I would call it lacking authenticity — but then … I don’t want THAT to come across as a TROPE!  If I had to say it another way, it’s when people are not digging deep enough into their soul to get to their authentic, unique perspective.

You could see the same story ten different times and if the filmmakers or screenwriter truly tapped into their own unique take deep within, it could still be interesting. It’s like when a great song is recorded by many different artists.  Whether it’s “Over the Rainbow,” “Amazing Grace,” “Yesterday,” “Can’t Help Falling In Love” or “To Love Somebody,” when a great singer does their unique rendition, we can hear it over and over and still be moved by it. The same with a story or a story beat.  The problem lies in the lack of tapping into the truth of the individual writer.

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

Gotta be pumpkin!  I need to find a good source for pumpkin pie here in Los Angeles. Got one?

pumpkin pie