the art and craft of screenwriting
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Film is a collaborative medium. At its best, it can be like an architectural masterpiece, the product of a thousand inspired choices by a team of inspired artists all working toward the same goal: to make something beautiful that will stand the test of time. At its worst, it is art by committee; disjointed, poorly constructed, aesthetically dead.
But like a great work of architecture, a great film begins with a blueprint: the script. A script is, or should be, lyrical, textured, multi-layered and beautiful. It is a literary genre, standing somewhere between poetry and the novel, as economical in its expression as it is detailed in its narrative. But it is also, or should be, structured and standardized, stripped down to the essentials. It may be a literary genre, but it is also a technical document, a schematic, providing a framework for other artists to build upon. If done well, a great script is a joy to read. But it has to be more than that. A great script has to attract great collaborators. In some ways, that's its primary function. Whether it's a seasoned producer, a first-time director, an A-list actor, or just a group of friends with a decent camera and few hundred bucks, they're all looking for a story they can rally around, a common purpose. Your job as a writer is to give them that purpose. Sounds simple enough. Of course, most of us have a script in the drawer that belies that assumption. If that's true of you, I can say two things about you. 1.) You're not alone. 2.) You've already done the hardest part, putting words on the page. But if you're convinced you have a story to tell and it can only be told in this medium, I'd like to help. |
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screenWRITING COURSES
For anyone just beginning to think about dramatic writing, signing up for a screenwriting course is a good place to start. I offer semester-long courses at local universities, as well as one-off half-day and full-day courses for large and small groups through film festivals, arts agencies, and generally whenever there seems to be enough interest.
Whether it's a college class or just a 6-hour intensive, these courses cover everything you need to know to get started. And yes, that includes the nuts and bolts of story structure, plot, dialogue and formatting. But more importantly, we explore what makes a great story to you and why you are the only one who can write the best version of it. The emphasis is always on finding your unique voice as a writer.
Whether it's a college class or just a 6-hour intensive, these courses cover everything you need to know to get started. And yes, that includes the nuts and bolts of story structure, plot, dialogue and formatting. But more importantly, we explore what makes a great story to you and why you are the only one who can write the best version of it. The emphasis is always on finding your unique voice as a writer.
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Because here's a dirty little secret about writing for the screen: No one really cares about plot. When someone says they just saw this great movie or series, or they have a great idea for a movie or series, our first instinct is to ask: What's it about? And then they usually stumble through a plot summary that bores us both. But 9 times out 10 that plot summary starts with, “It’s about this woman…” or “It’s about this guy…” or “This group of people…” In other words, they’re answering who it’s about, not what.
That’s because we know instinctively that great stories aren’t about plot, they’re about people. What do they want? What do they really need? What’s in their way? And how do they succeed or fail at those wants and needs? Great characters drive great stories. And part of writing great characters is discovering your truth, exploring what you want to say about the human condition. |
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If a screenwriting course seems like the right place to start for you - or you are interested in organizing a course for your organization or school - hit the contact button to find out more. Courses can be arranged for in-person instruction or entirely online.
monthly seminars
SCRIPT ANALYSIS
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WHAT I OFFER
Good script analysis can pinpoint problems with structure, character, dialogue, tone, even something as simple as formatting, that can make the difference between a script that attracts collaborators or drives them away. If I feel your script can benefit from my input, you tell me your goals for the project, and I'll give you in-depth and comprehensive notes (typically 5 to 10 single spaced pages) that address all aspects of your script, including structure, character, dialogue, and tone, as well as detailed page notes that pinpoint specific issues. The notes will be tailored to your goals, whether it's for the Hollywood marketplace, or a no-budget production set for next month, or anywhere in between. I'll help you clarify your theme, the arcs of your characters, and help you shape what you have into a document that will have the best shot at attracting the collaborators you need to realize your vision for the project. |
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WHAT IT COSTS
I don't charge a cent to read your script. Before we work together, I want to know if I can really help. I won't offer any feedback, but I will let you know if I think you need to do some more work before I can help. If I think I can offer something really constructive, it will cost $250 for overall notes on structure, character, tone, etc. as well as page notes on where I think changes will be most effective. If you want to keep me in the loop on revisions, it will cost $150 every time you re-submit a draft for analysis. But here again, I will only agree to further submissions if I think I can really help. |
WHY ME
Over the years I've worked with some of the most successful producers and studios in Hollywood. I've sold scripts outright, had them optioned, and been hired to re-write films in development and in production. I know what industry professionals are looking for, and what will turn them off by page two. Here are just a few of the projects I've worked on:
BOBBIE SUE, DeLine Pictures and Warner Bros.
HENCHMEN, 21 Laps and 20th Century Fox
HAPPY LITTLE FAMILY, Millar Gough Ink and Walt Disney
WAKE UP CALL, Millar Gough Ink and 20th Century Fox
MINIMUM WAGE, Tapestry and Participant Media
BIGFEET, Monster Foot Productions
FREE BIRDS, Strange Weather and REAL FX
ART OF CHEATING, Original Media
OMG, Strange Weather and Dark Horse Entertainment
But let's be honest, most writers are not going to make a living writing for Hollywood. I've had the amazing good fortune to be one of the few who do, so far, but note that almost all of the titles above are still in development. It's a tough business. And there are enough workshops, coaches and graduate schools out there more than willing to take your money on the promise of a "career" in screenwriting. I can't promise you that. No one can.
I can promise to help you be a better writer. I can help you hone your craft for the right audience and give you your best shot at attracting the attention of Hollywood professionals. But that's not your only option. If it were, I wouldn't offer this service.
Because while I've worked with producers and executives willing to spend millions on a good story, I've also worked with actors and crew willing to work for nothing more than the satisfaction of making great art. Both are thrilling, worthy endeavors. But they require a different set of story-telling skills. I know what it's like to tailor a script for a tight budget (or no budget at all), and how to avoid some of the script-based pitfalls of independent filmmaking. If you're committed to the art form, you don't have to wait for permission from Hollywood to make a great movie. All you need is the blueprint.
Whether it's a Hollywood studio and an A-list actor, or a group of friends with a decent camera, they're all just looking for a story to rally around, a story that gives them a common purpose. I'd like to help you give them that purpose.
If you're interested, hit the contact button and let's start the conversation.
Over the years I've worked with some of the most successful producers and studios in Hollywood. I've sold scripts outright, had them optioned, and been hired to re-write films in development and in production. I know what industry professionals are looking for, and what will turn them off by page two. Here are just a few of the projects I've worked on:
BOBBIE SUE, DeLine Pictures and Warner Bros.
HENCHMEN, 21 Laps and 20th Century Fox
HAPPY LITTLE FAMILY, Millar Gough Ink and Walt Disney
WAKE UP CALL, Millar Gough Ink and 20th Century Fox
MINIMUM WAGE, Tapestry and Participant Media
BIGFEET, Monster Foot Productions
FREE BIRDS, Strange Weather and REAL FX
ART OF CHEATING, Original Media
OMG, Strange Weather and Dark Horse Entertainment
But let's be honest, most writers are not going to make a living writing for Hollywood. I've had the amazing good fortune to be one of the few who do, so far, but note that almost all of the titles above are still in development. It's a tough business. And there are enough workshops, coaches and graduate schools out there more than willing to take your money on the promise of a "career" in screenwriting. I can't promise you that. No one can.
I can promise to help you be a better writer. I can help you hone your craft for the right audience and give you your best shot at attracting the attention of Hollywood professionals. But that's not your only option. If it were, I wouldn't offer this service.
Because while I've worked with producers and executives willing to spend millions on a good story, I've also worked with actors and crew willing to work for nothing more than the satisfaction of making great art. Both are thrilling, worthy endeavors. But they require a different set of story-telling skills. I know what it's like to tailor a script for a tight budget (or no budget at all), and how to avoid some of the script-based pitfalls of independent filmmaking. If you're committed to the art form, you don't have to wait for permission from Hollywood to make a great movie. All you need is the blueprint.
Whether it's a Hollywood studio and an A-list actor, or a group of friends with a decent camera, they're all just looking for a story to rally around, a story that gives them a common purpose. I'd like to help you give them that purpose.
If you're interested, hit the contact button and let's start the conversation.