Brainstorming…When it Rains it Pours

Have you ever gotten stuck? Ever know that there’s an answer out there that will bring your whole script together but you just…can’t…find it? Or perhaps you’ve got a great logline and concept but you just don’t know where to take the story that will make it commercial and complex? What do you do? Well I suggest it’s time for a brainstorming session. And I suggest you don’t do it alone.

Around the end of the year, it’s easy to put things in a drawer and just wait until January to start something new. But that just means December is the perfect time for brainstorming.  It’s often helpful to make a list or speak out loud – you might just come up with the answer you’re looking for, but if you’re doing this by yourself, you might not realize it. Stream of Conscious sessions can be great to stir up ideas but I think they are even more productive if there’s someone weathering the brain-storm with you who knows what they are talking about and can say, “Yes! That’s it! Try that idea!”

Writers at every level use this technique to fix a story problem, flesh out their stories or come up with new ones. It’s a service that some script consultants offer, including myself. It’s basically like having your own development executive by your side to help you realize what’s working, what isn’t, and why. I highly recommend it and have found that many of my clients at No BullScript have come to love it. Some writers want someone there through the whole process – like a mentor – from fleshing out the idea through the writing of the first or second draft to make sure you stay on track, story-wise. Others just want a professional stamp of approval and suggestions on an idea or storyline before they write it because they are worried they might be wasting their time. It’s certainly better to use a consultant at this point rather than wait for the pitchfest and use the executive as a barometer on your story. You only get one chance with them!

I feel like two heads are often better than one. I had two recent clients that found the answers they were searching for after a brainstorming session. The first just couldn’t come up with a third act turning point – a catalyst that was sufficient enough to bring her characters together. Her current one was too dark and just didn’t fit the story, and she had dismissed others because they didn’t seem original or important enough. And it was through just brainstorming during a phone consultation – listing all the things that could happen to this character – that we figured out the one that fit. 

Another client of mine had a million ideas and loglines but no sufficient storylines fleshed out and he didn’t know where to begin and was worried about taking them in the wrong direction. So what did we do? He sent me 10 ideas (a logline and whatever thoughts or bits of information he had already worked out) and I brainstormed possible storylines for all the ones I thought worked, creating some characters, some storylines, and basically giving him options on ways the story could go that matched what he wanted. And when I sent the ideas back, he had all these options to choose from that reinforced his belief that he had some great concepts to work with and he couldn’t wait to start writing.

In general, this is a great exercise for writers. Come up with 10 loglines – they don’t all have to be winners – and then take the 5 you like best and spend 15-30 minutes on each,  brainstorming storylines or characters or plot points that could flesh out the story and write them all down. You don’t have to be too specific, but sometimes a certain scene or line will pop into your brain – write ‘em down! You may not like any of them, or you might find a trend or theme that could help you with other projects. Or maybe – you will create a story you fall in love with. Being able to plot out a general story in a short amount of time will really help you down the line.

As an executive, I used to do this all the time, but the days where a company will just work on a pitch from scratch with a writer (especially an unproduced or first time writer) are over. Nowadays, you not only need a completed script but preferably a package. But you can still do this on your own, or with a consultant.

Brainstorming with a consultant isn’t about telling a writer what they should write – it’s about giving that creative rock the first nudge down the hill and helping set up different ways for it to fall — and then letting the writer take over. Sometimes a writer just needs someone to talk to – to flesh out ideas out loud. Or create a list of every possible option and eliminate from there. Talking to your buddy or family member or dog is great but isn’t going to give you the constructive feedback you need to make this list productive or make you see the bigger, sellable picture.

If you are interested in a brainstorming or story conception/direction session, or are looking for professional feedback on your ideas, please contact me at Daniel@nobullscript.net. And in the meantime, keep thinking, and keep writing!

The Age Old/Old Age Question

I was recently asked by one of the writers in my seminar – “Am I too old to be writing screenplays and trying to break in to the business? Am I too old to get hired?” And my short quick answer was NO! However, the longer answer is a bit more involved and not quite as inspiring.

Of course you are never too old to write – even if you’re too old to hold a pen, you can still write. And there is no age limit on creativity. A writer can be prolific at any age and if you’ve been writing for 30 years, you’re probably a lot better then you were when you started. But writing isn’t the same thing as breaking into the film industry. There is no question that Hollywood is an ageist industry. If you START writing screenplays when you’re 60, you’re going to have a harder time than those trying to break in at 22 or 25 years old. This business is run by billionaires over 60 and executives under 35.  In most industries, the older you are, the wiser and more experienced people think you are. In Hollywood, the older you are, the more detached from the prime demographic you are thought to be.

There are a few reasons why being older makes it harder to break in (though definitely not impossible).  First, as you get older, chances are your connection to what’s “hip” and what can sell gets that much more removed. Do you know the hottest TV shows, movies, books, music, actors, internet sites, words, phrases, lingo, etc.? Probably not.

Writers write what they know or what they would like to go see themselves. The problem with this is that if you’re over 50 or so, chances are what you like to see isn’t the same as the prime 18-49 demographic. Most writers over 60 that pitch to me have either written a period piece, an autobiography or story about something that happened to them, or a family drama that suspiciously sounds like their own family. And these aren’t what sell. You know how when you go over to Grandma’s house, sometimes she wants to whip out the old home movies…well…if your grandkids don’t want to watch them, why would kids all over the country? It’s just about connecting with what sells (see my previous articles on the period piece and autobiography for more on this).

Second, because executives are usually 25-35 years old, sometimes it’s hard for them to give notes to their grandparents. And speaking from experience, the older one is, often the more “stuck in their ways” they can become and to succeed in Hollywood, you have to be incredibly collaborative, malleable and willing to completely change everything. In other words, don’t be that old curmudgeon on the porch who screams and rants about “those crazy kids.”

Lastly, and this is going to sound harsh, but if you’re first breaking in at age 65, then an agent or manager has to look at how many productive and creative years they have left to work with you. Most agents look for clients that they can have a long, productive and profitable relationship with. And five or ten years isn’t that long if you’re still working on only your second script.

Something I’ve discovered is that everyone wants to leave a legacy. Everyone wants to leave their stamp on the world in some way (other than just having children) and screenwriting is a great way to do that. I think this is why so many people, upon retiring from their different chosen profession, choose to start writing. The day job is over and now they can write and tell their story, express themselves, etc. It’s the legacy they want to leave. If you get a movie made, your name is forever and always on that project in the history of Hollywood (for better or worse). And this is completely understandable and commendable. However, I will point out that Jay Leno had a chance to be remembered as one of the great late night personalities of all time, and now he will be remembered as the person who not only killed NBC, but perhaps killed primetime.

Now before all you AARP members throw your Final Draft CD away and come after me with pitchforks and torches, I want to give you the upside. Companies are so hungry for new, original, well-written material that they don’t care who or where it comes from. A couple years ago, I was queried on virtualpitchfest.com and I asked to read the script. It was a young, female-skewed romantic comedy. I loved it, my boss loved it and we optioned the script. Six months later, the writer, who lived in the Midwest, made a trip to LA and we finally met – and he was a tall, older man – easily in his 60s with pants higher than my grandfather’s. Ya know what? It didn’t matter. His script was great. I connected him with a manager, who got him an agent and he has gone on to write numerous projects for Hallmark Channel and is now writing full time.

Screenwriting contests and query websites are completely anonymous. No one knows how old you are or where you’re from. They only know if you can write and tell a good story. If you are a finalist in the Nicholls or Disney Fellowship or some other prestigious contest, you’re going to get representation and meetings no matter how old you are. So, at the end of the day, while it is harder, you can absolutely still break in at an older age. You may just need to go about it a different way and you need to pay attention to the marketplace and pop culture even more than your younger competition so that no one can say that you’re out of touch. Now let’s go grab that early bird special and get to work!

Everything’s Bigger in Texas…

Last weekend I had the pleasure of travelling down to Dallas, TX to speak to the Dallas Screenwriters Association. I had never been to Dallas before – or even Texas for that matter – and I didn’t quite know what to expect, but what I got was a whole lot of hometown hospitality. I have to say that the DSA really went out of their way to make me feel at home and they couldn’t have taken better care of me if they were my Mama. Now that I’ve been to Dallas, I have to say Mama. I think it’s a rule.

Anyway, after an impossibly early flight (executives don’t know what 530am looks like – we’re spoiled and roll out of bed around 830), Carolyn Hodge, the President of the DSA and the person who had taken a class of mine in Santa Fe and thought I’d be a great speaker for her group, took me to lunch and then I had a short while to prepare before being whisked away to Downtown Dallas to teach.

I gave my seminar “Becoming Your Own Development Executive – How to Look at Your Script from the Executive Perspective,” complete with  a power point I had completed about 16 hours prior to the class. Shhhhhh….But we had a great turn out and the class went very well! Whew! Before the class, I had a few people ask me when the speaker was going to get there – I think they were a bit surprised that someone with such dashing young good looks could be their speaker (just kidding). But everyone was great and seemed to really enjoy the class.

It was the first time I had ever taught in a theater-type setting, which was nice – it felt like I was performing my own one-man show.  Afterwards, we went to Denny’s – that’s right Denny’s. And I’ll be damned if their super cheese burger fries weren’t rootin’-tootin’ fantastic. Ha! But I was exhausted.  I was being housed by DSA Board member Steve and his wife Lisa, whose house I could have sworn was an actual Bed and Breakfast or at least should be! Their three adorable dogs including Truman, who I’m still pretty sure was part dinosaur, made me feel right at home. And after getting back to their house at about 1130pm, and being up since 530 on 3 hours sleep, I promptly hit the sack like a ton of bricks.

On Saturday morning, I had private No Bull Consultations and met with some lovely writers. Some more eccentric than others, but it’s personality and variety that make this job fun. And I realized something – in every city I go to other than Los Angeles, people pitch me spiritual projects. It’s an odd phenomenon that us Godless Infidels of LA don’t quite grasp. And one that I will be blogging about in the very near future both on this site and on BOSI.

After the consults, Carolyn was gracious enough to take me to lunch and then to the JFK Museum at the Book Depository. Despite it being quite warm in there and the tour taking about 2 hours longer than I had thought it would take, it was quite enlightening and emotional. And to see the grassy knoll – which by the way is JUST a grassy knoll – was pretty cool. I don’t know why I expected something different. But a good time was had and then it was back to Steve’s for a Texas Style BBQ in my honor. I’m pretty sure it’s the first time a Texas BBQ was ever thrown for a Jew, and I appreciate that!

Good food, nice people, interesting conversation, and somewhere around 10pm, I found myself drunk. And if that’s not the sign of a good BBQ, I don’t know what is. Ha! But the next morning, I boarded a plane and came back to LA. Silly City Boy I am, I expected cowboy hats, cacti,  big hair, cows being roped in the street, and at least one really funny accent, but I was surprised to learn that Dallas is actually a whole lot like Los Angeles, just a bit more humid. And they like the Cowboys, but no city’s perfect.

I want to sincerely thank Carolyn, Steve and Lisa for their incredible hospitality, and everyone else at the DSA, everyone who came out to see the seminar, have private consults or just shared a pork sandwich with me. You definitely know how to make your special guest feel special and I look forward to coming back real soon…Yee haw!

Josh Olson Won’t Read Your Fucking Script…And Shouldnt Have To

This past week, A-list writer Josh Olson, who penned “A History of Violence” and a whole bunch of other stuff that hasn’t been produced yet, wrote an article in the Village Voice titled “I Will Not Read Your Fucking Script.” You can read the full original article here: http://blogs.villagevoice.com/runninscared/archives/2009/09/i_will_not_read.php?page=1.

Since its posting online, and re-posting on Nikki Finke’s website, hundreds upon hundreds of professional and amateur writers have commented, as well as producers, execs, script consultants, etc.

The comments range from calling Josh a hack and a piece of shit selfish asshole who doesn’t deserve to ever work again, to the most brilliant tell-it-like-it-is martyr for everyone who’s tired of reading a stack of shit they feel forced to read by personal connection or profession.  So where do I fall in this spectrum?

Well first please allow me to preface my comments. Josh was talking about reading people’s scripts for FREE. People that speak to him once or are friends of friends o long lost family members who think that he is their IN, and therefore use that referral to ask him to read their script for free. Obviously, since I run a script consulting company, I am MORE than happy to read any of my clients scripts (yes, even the bad ones), and I appreciate and am grateful for everyone’s business! So, please keep in mind that my comments are regarding the freebees that Josh was referring to in his article.

This wouldn’t be No BullScript if I sugarcoated it, so for me…Josh was absolutely right. Sure, he seems ungrateful because after all, someone took a chance on him when he started, right? But here’s the bottom line – karma might be a bitch, and maybe he’ll never work again, but no one ever said that you HAVE to pay it forward. It’s everyone’s individual choice.

This town is dog-eat-dog, and he’s the Rottweiler who just decided to take a bite out of the neighbors’ Yorkie. He doesn’t owe you anything just because he became successful. He arguably worked hard to get there, and he works even harder to stay there. And as a screenwriter, the first thing you need to learn is that no one owes you anything. No one HAS to give you a shot or your first big break. YOU have to make that happen.

And Josh’s reason for no longer wanting to read scripts from everyone he has barely met has great merit. People outside of the business are constantly told that they need referrals and an “in” to get anywhere in this industry and that’s true. But that means every single wannabe writer, director, producer and actor trying to break in, is contacting that ONE person they know to see what they can do. And it gets tiring for those on the inside. We have hundreds upon hundreds of scripts to read per year just for work. And then probably another 50 we want to read just for fun.

Of course, I’d be happy to read my old college roommate’s script and give him my thoughts, but his friends’ roommates’ cousin? No, I’m not going to read his fucking script…unless of course he’s paying me to.

There are only so many hours of the day, and the more successful you are, the busier you get. Josh is currently rewriting at least 4 studio movies, so it’s not out of the realm of plausibility that he actually doesn’t have TIME to read every wannabes’ script that comes across his desk. Every exec in town is scared to meet new people that are writers because we know that after the niceties subside and we’ve talked about the weather, our alma maters, and the latest viral video, they are going to ask us to read their script! And either they want us to read it and give them notes, or they want us to read it to see if we’d like to produce it. And Josh is right – it’s not fair that everyone we meet assume that we are willing to do this.

If you and I are close, then fine. But if we just met, don’t be so presumptuous. And it’s worse for executives and script consultants than it is for writers. Why, you ask? Because writers aren’t PAID to READ scripts. If I make my living reading scripts and giving wonderful, constructive notes, how many freebees do you think I can possibly give just because you know someone I know and we had a 5 minute conversation? That 5 minute conversation just cost me over $100.

And I can commiserate with Mr. Olson’s worry about how to word his response just so, because you don’t want to piss off a friend, but chances are – they suck.  It’s hard to give constructive notes without feeling like you’re being too rough or a total asshole. Now, those of you who have used my services know that’s not usually a problem for me, but that’s because you know what you’re getting into before you submit your script. How do you tell your friend or family member that they suck? It’s easier and cleaner if you just refuse to read it.

Now, because I have had luck with younger, unrepresented, unproduced writers, I’m usually willing to give anyone a chance. But with someone you know personally, you can’t just stop reading after page 10 if it’s awful. It’s just an awkward situation.

To summarize, yeah, Josh might have been a bit harsh and certainly seemed a bit holier than thou when really, he isn’t, however he was just expressing an opinion that (whether they admit it or not) every single executive, professional writer, director, actor and producer actively working in the business feels. And if you are so deeply offended by the fact that someone successful isn’t reaching out a hand to help you, then this business isn’t for you, because going back to the my point…no one owes you anything.