How Come Fish Travel in Schools, But They're Not Learning?

I was talking with friends tonight about writers and one of them brought up a valid point: why don't some writer's learn? I mean, in the cases where you're a writer lucky enough to have a group of earnest screenwriters critique your work, why do you assume they're out to attack you and not help you improve? Why would you come back if you thought that way?

All too often a writer puts some thing important to them on paper and then it becomes magically sacred. Lord knows how, we ALL know the first draft of anything is shit, right? Hemingway. Really, how can you go wrong with advice from somebody like him? But sure enough, somebody serves up 30 pages of dung and then expects the group to regale their power of the English language and their story prowess.

For the most part, writer's groups are made up of non-published writers. You have a few that are professional writing groups, but when it comes to Screenwriting, there just are more people interested in the art than succeeding at it. Thus, odds are, you're not writing stuff that's good enough to sell... yet. Maybe you will later, but right now, you're learning. You have to put in your time to learn the craft. If you belong to a writer's group, it's a great start. Now, to take advantage of that, actually listen to what people have to say about your work. Much of what you hear will be "what if you...?" While it's all probably earnest and well meaning, much of it is only their take on the material. What you need to pay attention to is when glaring stuff gets repeated, "the dialogue is too long and on the nose", "I don't know what your story is about... and I'm at page 20". Stuff like that needs to make an impression on you.

With that kind of honest information, you can get to work and look at story construction. What kind of beats do you need to hit? And when? Do all of us fellow writer's group members a favor and learn from your critique. We take the time to read your work and to comment on it, so the least you can do is not do the same crap over and over again. I don't care if I see the same work again, but I really don't want to see script after script with long, on the nose, unwieldy dialogue.

And what is it about new screenwriters that they don't read? I'll admit, I'm not an uber film buff. I love film and writing, I love the written word and the power it holds, but I don't know all the old writers and what their impacts have been on the field of screenwriting. I can appreciate those that do, but it's not for me. What we all should do though is look at the nuts and bolts of the art/craft we've chosen. Reading scripts by established writers is, bar none, the best way to get a feel for writing a script. You learn the way dialogue sounds. You learn what a page should look like with dialogue and narration. You get an idea of how fast connections need to be made between the writer and the reader. And all it takes is a little time to read a script.

I can remember not so many years ago when you could only get a script by photo copying it, and that meant you had to get your hands on an actual copy. These days there are script sites that have hundreds of scripts, formatted correctly, for you to download and read or even print and read.

So many people are trying to figure out ways to get around the reader. The person they envision as their guardian to the promised land. Well, you should put yourselves in the shoes of said reader. Go ahead and read 15 scripts in a week (not a day or a weekend like they do). I'll even say make it easier and read scripts of produced movies. It's even better if you haven't seen the film. Then you can go out afterward and rent the movie and compare the script you read to the final product. Is it any different?

The ultimate challenge is to find yourself one of these script sites for new writers that publishes their full script or one that offers you a critique for you critiquing another script. The ultimate in punishment is to have to read through an entire crappy script. A script where some writer has probably heard all the comments you will scream to yourself as you read, yet, for some reason, is just not learning.

So do us all a favor, from fellow writer's group member, to reader, to producer and anybody involved in the industry or love of Screenwriting. When you get the same comments from multiple people, pay attention and learn. Change what you're doing and get better. Not only can it make you a better writer, but it will help you compete with your real ultimate enemy - the kid with natural story telling talent and nothing but free time :)

Stupid Writers

Wow... we sure are a dumb lot. How on earth could we have predicted Netflix & Blockbuster streaming stuff over the internet. Hulu now airing re-broadcasts of multiple shows and some studios even signing exclusivity contracts to have them do it.

Then you have Joss Whedon & his internet smash Dr. Horrible.

Sheesh. Thank goodness the WGA stuck it out.

It All Comes Full Circle

So, over at Unknown Screenwriter, I was feeling rather maudlin and posted "Why Write". To some degree, it's something I've been feeling for some time. Just about everything has been done, probably done to death, and usually by a more talented individual than myself, so why write? If I'm trying to pass on some wisdom that I may have learned (perhaps something like Family Man - that says family and love is more important or more fulfilling than work), well (I thought) nobody's listening. I'm not trying to say that I'm a genius or overly wise, but some of the simple stuff you figure you should be able to pass on. However, I'm failing. I've failed to be surprised by the greed of corporations or the employees that work at the top. I've failed to be surprised by the seemingly idiotic decisions that are made from the top while people on the bottom just stare wide-eyed in stark amazement that the decision was made (because it's so ludicrous).

But I digress. Why write? Well, after watching Storytellers, it really did become apparent. For myself. As I thought about that, I recalled the long given advice from scores of writers that I'd read over the years. Write for yourself. That's the advice. Because, you see, if you can't please yourself, how can you expect to please anybody else? If it's boring you, good lord, you can be sure it's boring others. If it's a subject or story you are compelled or excited to tell, then it should be able to keep you inspired long enough to go through those long many drafts to get it into condition that somebody other than mom and dad can stand it.

I'm also coming to the conclusion that life is short. When you're gone, you may have a legacy, but it's rare that your legacy is one that lasts past your children. We have history, but that's not the same as art and very few of us are lucky enough to produce art that perseveres for over a decade, let alone a century or longer.

So when you write, be selfish - write for yourself, write those stories that put a smile on your face or a tear in your eye. Scare yourself. Surely there is somebody out there just like you thinking "if only somebody would write something that moves me". There's no time like the present. Don't wait. Before you realize it, time will be gone and instead of thinking "I wonder when I'll move out to Hollywood" you start thinking "I hope the rumors that Hollywood will buy a good story no matter how old the writer is are true".

Now go write!

Who Give's A Damn About the Writer Anyway?

Well, I'll be damned (debatable). I posed the question over on Unk's forum "who is your favorite writer and why?" Wouldn't you know it. Only a couple responses and neither could list a favorite writer. Let this not be condemnation of them at all. I just find it interesting that they couldn't list one. Obviously, I have not debated if they notice the writers of the films they watch or anything else.

I may have mentioned before (certainly to my friends) that who makes a movie is integral to me in my decision to actually watch it. What better criteria for knowing if you might enjoy a film than checking to see who wrote and directed it? They are the major focal points of the work. The writer's original input and the director's interpretation of those words. It doesn't take long to see that directors often have a type or a certain type of story they direct mostly. Is a Gus Van Sant film different than a Michael Bay film? I think you'd be hard pressed to confuse the two. How about Shane Black vs Lawrence Kasden? Quentin Tarrantino vs Ron Bass? I can spot Aaron Sorkin at work a mile away.

I've been playing guitar for years and one of the most frequent things you hear from musicians is the influence of other musicians they either emulated or respected. I thought it was the same in the writing world - lord knows, I respect and admire quite a few writers. Not just any writer. While some are good, some are really good, some just really hit home for me. Either the theme, stories or just the order they choose to put their words on the page. It's all a conscious decision on their part and how can you not be drawn to those very choices if you are trying to do the same thing?

Is screenwriting so ill respected that it's thought of as something a monkey can do? Reading the beginning of Unforgiven is so easy. Reading the final court scene in A Few Good Men is riviting. Are writers not held in high esteem even by fellow writers? I can't believe it.

To those few out there that may be reading - let me know if you have a favorite writer and why?

Checking in...

It's been awhile. Can't say that I haven't been shamed into writing due to Shawna's threat to remove all those that don't post regularly (over at www.shoutingintothewind.com). However, writing is writing and lately I've felt less like writing and more like doing something drastic. Thankfully, I've been able to submerge myself in copious amounts of old television shows until the mood has passed.

Basically, I'm one of the many who was forced to take a pay cut to keep my job, only to discover that our illustrious CEO has raked in somewhere upwards of $50 million over the last three years (so while I just lost the last 5 years of raises, he'll be fine). Now, I know the way it goes, the rich get richer and the poor get poorer - you need money to make money, the list goes on, but never do I feel that the poor and middle class have been as publicly defrocked as in the recent past. The media and information outlets have become so ubiquitous that you can swing a dead cat without stumbling across some form of media device that can spout the most current information available on whomever or whatever is going on in the world.

Thus when all this frustration bubbled up and I began ranting to my wife about economics, the workforce, CEO's and the like I was surprised at the words that sprang to mind. I'm mad as hell... and I'm not going to take it. Huh. It struck a chord immediately. This is going around again. I know Paddy was a gifted writer, but I don't for a minute think the emotions from that film were just made up. So you writers out there with more dedication (read less family matters) than me should take a hint from the times and talk about some frustration. 'Cause let me tell you, there is lots of frustration in this country right now. How is it that good, honest people are losing their houses? Can't feed their family? Good workers losing their jobs when executives are raping the companies? I heard on the news that the billions in taxes that saved the financial businesses are being used to help the wealthy avoid paying taxes (tax shelters abroad). There is an estimate that folks have avoided something like 100 billion in tax revenue.

Now don't get me wrong - I don't believe all the wealthy are bastards, but it does seem that those self-serving upstarts of the 80's are just killing our country and making it hard for everyone without a second thought to anybody else.

Stories about the little guy winning, about justice being served - heck, perhaps a remake of Falling Down? Only this time, he'll be getting away with it because we're tired of seeing the downtrodden guy get screwed. Who knows.

Maybe next time I'll have some specific writing advice, but for now, it's think about the people you're around every day, think about the people you see on the news and how they're feeling. Take the pulse of the people and see if you can figure out what they want to hear, then provide it.

Are You Sure?

So, it's been so long since I last posted, I'm starting to get that guilty feeling I get when I haven't called my parents in too long. While I often think about posting, when I consider the absolute downpour of postings that Unk is posting over at the Unknown Screenwriter, I find little else to add to his encyclopedic tomb.

Well, in reading this months (or next months, depending on if you subscribe or not) Script magazine, I saw where Justin Theroux (writer or co-writer of Tropic Thunder) is being offered the writing job of Iron Man 2.

My first thought was, "wow, I wouldn't want to be responsible for that." Which quickly led me to think, "what kind of loser doesn't want Iron Man 2?" See, on one hand, it's a lot of responsibility. If it tanks, it's your fault (although, considering we are just writers, I guess there isn't really that much at risk). On the other, what an incredible opportunity! Justin has been acting for some time, but Tropic is his only screen credit for writing thus far.

Something I believe many budding screenwriters don't consider is the writing for hire market. While you may never sell your script, you might get offered writing assignments based of what others like about your writing (just one more of the many reasons you *must* appear to be professional on the page and any vocal or visual appearances).

The question you have to ask yourself is: "If I was offered a writing assignment to write a major subject, would I take it?" Think about your favorite movie and imagine having to write a sequel - or a prequel. Could you? or something you consider too big - another Indy or Star Wars script. The writers of the last X-Men movie were thrilled and scared of the prospect. Could they do the job and have it live up to fans expectations? There are times when you will be faced with what appears to be a tremendous opportunity. Where you are being plucked from the crowd and given the chance to prove yourself and your talents. At these times, I recommend you remember that outside of things like rocket science and brain surgery, most people can do most things. Have confidence in yourself and the talent that put you in that new position and go for it. For nothing can be worse than remembering that when given what you wanted, you never even tried.

Mentors

men·tor
Pronunciation[men-tawr, -ter]
–noun
1. a wise and trusted counselor or teacher.
2. an influential senior sponsor or supporter.
–verb (used without object)
3. to act as a mentor: She spent years mentoring to junior employees.
–verb (used with object)
4. to act as a mentor to: The brash young executive did not wish to be mentored by anyone.

Are you a young aspiring screenwriter? You have the desire, you don't mind putting in your dues, you're not a jackass (this is really important) and you don't feel entitled to the big money (another important thing). Then what you need is a mentor.

The worst thing about being anything these days is that, by and large, you're on your own. You may have training, you may have talent, you may have contacts, but when the rubber hits the road, it's you, yourself and, well.... you.

Having a mentor allows you to lean on the wisdom of somebody who has already been there, done that. Or at the very least, somebody who knows the pitfalls that await you in your chosen field of work/play. Reading the above definition, you'll see it also says "...and trusted" which really is important. This is a person who is going to see your insecurities, your weaknesses and your really shitty work (on the way to being better). But their goal is not to finance you. Not to get a sale, not find a contact for you - they're work lies in helping you be better tomorrow than you are today. This means opening up at some point (not the first thing you do) and sharing who you are what what you really want.

Now. Unfortunately, you can't go down to Mentors-R-Us and pick one up. It's a shame. How many times have you heard "if I could be X age knowing what I know today!". Well, having a mentor is sort of like that - it allows you to benefit from (sometimes) an almost lifetime of experience and hard work of another. To me, it's like having a "career coach". While a parent can be a type of life coach (how to live your life well), navigating the paths of a career is full of moments of peril - those times when you should duck instead of dodge. And making the right choice is the difference between success and more years of toiling away (or even failure).

Well. If you're young, I'd find a writer you admire for their writing. I wouldn't worry if their material is the same - as long as you admire the writing - and write them a letter. See if they would be willing to mentor you. Now - the caveat here is you can't ask somebody to train you. This isn't a free workshop, this is more like your post graduate work. Once you have some chops, you seek somebody to help you be the best you can be.

How do you know if you are good enough? Well, if you get some sincere positive feedback, that's a good start. Once again - mom doesn't count - or dad. If you can get a brother or sister to acclaim your exalted status publicly, then you may have something. I'd like to give you a blueprint of what to write, but it's all a crap shoot and you're basically begging (politely) another person to give up some of their precious time (and after 40 time really does become precious) to help *you*. I have seen the positive effects of being a role model and I know others with a mentor (and, yes, I am jealous). I suggest write from the heart and explain how you believe they can help and what you both expect and can do in return (perhaps down the line).

One thing to make certain of before you go down this road - you are not seeking just some great tips and strategy. This is, hopefully, a lifelong bond you're attempting to form. Should you progress, then it's possible that your mentor will even share their work with you. If you're lucky, what you'll get is an incredible bond with a fellow writer. Maybe it's the estrogen in me talking, but I believe sharing a common dream with a fellow human is a life affirming experience.

Wonderful Times

How great is it to be a screenwriter these days? Heck, any writer! Boy. The material. You just can't beat the possibilities for getting new material now. At no time in the past has news and information been more available to assault your every sense.

On the downside, I saw part of a show (before the power went out) where it's almost like Candid Camera. Thing is, it's not jokes we're playing on each other - it's a study of human behavior. "What Would You Do?" They comment on the popular teenage past time of "bum bashing" where bored teenagers will randomly wander the streets in a gang, find a bum and then proceed to beat the hell out of them. I know. WTF? That was my thought too. Saw it on a CSI episode and thought, man, that's pretty creative. Should've known it was ripped from the headlines. You can take any material like this and create a compelling character. I'm here to tell you, your character is a bum, a basher or somebody who stops the basher, you have an instant POV and an instant reaction from your audience.

On the positive side, I ran across an artist's website (Anna Nalick). She's not the first artist to blog or reveal information about themselves - just the first I've read. Anyhoo... she goes on to reveal some personal moments about her life, what's going on and to share what she's doing regarding her music. How fantastic - and how dangerous these days. On one hand, they are enabling fans to get closer than ever - to communicate directly with them. All the old farts can think back to their favorite artists and remember how much communication they had with them... yeah. An album (that's an old timey vinyl "cd" for you young 'uns). It's allowing fans to share how much the art means to the them with the artist. And this is from all over the world!

Boy, how exciting. I say dangerous just because of the possibility of exploiting the information or the relationship, but here's hoping that's not happening.

From a writer's perspective, you can now get some personal information about artists in different Arts. See how they live and be able to form characters better. Be able to set stories in those environments better. For writers of different ages than the artists, you can get a unique insight into the older or younger personalities. When I read some of these young artist blogs, I can't help but see just how optimistic their perspectives are. When I think back a few years, I can remember hearing that Hollywood is a "young" town. They don't want older writers. Well, I know there are plenty of "older" writers out there, but I believe that this possibly came from the thought that older writers are out of touch with what young folks want to see at the movies. To some degree, it may be true.

While I remember Porky's fondly, it's not the type of film that I would find easy to write -- or more accurately, even want to write. At my age (not too old, but too old for the likes of Anna Nalick) I've got more issues that getting laid, getting drunk or will I graduate high school. As we all get older, we have to deal with new things in our lives. It might be something like - the first quarter - getting a good education and getting a good job. Second quarter - finding a spouse and getting married. Third quarter - raising children and *keeping* your job from being outsourced or given to people in their 1st quarter. And lastly, 4th quarter - trying to keep upright.

Those new concerns make for completely different stories, so if you're in one quarter, but your characters are in another quarter, perhaps you can help yourself by taking a peek at the internet and blogs of folks in other corners of their lives. It's so easy to share, and frankly, so many people are willing to share - hell, *wanting desperately* to share - to feel a part of something and connect with somebody, that it's well worth the time to invest in a little browsing on the internet.

Reach Out

No, I'm not talking about the Cheap Trick song from the Heavy Metal soundtrack, I'm talking about the act of writers reaching out to their fellow writers for help. Writing is often pictured and spoken of as a solitary art. Hours, days, months toiling away plastered to a chair writing or typing away as we hammer out our story beats. Well, sometimes we get stuck. Get, not blocked, but just unsure of where we're going with a story. It's at this point that a writer's best friend can be another writer. Just a conversation to elicit some intelligent thoughts and fresh ideas into the thought process can make a huge splash in the creative pool of the original writer.

For me, I've been fortunate to belong to a group of writers for many years. Writers who will willingly give their time to read or listen to some of your thoughts and offer some suggestions. All it takes is a willingness to put your ideas out there and not be judgemental when you hear what's coming back. Be stimulating...if the place they're going is left field, see if you can't provide more information to them to either steer the idea back into your ballpark or, and this can be marvelous, provide enough information so they can steer your story into their ballpark! Sometimes what you thought was the right idea needs to be adjusted or tweaked into something new and different.

For me, one of the easiest things, and let's face it, most fun things, is to take a story or a script that doesn't have a ton of things wrong with it and punch it up. Offer suggestions that might just heighten the various situations a little. Sometimes people are so close to a story, they just can't see the whole thing and looking from a fresh perspective is all that is needed to lay out the whole outline. Then the writer can go back and write with a solid destination.

Now. This kind of fun is not to be confused with critique. Rewriting somebody's story should be left to them or at the very least to a request to assist with the rewriting. I once submitted a horror story and instead of getting some honest comments, I was told how I should change all the scenes in my first act to make it a comedy instead. Had I said, "this isn't working, does anybody have any suggestions?" that would have been expected, but in a critique format, you say what you believe will make the writer's current story stronger.

So make sure that you're not the only writer that you know and talk with on a regular basis. Writing is tough and there's no reason why we can't make things a little more encouraging by allowing somebody to refresh us with some stimulating thoughts.

Support the Writer's Strike

It's frustrating these days how selfish and greedy we can be as a nation and as individuals. I was loitering about on TV.com checking out to see which of my shows were being canceled (4400 was the biggie so far) and the comments just astounded me. People are coming down on the writers because their shows aren't on the air. As if this is all the fault of the writers.

I'm dumbfounded that people are able to get up and go to work everyday and not be able to relate to the writers and their reason for striking.

If you've paid any attention to the strike information, you'll see there are actors and directors supporting the strike as well. Why? Well, aside from their belief that it's the right thing to do, their contracts with the Alliance of Motion Picture and Television Producers (AMPTP) have not expired yet, but will in the near future, and you can bet they want the same deal the writers are hoping to get. It's in their best interest to let the writers pay the big price here (in public opinion and view) so that when their contracts are reviewed, it's a smoother transaction.

If you read the AMPTP's website, they're taking it from the perspective of, "look what the writers are causing! All these people losing money and jobs and the fans don't get their tv shows. Just look! It's all the fault of the writers!" Well, if you look back a couple hundred years, you get the same perspective from King George in England when talking about our good ol' US of A.

I read one user who actually said, "and don't give me that old argument that without the writers there'd be no TV (or films) because you could say the same about actors and directors, too. Without them, they'd be no TV shows either. Hmmm... While in essence, it does take actors, directors and writers to make TV/film, I am sticking to the argument that without somebody to write the story, there is no reason for the others. While actors and directors (and producers) really do need somebody to actually write a story, writers don't really need actors and directors to gain an audience. Screenplays are read for pleasure all the time. In fact, we have something referred to as a "book" or "novel" that seems to have acquired some attention over the last couple thousand years.

Bottom line is the writers create the stories and, because of the Hollywood system, are required to sell their script to the studio in order to get it produced and made. Thus, they get paid once for their work. However, the AMPTP gets paid on multiple fronts throughout the life of the show/film. It's only fair that all the participants share in the profits. Now before some whack job goes off, we're talking about a small percentage for the writers (and probably actors directors, depending on the deal they strike when their contracts renew). All the writers are asking for is a small share - I don't even think it would qualify as a fair share, but hey, it's all they're asking for at this time.

Another person blasted, "well, if the AMPTP are the ones putting up all the money for the shows/films, why shouldn't they get all the profits?" Well. That'd be fine if the writers got paid a larger amount at the sale of the script, but the fact of the matter is that the AMPTP are protecting themselves by structuring the deal as it is. It allows them to pay the writers a small amount and only payoff more if the film/show does well. If it doesn't...no more. If they paid up front for the scripts, then they could lose money if the show/film didn't succeed as well as they'd hoped.

In the old days, writers could be hired by a studio and paid a salary. Everything they wrote was an assignment or on spec, but owned by the studio. These days, it's proven much cheaper to contract out to any writer they want, that way, they can hire/fire them at will, depending on their desires at the time. This has led to a sporadic work life for most writers. They are depending on the small percentages they get after a film sale to keep them afloat financially until the next time they sell something.

The public and critics cannot bitch about the quality of tv/film, then bitch that the writers are screwing them over when they're asking for fair wages. I don't know of anybody who would voluntarily give up wages for work. I know there are idiots willing to give work away for free when they have no financial or personal obligations, but that's not the same thing. When you need to feed your family and put a roof over their and your head, every penny counts and if it's your talent that is bringing in the bacon to the studio, you deserve a fair share.

This argument is closely related to the bitching argument you hear from jealous sports spectators complaining about the salaries of major athletes. These players who many times only get about 5-10 years for their career and then afterwards are physically disabled due to the heavy pounding they take during their career. While not all of them are practically disabled, they all don't make the huge salaries either. You won't see many with 20 years of playing service though. I bet I can find more CEO's bringing down multi-million dollar salaries for longer than athletes. Fact is, it was Jordan that filled the areas. It's T.O. (and the like) that fill the stadium, not the owners or the coaches - the players - and they deserve a piece of that huge financial pie.

Getting back to tv/film, take a look at what writers are paid in comparison to actors or directors, then come back and tell me that it's their fault. There has been 1 (one) ONE script I've ever seen sell for $4 million. Fifteen years ago Arnold was getting $15 million for a movie. I don't even look at the salaries of today's film stars. The cast from Friends was getting $1 million per episode. Think the writers were getting that an episode? While the cast had a lot to do with the success of the show, I believe somebody put those words in their mouths in the first place. This is not a chicken or the egg argument. The writers came first. No writers. No show. The actors could have been anybody and we'd have the same chance of success. And I do say "chance" of success. Nobody can guarantee anything and there's no telling if a different case would have changed anything.

If you want the full details, go and visit the WGA site and read for yourself. If you just don't have the time, just read this FAQ for the most asked questions and see that the writers are David, not Goliath in this fight. The AMPTP is doing all they can to smear the WGA and the writers in an attempt to punish them and maximize their profits at the expense of the creative talent in Hollywood.

Bitching about you TV shows not being on right now is like bitching about all the stores closing down as the Jews were taken off to concentration camps. Do us all a favor and think before you bitch.