Writing for the Green Light

by Scott Kirkpatrick

  Getting Feedback

  I think one of the toughest things for a novice writer is getting someone to read their script and provide them solid feedback. It’s actually a pretty big favor to ask. And for those of us working professionally in the movie/TV business, we have many acquaintances that have put this burden onto our shoulders. A good friend of mine, a producer, summed it up for me pretty well: “I hate scripts; these writers ask you to read them, so you spend ninety minutes reading it, then another hour writing notes, and the writer only scoffs at your opinions and they apply nothing to their efforts.” That’s a pretty raw deal, wouldn’t you say?

  It’s hard to hear criticism, but it’s also quite hard for those reading your script to relay it. The emails I’ve written where I must criticize something always take me two to three times longer to write than others… . Mostly because I keep rereading my statements to make sure I’m not saying anything that’s coming off as too harsh or could be misunderstood.

  The other problem with getting feedback is knowing who to ask. If you have professional friends, maybe those are favors you’re not ready to cash in… . But you can’t just give it to close friends who know nothing about the movie business, you need real criticism and advice—but you also need to make sure the person giving it to you knows what they’re talking about. This sounds absurd, but the truth is most screenwriters hand their scripts to the wrong friends for advice or guidance. It’s all well-intentioned of course, but those unfamiliar with the industry might not fully understand what it is you’re going for and thus might steer you in a direction that takes you away from your goal of selling your work (and yourself).

  Here are a few vetted ideas where you can get some real advice on how to improve your script:

  Pay a professional. As a guy who will advise you against paying unnecessarily for anything you absolutely do not have to, this is one of the few times I’ll advocate spending cash for someone’s professional advice. There are numerous qualified script consultants working, each of whom has years of credible experience they can use to not only improve your script, but also help you pitch it and professionally discuss it. They’ll also be able to point out your overall strengths and weaknesses as a writer—so that you learn where you can improve, but also point out which genre type you excel in (which can help you hone in on a genre type that will get your work noticed more quickly). There are two script consultants whom I recommend that handle this job very well (both of whom offer their services for very modest and reasonable prices).

  Erik Bork—Erik is a professional screenwriter and two-time Emmy winner for his writing work on the HBO miniseries From the Earth to the Moon (1998) and Band of Brothers (2001); he’s also worked on the writing staff of two primetime dramas and written feature screenplays, pilots, and other miniseries scripts for many of the major Hollywood studios, networks and top tier producers. From the outside, Erik leads the kind of life most newbie writers would dream of—including having been a trusted writer/producer on many projects with players like Tom Hanks and some with Steven Spielberg. But Erik doesn’t come from some well-connected “Hollywood family,” he comes from a modest background in Ohio—which is also where he earned his film degree (meaning he did not attend the big L.A.- or New York-based film schools). I say this because Erik is proof that you can come from far outside Hollywood’s fortified walls and truly “break in” and climb up to the studio level by writing what Hollywood needs and presenting yourself (and your work) in the way professionals need you to. He’s fantastic at fixing structure and helping you logically work out your script’s overall flow. What I personally respect about Erik is his modesty and true attention to getting your script in its best shape (regardless of your experience level). His rates are very reasonable (and clearly posted on his website), which you can also use to reach out to him: www.flyingwrestler.com. Bookmark his website; it’s a very valuable resource for writers, which he updates all the time.

  Donie Nelson—Donie is a true Hollywood legend who started her professional career in the story department of the big studios. Although she’s not a pen-to-paper writer, she’s had more scripts pass through her hands (and had more lunches with persons who went on to be leading voices on the subject of screenwriting, e.g., Linda Seger, Lew Hunter, Syd Field, Skip Press), than anyone else I’ve ever met—meaning she’s seen firsthand what truly works and what doesn’t in the world of professional screenwriting. What she can offer you is real-world perspective and advice on how to pitch your work (and yourself) to Hollywood’s gate-keepers, so that you can get your script into the right people’s hands… . She’s also a fantastic script doctor who can give you excellent guidance on how to improve your script specifically so it reads well for the readers who will be judging your work later on. Think of her not just as a resource for one-off script advice; use her as a career coach during many of the early aspects of your professional journey. Her consultation prices are very reasonable and her advice is top notch. You can reach out to Donie directly by email at: wrtrconsult@earthlink.net

  Writers’ Groups are great places to get legit feedback, but you need to ensure you’re with the right one. There’s always a few pretentious ones that are a little too focused on overly criticizing each other’s works; then there are others that are a bit more about social networking versus quality feedback. There are writers’ groups in all cities, but here in Los Angeles, there’s dozens focused on quality feedback for the real working world of Hollywood. Audition them; it’s okay to experiment and see which one makes you feel comfortable. Like any social group, you want to make sure you feel confident presenting your ideas and that you like the way others provide appropriate feedback. You can also attend classes at The Writer’s Store or take UCLA Extension programs; both offer instructors who are actual working writers and can give you wonderful advice on your work. And don’t forget that these programs will be full of other like-minded screenwriters whom you could stay in contact with and exchange scripts.

  Shoot your script! Of course, you don’t have to go produce it solo (though that’s certainly an option if you’re up for the challenge), but you can pull in some friends, order some pizzas, and have a read-through together (where you record the entire thing on camera so you can play it back and watch it later). Maybe you have your friends stand and semi-block out scenes… . Nothing too involved, but just enough to give you a sense of things. You know what you’ll quickly realize? How little of your script is logically choreographed or that there are actually several holes in its narrative or its logic. You’ll hear any of the idiot dialogue and feel where sections just drag. It’s okay, better for you to find out about these problems now in the company of friends (with some good pizza) before a reader picks up on them and gives your work a “pass” on their coverage report.

  Knowing When It’s Ready

  There will never be a perfect script; you can edit and revise for years and it will never please everyone. Eventually you have to make the executive decision for yourself that your script has been written to the best of your abilities and that it showcases your talents in their best light.

  But how can you judge when you’ve actually reached this point? It’s a tough one, because there is no formula, it’s a gut instinct you (and only you) can really know. You can read (and reread) your script over and over again, and probably find a word here or there you’ll change, but that’s very surface level and you’re probably just apprehensive to call it complete. If there’s a nagging feeling that a sequence should be changed or a series of events tightened, that’s definitely something that requires some more work… . But if you find yourself simply nit-picking on a few word changes, you’re probably quite close to the end.

  The best way to tell is by maybe giving it to one last person to read and getting their feedback. You don’t need them to give you thoughts on how to improve anything—in fact, ask them not to tell you their ideas—just ask for a general overview on their impressions. Did it make sense? Was it clear? And mor
e importantly, did the writing seem to flow? Were they genuinely curious to turn the pages? You don’t need them to lie and exclaim it was a page turner and they couldn’t put it down, just as long as it felt like it read fast and clear. You’re not asking this individual to help you make changes or offer suggestions, you just want their general impressions on how it felt to read it.

  If you pay a third person for this job, just remember that they’re going to feel obligated to make comments and suggestions… . Listen to them, are their suggestions things that must be changed? Or are they personal requests?

  The best answer is simply to put the script away for a while… . Try to keep it out of sight (out of mind) for a month. Remove yourself from it a bit. Work on other projects. When the time is right, pull it back out and read from page one and don’t stop. Don’t make notes, don’t make corrections, read it completely in the mindset of a reader (a person who will not mark a word change or offer suggestions, they will simply read what’s before them and report on the results).

  Ask yourself the same questions. Did it read easy? Quickly? Were there sections that dragged?

  If you need to make adjustments, make them. There’s no “correct” amount of time to finish a script. But eventually, you will have to pull the plug and call your work on this script complete. It will be easier for you to do this in time, but you’ve got a career ahead of you (one full of many writing opportunities) so you will need to fine tune your own gut instinct of when your work reaches a point of completion.

  Conclusion

  Writing a quality spec script is much more than just drafting a screenplay… . Your script is a billboard advertising your talent and ability to deliver quality writing in a time crunch for production and distribution companies.

  However, there’s no need to feel unnecessary pressure that you’re somehow competing with all the other novice screenwriters out there—because most of them are writing the wrong types of scripts… . As long as you find a gold-mine genre type you like, let yourself have fun. Be creative and original. Use your unique voice when you write. You’re here to deliver Hollywood what it needs (that’s what gets your script noticed), but don’t think that doesn’t allow you the chance to add your own spin to make your work fresh and exciting. I’m not here to tell you that you cannot express who you are with your writing (you totally should!), I’m only suggesting you filter your talents through the gold-mine genre types and present your work in a way that makes the jobs of Hollywood professionals easier.

  Those are the attributes that get Hollywood to notice you and your work.

  Four

  How I Learned to Stop Worrying and Write for Television

  In this chapter, we’ll outline the basics of writing for Hollywood’s small screen—not just the tricks for presenting your ideas and getting your work seen, but also how the TV side operates (and differs) from the movie end of the spectrum.

  Television Writers: Hollywood’s Navy SEALs

  Television writers hold some of the most coveted writing positions in the industry—and earn some of its highest paychecks. But little has been explained about how such writing positions are ever reached or how a newbie should best guide themselves toward attaining that goal. Perhaps referring to staff TV writers as Hollywood’s own “SEAL Team Six” is a bit of a stretch… . But for any novice writer starting out, those TV writers who are already inside the system—who’ve earned “staff writer” status on a major network or cable series—certainly seem pretty elite. And unlike the film side of the business, where a great number of books have been written on the subject of “how to write a feature,” the television side consistently remains cloaked in a fortified veil of mystery.

  The real reason breaking in to television writing is so difficult is because the TV side offers no direct path to follow—which means there’s no industry-vetted (or “right”) way to approach it. It sometimes feels that way on the movie side, but when it comes to feature-length spec scripts—although challenging—there is a method behind the madness. A major factor for this ambiguity lies in the fact that on the film side, a feature-length spec script can exist all by itself, as a “stand alone” property. When a feature-length script works, it requires no other elements (not even from the writer) to make it shine—and even if a great feature script comes along, its writer may never deliver another quality script for the rest of their lives… . Meaning, on the film side, a writer has the potential to be a “one-hit wonder.”

  On the TV side, however, a writer must be a creative machine! They must be capable of constantly churning out great ideas on a moment’s notice and be able to add a fresh spin to even the most exhausted of ongoing storylines. In addition, to join a staff of writers, they must be a team player, willing to work with (and fit into) a core group of people with the collective task of outputting great scripts for a single long-running program. And for a writer to show they have what it takes, they must prove they’re not only talented but consistently and reliably talented—which takes a great deal of hustle, strategic schmoozing, and a steady output of quality writing.

  All that said, even though the television side does have a rigid system in place—one that’s designed to only admit those select few who are lean, mean, and sharp enough to navigate themselves toward the end zone—that certainly doesn’t mean there aren’t dozens of entry points wide-open to you—along with several ways to fast-track yourself towards TV’s inner circle.

  And, to your great advantage, you are entering the writing game at a very unique time in Hollywood’s history… . Where there were once only a select few TV channels available, there are now hundreds. And as interactive VOD platforms (e.g., Netflix, Amazon, and Hulu) make a gradual shift toward producing original series content, the constantly widening landscape of opportunity within the TV market has never tipped the odds more in your favor.

  Where to Begin?

  Not all TV writing is one-size-fits-all; it ranges from TV movies, miniseries, one-hour dramas, and long-running multi-episode sitcoms (just to name a few). These examples also leave out the endless array of non-scripted reality shows, one-off (one-episode) documentary programs, and even lifestyle series (e.g., cooking shows or DIY programming).

  To break this down into a simple division, agents I work with like to refer to anything based upon scripted material as “television” and anything traditionally viewed as non-scripted content as “alternative television” (I wouldn’t consider these terms to be “industry norms” quite yet, it’s just a trend I’ve recently seen)… . That’s not to say non-scripted TV programs don’t involve a fair amount of writing (e.g., narration, title cards, and “paper” edits of interviews), but generally “alternative TV” (non-scripted TV) just isn’t as appealing to novice writers as the scripted side. (Incidentally, many of these “alternative” television programs may never list their staff writers as “writers”—they might be classified as “segment producers” or some other stealthy name to dodge the fact that most “reality” TV content is completely staged. Great example, when I produced the “reality” daytime courtroom series Eye for an Eye, the cases were based on “real incidents,” but we had a team of writers (including myself) who adapted these ridiculous stories into a TV format—none of us received writing credit, we were called “case interns” or “case coaches.”)

  But if you want to truly break in to the world of scripted television writing, there’s one very clear principle you must adopt and accept fully: Most television is non-scripted!

  Whether it’s reality dating programs like The Bachelor, talent and singing competitions such as The Voice, or game-show/competition genres, including anything from Wheel of Fortune to The Amazing Race down to Wipe Out!; all are highly rated and internationally popular series (with numerous seasons to boot) that dominate prime time yet don’t require a traditional script.

  Novice writers are generally taught that this reality-check about television is somehow their greatest obstacle… . Quite the opposite! TV’s
non-scripted side is literally a wide-open doorway to its scripted end. Think about it: As you read this, there are literally thousands of non-scripted content hours currently airing or streaming across hundreds of cable/satellite channels and VOD platforms. Most hopeful screenwriters bypass those and only focus on that small sliver of scripted programs, without realizing that many of the scripted and non-scripted programs are being produced on the same studio lots, sometimes by teams sharing the same production offices.

  To “break in” to scripted television writing, you’ll use its non-scripted side for entry. But you’ll need a few tools in your arsenal before you begin… .

  Back to the Spec-Writing Board …

  Same as with the feature world, if you want to build a career as a television writer you first need to prove you know how to write… . That means you’ll need to write a few sample spec scripts (a minimum of two, ideally three) that not only showcase your abilities, but also indicate your overall focus and direction.

  Already have your feature-length movie gold-mine genre type spec scripts dusted off and ready to go? Sorry, that won’t cut it… . If you want to write specifically for the small screen then you’ll need to offer television’s decision-makers TV-focused samples of your writing—meaning in order to prove you’ve got the chops, you’re going to have to write sample TV spec scripts.

  A sample TV spec script is exactly what it sounds like: it’s an invented episode—written on spec—purely for the purpose of proving you understand how to write for a particular series (or ones very similar to it).