An Interview with Writer\Script Coach\Story Analyst Xandy Sussan

TGL - Today we have the pleasure of interviewing Xandy Sussan - Writer, producer, story analyst. Xandy tell us a little about yourself, how you got started and what has kept you working in the industry over the years?

XS - I’m Xandy Sussan, a produced writer and script coach / story analyst with CoverMyScript.com. I always knew I wanted to be a writer. When I was 10, I saw Woody Allen’s “Sleeper” and I was hooked! I grew up surrounded by movies (my parents are both huge movie buffs) and I was a self-confessed TV junkie by the time I could speak (I think that was my third word… eek), so there was really only the one direction to go in. I would say, if anything keeps me going it is that I continue to write movies and television I would want to see made. It’s really as simple as that.

TGL - As a professional reader I’m sure you’ve had the opportunity to read some really good material over the years (in between the nightmares I’ve sent your way). What makes a good story stick out? Can you identify a few commonalities between one good script and another?

XS - Well, a good story has compelling characters, solid structure and leaves you satisfied at the end, making sure to use everything. Most new writers think it’s okay to just have a notion “a single mom balances her job against her kids” and that’s enough to rest a whole project on. Well, it’s not. They say “God is in the details,” and never more so than in screenwriting. It’s not necessarily the freshness of the story (although that helps a ton) but it’s also the execution. If you can’t figure out how to craft this single mom so that she’s gripping, likable and worth rooting for, if your structure doesn’t flow, and if you mention details that don’t pay off, no matter how excellent your premise is, your script will never be a success.

TGL - There are a bunch of myths and legends about making it in Hollywood. Is it true that 98% of the scripts that make it to Hollywood end up in the trash before they even make it to a readers hands? What are some of the common pitfalls a newbie writer will make that will guarantee their material will end up being filed under “G” for garbage? Are all Studio Readers really Film School Interns unwilling to risk their reputations on a new writers work?

XS - This is really a two part question. It’s more like Studio Readers are frustrated writers who hate you and your work, just because it’s yet another script they have to read. They’re tired, they’re blind, they’re poverty stricken, and they’re having just as hard a time getting their agent on the phone as it took you to get your script past the door. It’s harsh to say, but mostly true. There are many production companies and talent agencies that use interns to do coverage. These kids are usually still in college or recent college grads and wouldn’t know a good story from their elbow, but they’re cheap labor and that’s what makes Hollywood go ‘round.

Part two: Okay, so how does someone with no connections get past the lions at the gate? I’ve just relearned this recently, it’s amazing what happens when you cold call. Most times, 97 times out of 100, you’ll get rejected and hung up on, but those other 3 times, someone might be interested in checking out your work.

Rule #1, don’t contact anyone about anything, until such time as you have the script perfect (I don’t mean that your mom liked it, I mean that there’s no typos, it’s in the correct font, it’s been checked out by an independent professional etc.) There’s nothing worse than getting someone on the phone willing to look at your work, but the script isn’t finished. Then you have to rush it through and it’s a waste of everyone’s time. Make sure the work is ready to go and you should have no problems.

Rule # 2 You should have a solid query to go along with your script already prepared before you call anyone. Same rules as above apply. You don’t want to get caught with your pants down. A friend told me there’s a simple rule to writing a query… short, short, short. Your logline should be no more than 2 sentences and 55 scintillating words making your story seem so sexy and exciting that how could they refuse. I know that sounds impossible, and trust me, it ain’t easy, but it’s doable. And you should keep at it until it’s perfect.

Rule #3 Always charm the assistant of whomever you’re trying to reach. The assistants are the gate keepers and they decide what gets through and what doesn’t. The first time you call, get their names and keep good records. If when you call, you say “Hi Jill, it’s Xandy Sussan, we spoke a few weeks ago about my script” you’ll get a better response than “Hi it’s Xandy Sussan, I’m calling about my script.” People love to be addressed by name, and it makes them think they should know you, since you know them. It puts you in the power position.

Rule #4 There is a fine line between stalking and following up. Stalking is calling every day. Following up is every 2 weeks. Don’t be a stalker. But that being said, you should always ask when would be convenient for them for you to follow up, then do as they say. Patient yet persistent, but don’t be a stalker.

And the rest is luck and tenacity. If you’re a quitter, don’t bother. Show your script to your friends and family and let them pat you on the back for being a genius. If you are a rabid dog, who never quits and always perseveres, keep at it. You’ll eventually make enough connections to get through to someone.

My one last pearl of wisdom for newbies, never get off the phone with someone who said “no” without asking them who else you should call. You never know what will happen. This is where being both pushy and charming comes into play. Best case scenario, you get another contact, worst case, they say, “bye” and you’re no worse off than when you started.

TGL - A lot of my readers probably don’t know the importance and usefulness of script coverage, so I thought this would be a great opportunity to get an EXPERT’S opinion of why getting coverage will benefit ANY writer, new or veteran, but also to get some clarity about some of the terminology.

XS - What is script coverage and why is it a good tool? Script coverage is, usually, a two page (or so) report about your script and is largely used by agents, managers, prodcos to manage and evaluate their script submissions. For screenwriters, it’s a tool to help you asses where you are with your work. It will contain the basic information, writer’s name, reader’s name, date, logline, a synopsis and comments.

The logline is a quick sentence that describes your script. For example the logline for “Tootsie” might be “When an unemployed actor needs to raise money, he poses as female in order to get a job on a soap.” It’s just the basic essence of your story. Don’t worry if the reader doesn’t address your multi-leveled pathos in the logline. It’s really just the gist of the story.

The synopsis can be helpful to new writers because often times they’re unable to see a better way to tell their story. They’re too close to it and can no longer see what’s really on the page. A synopsis will provide the chance for the writer to see how another person views their story, thusly illuminating a path to salvation.

The comments section is the bitter pill to swallow for most writers. Everyone is very sensitive about their work, even me, because it’s so personal. You spend 100’s of hours working on something, only to have someone shit all over it for what feels like no reason. Here’s the deal with comments, and I say this all the time when people have several opinions and they’re trying to reconcile them: take what feels right to you. You know in your gut if something’s not right with your script. You know it, even if you don’t want to admit it. So, when the reader suggests that there is a problem, listen to what they have to say and take the comments that feel organic to you. The others, you can ignore. But that’s why having a reader you can trust is so important. You want someone who sees scripts non-stop and knows their stuff. Your friends will tell you your script is great because they love you. And while that’s sweet, it doesn’t help you get your script sold. You want tough harsh critics who will push you to your limits.

So, while Script coverage is a useful tool, you also have to pick your story analyst very carefully. Anyone with $10 and an internet connection can set up a script coverage / story analysis website and claim to be a “professional.” Always check out your reader before you hire them. See what they’re charging. This isn’t one of those instances where cheaper is better (and I’m a bargain hunter through and through). What you’re looking for is someone who can inspire you, has inspired others, has a track record of success and someone with whom you feel simpatico. Your relationship with your reader is going to become, best case informative and speedy. Worst case, it’s gonna be co-dependant. You need someone who understands your goals, your script, and knows how to get you there. Think of your reader as a personal trainer for your writing muscles. If they don’t, or you don’t get a good vibe, or they seem slim shady, whatever, don’t go with them. Keep hunting until you find the right person for you. In most cases, your reader is going to become your confidant, teacher, and someone more emotionally intimate with you than your mate. You want someone you want to spend time with and someone who knows their stuff.

Also, try not to argue with your reader about their notes. I know it’s very personal but, if you’ve done your homework and you’ve found your reader soulmate, you should trust that they have your best interest at heart. I, personally, never lie and I never couch my words. It does my clients a disservice if I kiss their asses and tell them their scripts are great. It doesn’t help them and it doesn’t help me. However, when I’m brutally honest, and tell them it sucks, once they finally get it right and hear from me “I loved it!” they know they’ve really got something then. Honesty is what you want, even if you’re sensitive and have easily hurt feelings. Otherwise you’ll never grow or reach your writing goals.

Last thing you want to look for is someone willing to do a call with you after you’ve read the report. You’ll have questions and you’ll want access to the reader to discuss. Usually an hour is standard and included. If they don’t include a call, or they charge extra, beware. They’re just out to take your money. So choose wisely and you’ll go far.

TGL - Pass\Recommend\Consider... These words seem relatively self explanatory, but they hold a little more weight on a coverage report. Can you give us a little detail on their significance?

XS - Pass means it sucks and it shouldn’t be made or passed along to anyone until the corrections are made. Depending on the reader, and the situation, pass can mean two things. For me and my writer clients, when I “pass” I mean they need to work out their script issues before anyone else should ever see it. For a production company, when I say “pass” I mean “Throw out this piece of trash, I want my two hours back.”

Consider means that there are some positive elements. The story could have a good premise but fail to deliver in certain places. The characters could be great, but the story needs some work. It’s really a middle of the road sort of comment and normally just ends up being a pass, unless it was written by a celebrity, in which case, it’s a greenlight. But a consider could also mean they would be willing to see something else by you in the future, because you don’t totally suck.

Recommend, and that’s a rare one, means this script is so excellent, so wonderful, that if someone else higher up doesn’t read it, they’re missing out. I would say, in my 10 year career, I’ve recommended 7 scripts, 5 of which got made. The other two won at festivals. So, getting a recommend is a coup, to say the least.

TGL - Being a writer\producer and professional reader, what do you look for in a good coverage report?

XS - The comments mostly. If the comments are thoughtful, make sense and are helpful (offering suggestions or alternatives) that to me is the best sort of coverage. It differs between production companies and writers. Prodcos are just looking mostly for a “yes” or a “no”. Writers need more help and guidance. Indie producers are looking for a mixture of both. They often work with the writer and it becomes a team effort, in which each member has a say and they collaborate to make it great.

TGL - Loglines... What makes a good one great? What do you think the key to writing a great logline is?

XS - Quick and to the point. My example above is the perfect logline. It gives the gist of the plot without focusing in too much on the details of the script. The details come later in the synopsis and comments section.

TGL - Why is a coverage report a good idea? What can a professional reader offer that your best friend or mother haven’t already told you?

XS - The truth! Ha! Your best friend and mother love you. They’re so proud of you that you decided to do this creative thing, and while they might know all the lines to “Gone With The Wind” that doesn’t make them industry professionals. Now, if your mother or best friend is a story analyst, professional writer or development exec, (as mine are) then listen to them. They probably know what they’re talking about, but even then, take from their comments what feels right to you.

I don’t think my mother has ever said she loved anything I wrote. No, I take that back. I wrote a nighttime soap in college she liked a lot, but I didn’t care for it. It’s been downhill since then. She doesn’t even like the stuff I’ve had produced, so of course, she’s my go to gal for notes because she always tells the truth, harsh as it may seem. But again, I have to take what she says with a grain of salt. As a professional writer, she understands story, structure, and character development, but her taste is wildly different from mine, so that’s where we clash. I’m young and write with slang and a patois that makes her cranky. So, when she says she doesn’t like a line because the grammar is bad or the slang is incomprehensible to her, I always have to explain, that’s how that character speaks. But when she has a solid note about my end of act two dark moment, I have to listen because she’s right.

Most people don’t have so many writers in one family. My husband is a produced screenwriter and my mother is a novelist and magazine contributor. One of my best friends works in development at Warner Bros., so he’s my go to guy for notes as well. So, if this isn’t your story, seek out a professional if you want the truth about your writing. If you want hugs and cookies for writing a movie, regardless of its merit, go see your mom. She’ll kiss you and then post your script on the fridge and you’ll get the love you’re looking for. If you want to achieve your goals, seek out professional help from someone you trust.

TGL - Where do you see most new writers losing their way in a script? Is it the second act slump? Is it in the first ten pages? What can they do to avoid making those mistakes?

XS - As of today, I’ve read 1779 scripts. That includes the 300 rewrites I’ve read of the same script over and over… I kid, but you get the point. But no, really, 1779. I can tell by page 1 if the script is going to be worthwhile. That being said, I find that most writers lose their way with structure. They have good ideas but poor execution, and that is always their downfall. The three act structure is there because it works. I don’t want to hear “waa waa waa, three act structure is a formula and I’m so creative I’m doing alternative structure.” I don’t want to hear it because there’s one David Lynch and one Tarantino. When you become the third guy or gal in that group, do what you want. The thing about the three act structure is that, even in alternative structure stories, they’re still told using three acts. They’re just better writers and are able to disguise that so you can’t tell. And if you want to really look down the rabbit hole, each act should have three acts, but that’s another story for another day. Don’t be fooled by bells and whistles. All scripts have a flow and if you fail to use it or can’t get it right, you’re done. And any reader worth their fee will know it right off the bat.

TGL - Formatting? Is it as important as the internet makes it out to be? Will they burn you in effigy if you aren’t using ACCO 1 ¼” Brads?

XS - Uh, it’s the MOST important thing. I know that seems dumb and superficial, but it’s Hollywood. It’s all dumb and superficial. My first agent almost fired me when my partner and I sent over materials and all we had were the super long brads. I cut the brad down so it would be the right length. Well, she cut her finger on it and called me screaming. Her point was, imagine if she was not her but someone I was trying to sell to and my idiocy had maimed them. My career would be over before it began. I kissed her ass and apologized to her, but it was a lesson well learned.

Formatting is the most important thing you’ll never realize you’ve done wrong, until you fail and get called out for it. No clever fonts ever! Courier 12 or Courier Final Draft 12, and that’s it. No colored cover pages. 1 ¼ brads, always. 2, not 3, 2 brads. The center is left empty… why I don’t know, but that’s how it’s done.

The thing is, there’s a 100 reasons for them to say no before they even crack open the script. If you get as far as someone willing to read it, and they open it and find the whole script is in 30pt circus font, you know the person is an amateur and you’re done with them. My feeling has always been, if the writer has typos or weird fonts or other formatting faux pas on the first page, then they’re not worth my time. And their script could be the next “Citizen Kane” but I would never know, because I’d pass immediately. Don’t ever give anyone a stupid reason to pass on your script. There’s plenty of valid reasons coming down the pike.

TGL - Looking back over your career, knowing what you know now, what would you tell yourself if you could go back in time to when you first got the spark for the Movie Industry? What gems of insight would you give yourself?

XS - Well, huh, that’s a tough one. I’ve always marched to my own drummer. I’ve always done what I wanted. I’ve always been intrepid and adventurous with my life. I mean, seriously, choosing this as a career was deranged, but it’s worked out so far to some degree. Apart from not being a millionaire yet, I’ve hit my major goals. I made it into the WGA before I was 30. I’m sold, produced and continue to work as a paid screenwriter, so there’s that. I love my business and helping other writers achieve their goals.

But, I would tell myself not to take everything so seriously. I would tell myself to work out my issues with my parents 10 years ago, when normal people did it and not measure my success based on their yard stick. I would tell myself that being able to write a significant piece of material takes time, dedication and patience and that to rush because I have an opportunity never served me well in the long run.

Honestly, I would do most of it, my career stuff, the same way, only I would’ve been more tenacious and less afraid of repercussions. I would have written more and tried harder to get noticed (half the battle in Hollywood). It’s been my experience that story editors, prodcos and the like, are attracted to a healthy sense of moxie and determination. I would make better use of that, as my moxie and determination are my greatest skills.

And I would tell myself that no matter how much I fail, there’s no other life out there for me that would be nearly as satisfying or rewarding, no matter how much I have to starve or suffer to have it. It’s always worthwhile, the second someone says “yes.” And they do say “yes” sometimes. The trick is not allowing yourself to go nuts in between the yeses and doubt yourself and abilities.

TGL - Thank you so much for taking part in this interview... What can we look forward to from Xandy Sussan? What are you currently working on?

XS - Well, thanks for having me. This has been a challenging set of questions! I just finished a 30 minute dramedy pilot for cable that we’re shopping, I’m writing a feature film based on a Poe poem, and I’m writing my own passion project: a super secret comedy that I’ll talk all about once it’s done! Plus, I’m always available to help other writers achieve what they want out of their own writing. It helps, on the days when I’m blocked, to focus on somebody else’s story problems!

TGL - Cheers! And thank you again.

New Website is done...

Well, I've been working away and working away at developing a new "cleaner" look for the GreenLight... And I think I've got it.

CHECK IT OUT

I just have a little tweaking to do... I have to create absolute references for ALL the images so I can use the URL masking for the-greenlight.com domain... Too much GEEK SPEAK! Yeah! That's my day job...

SCREENWRITING is my passion! ;)

So in the site, you'll find Screenwriting links, Screenwriting Info, Articles on Screenwriting, Interviews with Producers, Directors and Actors about Screenwriting and Screenwriters. Of course there's an entire section devoted to MY Screenplays. AND LETS NOT FORGET MY SCRIPT CONTEST!!!!

Hundreds of $$$ in cash and prizes. Coverage reports, script blast, ink tips listings... You want EXPOSURE! The-GreenLight.com 1st annual Screenplay Contest is the one for you!

So CHECK IT OUT!!! AND TELL YOUR FRIENDS!

Peace

- G

Long Time No Post - The problem with a day job

Ok... So it's been well over a month since I've had the opportunity to do any kind of writing other than the Technical Documentation I am called upon to vomit forth on a daily basis at my Day job. Don't get me wrong... I love my job, and enjoy going to work most days, but much like most of you, I'd rather be writing the next great Oscar award winning screenplay!

Sooooo... this brings me back to the problems of having to work a day job in order to support the hobby...

Believe it or not, I was at a Primerica meeting and I found some fantastic advice. The theme of that meeting was time management. It was focused on finding the time to grow your Primerica Business but the logic was sound no matter how you look at it... So let's go ahead and apply it to writing.

The gentleman in the video put it this way... So you work 8hrs a day at your job. Lets give you an hour and a half to commute (more than plenty for me to get abck and forth). so that's 9 1/2 hrs. lets give you 8hrs of sleep (about 2 hrs more than I get usually) so that's 17 1/2 hours. Lets take another 2 1/2 hours of quality time with your family... Solid - just you and me time. Not half ass you're in the same room watching TV... That's about 2 hrs more than I usually get... that's 20hrs... Lets say you get another hour for working out or doing your own thing... so 21hrs... that leaves you 3 hrs a day... 3 hrs a day X 5 days is 15hrs a week. That's a part time job... That's 15hrs of writing time... I average about 5-10 pages an hour... so that's 75 - 150 pages a week... And let's just look at that... They might not be top quality pages, they might be absolute crap... but you need shit to fertilize the prettiest gardens right!? Sooooo... What my excuse? I don't have one, really... If I worked out, slept, and spent as much time with my girlfriend and friends as I outlined above, and still had weekends free... WOW! What a life I would have... And if on top of all of that I had 3 hours a day to focus on my writing... Man... You'd be hearing "I'd like to thank the academy" out of my lips before you know it... So where's the script? Where's the porduct... No idea...

What's your excuse? Writers' Block... nope... Oscar Award Winner Bob Moresco has a good video on why writers' block doesn't exist... and how to take care of it - click here "it's all bologna".

I guess what it boils down to is how serious are we? How much time and effort are we willing to put into our writing...

I need to work full time to support myself... Ok... I just showed you how to work full time and commute 1 1/2 hours a day back and forth every day and still have time to write.

I need to spend time with my family... Ok... I just showed you how to spend 12 1/2 high quality hours with your family during the week. Without even dipping into the weekend!

I have to workout and keep fit... Ok... We've addressed that too and given you an hour a day for that...

Everyone needs to sleep... 8 hrs a night... Check!

So even after having a more fullfilling, exciting, and restfull life than most of us normally have... There's still time to write... How serious are you? Sit down and write about it.

- G

An Interview with Writer\Actor Adam Kenneth Wilson

Adam Kenneth Wilson is a talented Actor and Writer based out of Toronto, Ontario Canada. Adam has had a number of roles over the years, working his way up playing a Pizza boy in a Domino’s commercial, a Microwave Thief in a Subway Ad, but more recently he has been gracing us with his talents in the TV Series "Flashpoint" in the episode “The Fortress”. After bringing the tormented Vampire Samuel Gradius to un-life in the Short Film "Ending the Eternal", his likeness and writing talents have made it to the pages of a Graphic Novel. The Short film is the prequel to the Graphic Novel entitled “The Eternal: Final Dawn” details about the novel and the short can be found here.

More notably, Adam will blow our minds playing the Title Role and bringing the most ruthless and psychotic killer in American history to the screen in "Manson" - Produced in association with The History Channel (US), Canwest Media (Canada), Five (UK) and Canal D (Canada). Airing Soon!

Adam is repped by Mary Swinton at 3SG Talent Management.

TGL - Adam, as both a writer and an actor you have a unique perspective on the life of a script. What is your favourite part of the journey? Which hat do you prefer wearing?

AKW - I love both of these things equally, and for entirely different reasons. While writing affords me a degree of control over some miniature imaginary universe, there’s something really rewarding about the surrender involved in molding yourself to someone else’s vision.
I suppose I’m more confident as an actor, but that makes the challenges of writing somehow more appealing. Each facet serves the other, as long as you remember to tone down whichever operation is uncalled for. That last thought was also a delivered note-to-self.

Wait, no; I have better answers!

While acting, I love late-stage rehearsal, when I can feel the definition of the character really solidifying, but still have room to play with it a little.

While writing, I love creating and polishing dialogue. I’m not an incompetent story editor, I just envy those with a real gift for it, and revel in dialogue, where I’m truly comfortable.

TGL - When developing a character for the page what are the top three things you consider? Are these the same things you use to bring a character to life on the stage?

AKW - When writing a character, I always have a stern chat with myself about how that character must neither sound like me nor too much like the other characters. Then, I focus on what that character’s primary objective and obstacle are. Then I write and decimate all of that character’s dialogue, rewriting it so that they aren’t directly saying what they think or feel, but rather implying it in the tones of conversation or the juxtaposition of action and speech. That’s my process, and I’m only just beginning to get anywhere near good at it.

When performing in a character, there’s oddly more room for him to sound like me. I enjoy experimenting with the surface details of a character, but the more I do this the more I find that the essence of the character can usually be found closer to home.
I could never give up either hat.

TGL - What are your 2 favourite movies? What makes them have more of an impact on you than others?

AKW - I don’t know that I can isolate my two favourite movies, as I love almost all movies, even the terrible ones. What I can do is name my guaranteed laugh and guaranteed cry movies. Those are The Big Lebowski and Wit, respectively. I watch both, often. I’m a huge fan of brilliantly written dialogue. These inspire me to develop my skills to a much higher level than where they now sit.

TGL - If you could work with any actor, director or writer who would it be? And what draws you to their work?

AKW - There are too many brilliant souls out there that I’d kill or at least maim to work with. But this year I’ve gotten to share scenes with Malcolm McDowell and Enrico Colantoni, both of whom are brilliantly talented, and serve as positive role models for any actor who’s trying to establish him- or her-self. Both are generous with their fellow actors, and neither buys into their own reputation. Either could behave entirely differently than they do, and most likely get away with it. Working with people like that makes me want to be exponentially better than I am.

I’ve had great luck with directors as well, working with Steven Surjik, Eric Canuel and a host of other wonderful people. Directors are wonderful for different reasons. Some projects call for tyrrany and others an unusual amount of freedom. Neither of the aforementioned were tyrants, by the way.

I’m also hesitant to name directors I’d like to work with, since that tends to beg the names of known directors, and while I adore almost everyone who has made themselves known in the field, I have to remind myself that many of the best directors are people whose names we don’t yet know.

TGL - The film industry is incredibly difficult to get into, and the Canadian market seems even more impenetrable. What challenges have you faced along the way? And how have you overcome them?

AKW - As an actor, I have two challenges more prominent than the others. One, I’m largely unknown at present, so occasionally my agent has to be persistent in order to be seen for the right parts. Two, I’m not the prettiest fish in the tank, so I have to make up for it (or feel that I do) by committing an intense amount of research and preparation for a role that some of the handsomer specimens might skip.

I also recommend that actors starting out find collaborative and/or do-it-yourself situations in which to participate, as it’s much easier to show people you can do something than ask them to believe it otherwise.

As a writer, my biggest challenge is focus. I have this conversation often with other writers. Too many good ideas, not enough time to develop them all. It’s not uncommon to feel like you might be working on the wrong project. Which leads us to the next question.

TGL - What suggestions for new writers can you offer to make their project more appealing to the industry?

AKW - I think rather than trying to make a passion project fit into the industry, it makes sense to find the holes in the industry first, and create the projects to fill them. I’ve been getting meetings lately on a few television projects, and that seems to have much more to do with the room for each respectively than my personal level of passion or interest. I think the best advice for new writers is this: Ask yourself
which piece people are most interested in, and make that your favourite. If none of your ideas fit into the category of things people will actually want to watch, it’s time for a whole new set of ideas.

TGL - Finding an agent and getting them to read your work is almost impossible. Do you have any advice for novices on getting noticed? And have you found that having an agent has been helpful to you and your career?

AKW - Having an agent has definitely been helpful to me, but a lot of the projects I have on the go right now hinge on relationships established earlier. It would be easy for an impatient person to ignore beginner-level colleagues or collaborators, but some of my working relationships are such that we’ve watched each other growing as artists and people, and have opted to reunite to create something wonderful.

I’ve been involved in a couple of short films as an actor, to which I’ve contributed dialogue (having first gained the trust of the directors responsible)and had those efforts blossom into bigger and freer collaborations recently.

TGL - Something we all struggle with as writers is writers block. What tools have you developed to deal with this showstopper?

AKW - Write crap. Tonnes and tonnes of crap. It serves no one to throw out the bad pages. There’s almost always gold somewhere in the poop. Write all the poop you can, and skim the gold off the top like a panhandler. Save it up. Soon you have a pile of gold. I’m not having a strong analogy day; I hope you’ll forgive me. I mean that writing begets writing, and obsessive perfectionism does not. The whole experience is really just rewriting.

TGL - Writing is such a personal thing, you put pieces of yourself on every page, into every scene and, bit of dialog, the same can be said of acting in that there is a piece of the actor in every character. When you're creating a script or a character how much of you goes into it, and where do you pull the rest of your inspiration?

AKW - For me, inspiration comes from absolutely everywhere. When I think about the word “research” my mental picture is immediately that of a library, or at least a search engine. In reality, a writer’s research, like an actor’s, takes place everywhere and at all times. I never, ever travel anywhere without something to write with and something to write in or on. When playing a fictitious character, you can draw from any crazy idea you have, as long as it’s congruous with the script. Playing an actual person just requires finding everything you can on the subject, and then avoiding every other portrayal of the individual.

As far as writing inspiration, I have more trouble avoiding it than finding it. Or perhaps more accurately, trouble narrowing it down to useful creative notions, that could make it to the ever-crucial third phase of art; reception on the part of a viewer.

TGL - Everyone is always looking for free advice... it's actually the
foundation of the-Greenlight.com's mission... What free advice would you give to someone who is just starting out?

AKW - Make friends. Write crap. Act badly. Often. Keep doing these things until you’re good. Once you’re good, force the friends you made to help you make the climb. If you truly love it, you won’t notice the time passing.

Something else I really found helpful was taking a break from the creative side and exploring the other workings of a set. Once you’ve catered, built sets, wrangled background, locked up a perimeter for sound and made time-code notes, you really get a much better idea of the workings of film and television as a whole. Developing a first-hand respect for varied critical on-set jobs has made me more appreciative of my small part in it, and keenly determined to waste no one else’s time as either an actor or a writer. That might not be for everyone, but it was crucial in my development.

TGL - What can we expect from Adam K. Wilson in the future? What projects are you working on? Where can we see you perform?

AKW - I will be seen in a principle role in an upcoming episode of the CTV/NBC program The Listener, a small part in the soon-to-be-released feature film SUCK by Rob Stefaniuk, and a major role in the History Channel’s forthcoming project MANSON, as the titular notorious madman.

When I have the time available, I perform with the sketch comedy troupe Press, Release Repeat, with MTV’s/Last Comic Standing’s Derek Forgie, and Tessie Burton.

As far as writing goes, I’m currently in great meetings concerning a children’s television series, and a comedy series. I’ve recently been commissioned to write a web-series by Fifth Season Media, and am a collaborator in the comic series The Eternal: Final Dawn, as well as a character likeness therein. I haven’t co-written a produced feature film since 2002, but should have some good news on that front soon as well.

TGL - Thank you again for taking valuable time to speak with us about your success. We look forward to hearing and seeing much more from you in the future!

Understanding Script Coverage - Why do I need it?

Ok, so you keep hearing this word being tossed around and you have no idea what it is or why it has everybody losing their minds. Well, to be honest I haven’t quite understood why the industry puts such a heavy weight to Script Coverage because it’s a subjective process to some extent and depending on the weather, how your reader slept the night before or if they had the time to, you may get differing results.

Coverage is a written report, kind of like Cole’s Notes, design to give agents, producers, and execs a feel for your script without having to read the entire manuscript. Most of the honchos don’t have time to sit and read all day. They are busy making things happen (which is where you want them to be). A coverage report breaks your script down for them and presents it in a concise and skilful way that they can, at a glance, decide if they’ll have someone else read it for them... ;)

Seriously, a good coverage is what opens doors and gets everything moving for you.
In a coverage report you’ll have a few basic sections. First they will summary the script particulars, title, genre, # pages, the writer, who is doing the coverage etc. This is fairly standard.

Next, some give a logline for the script. It’s a good one liner that gets the point of the story across and creates some interest. (Writing a good one is a masterful skill that takes time to develop!).

Now Coverage Reports vary from one reader to the next and each company has their own specifics and order they want the info presented in, but at the end of the day they all have the same stuff in ‘em.

You will have a grading section. In this section you will be given a “Pass”, “Consider”, or “Recommend” rating in several categories.

Pass means that the work is not up to par or not desirable now (there are many reasons why this can be so, not all of them related to the quality of the source material). Usually, the work doesn’t receive further attention within the industry.

Consider means that the work as written has merit or shows promise and should be further assessed. A Consider evaluation can lead to the source material itself actually being read by a producer, executive or agent (between incessant parties, galas and exciting film opening events, of course), and/or more of the writer’s work being solicited for review by those in the industry.

Recommend is the highest acclaim, and not often conferred. The script, story, etc. is good enough in its current manifestation to warrant a read, and usually it will be read, often by a producer or someone in an industry decision-maker’s chain of command.

Some categories you may be graded on are, Premise, Plot\Storyline, Structure, Dialogue, Production Value, Project (as a whole) and, You the Writer. They may use a different rating system for these finer point of the analysis and give poor, fair, good and excellent ratings, but you will almost always get a Pass, Consider or Recommend for the Project and you as a Writer.

There is always a synopsis of the script. Some are a page but not usually more than three. This is a good tool for you because it will highlight the areas that caught the readers attention, and if you feel they missed important parts of the script. That likely means you missed too… Re-write them and punch them up and bring the reader’s attention to them!

The next common section is the Reader’s comments and opinions. Here you have 1 -3 pages of notes the reader feels are important. If you are paying someone for Coverage, this section is extremely important to you because this is where they will offer their ideas on missed opportunities and where you can make improvements. This is the section you are actually paying for! If you have a good reader (And I do – Thank god!), they will be to the point. They will not sugar coat their comments and they will offer suggestions and constructive criticism on how you can improve your project and make it Silver Screen worthy. Don’t argue! Fix it! They are right. Think of it like this. You are paying them to review your work. You are paying them for their opinion. So don’t call ‘em out ‘cause you don’t like what they have to say. My reader once told me she was going to spank me because she had to read a 105 page Romantic Comedy that didn’t have a kiss at the end. Even after I argued the “Sleepless in Seattle” point, I was put back into my place. She also told me that she told all her writing friends and they all had a good laugh at my expense. She is the best thing that has ever happened to my writing!

Now, this doesn’t mean you need to blindly obey your Reader's every whim. YOU are the writer! And YOU know your story! Or at least you should!!! So take what you’re given and put your spin on the ideas. Think of the comments as a recipe. It may call for Chocolate chips, but caramel or peanut butter chips might be just as good… So play around with the THEME of the suggestions. AND… RE-WRITE!!!! RE-WRITE, RE-WRITE!

I keep stressing this point, but its true… Writing and story development is an ever evolving process. You will never have a perfect script, and you’ll never be done with it. You WILL however get to the point when you are DONE with a script! That’s the point when you can’t look at it or read it without your jaw tightening and your mouth filling with that tangy pre-vom juice. Set it aside and work on something else… ANYWAY! Back on Topic!

After the summary or somewhere within the report there may be budget suggestions. I have no idea how accurate these estimates are… Usually they are vague enough to fall within your own idea of the Blockbuster production you’ve submitted.

WHY IS COVERAGE IMPORTANT?

Coverage is a tool! It is a great tool for you to gauge the preparedness of your script for Contest Submission, Queries to Agents, Prod Cos, and Producers. Unless you are getting a consider or recommend, forget it. Each year millions of scripts are sent to Hollywood for the Industry to peruse. Of those Millions, 98% of them end up in shredders and recycle bins. Of the remaining 2% you find such masterful creations as Waterworld, Eight Legged Freaks, and the Hills have Eyes 2. You also find the brilliance of Get Shorty, The Matrix trilogy, and Letters from Iwo Jima. I know, you’ve probably done the same thing I’ve done which is sit down in front of a movie for the night and spent 2 hours saying… How does shit like this get made when I’m not even getting optioned? I’ll let you know when I figure it out.

One of the benefits of having your script read professionally is the spell checking! Don’t give the industry a easy out as far as your script is concerned. Spelling is just as important as the plot. If a Studio Reader finds a typo in the first 10 pages, you’re done. Next, if you’re lucky, your service will send you a copy of your script with the notes the reader was making in the margins as they read. GREAT TOOL! You can see what they thought of scenes, page by page, sequence by sequence. They will frequently write rhetorical questions which is a clue that you need to answer them!

At the end of the day, Coverage is simply a tool in your arsenal that you can use to make your script a polished, presentable product ready to be marketed to Contests, Agents, and Producers alike.

Now get writing!!!

- G

1st Annual the-GreenLight.com Script Contest!

Hey...

So I just announced the 1st Annual the-GreenLight.com Script Contest! Here's the Details!

The-GreenLight.com 1st Annual Script Contest.

Winners & their Scripts will be posted on the-GreenLight.com website.

Grand Prize
- Certificate of Achievement
- Cash - 10% of entry pool (calculated by # of entrants and entry fees – Full disclosure of # entrants will be provided)
- ScriptBlaster eQuery Blaster Pack service
Your query letter will be emailed to over 900 Producers, Agents & Managers.
A comprehensive query campaign that combines the Producers Blast and the Agents Blast.
A great way to get connected.
- 6 Months InkTip Executive Index Script Listing
Get exposure and gain access to entertainment pros looking for good scripts. List your scripts in InkTip's searchable index accessed 24/7 by qualified producers, representatives, directors and more.
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage
- Interview with the-GreenLight.com

2nd Prize
- Certificate of Achievement
- Cash - 5% of entry pool (calculated by # of entrants and entry fees – Full disclosure of # entrants will be provided)
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage

Runner Up
- Certificate of Achievement
- Copy of Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder
- Professional Coverage

Top 10 (not including Grand, 2nd or Runner Up – so Top 13)
- Certificate of Achievement
- Feedback from Contest Judges

Rules & Submission Guidelines
· Open to all writers 18 and over.
· Limited to first 500 entries
· Screenplays must not have been previously optioned, produced, or purchased prior to submission.
· Screenplays must be original work of applicant(s).
· Winning screenplay submissions written by 2 or more writers require all awards to be divided equally among the writers.
· Screenplays must be in English.
· Entrants must submit a completed entry form containing a Synopsis and Logline, and the First 10 pages of the screenplay ONLY! In addition to the appropriate fee according to the posted deadlines.
· Multiple submissions are accepted but each submission requires a separate entry form and fee.
· Finalists must then submit the entire screenplay within 7 days of the posted Finals Annoucement\Notification.
· Finalists’ screenplays must be between 85 - 120 pages.
· The-GreenLight.com is not responsible for screenplays lost in cyber space, or stolen. (but if you have paid, and your submission is lost we’ll work it out if you can provide the payment details.)
· Judges decisions are final.
· Electronic submissions only.
· Cash awards will be determined by the final deadline or when submission limit has been reached. Final Cash award amounts will be posted on the-GreenLight.com prior to announcing the winners.
· Prizes may not be substituted unless agreed upon by the writer(s) and the-GreenLight.com.
· The-GreenLight.com reserves the right to cancel the contest due to lack of interest. Any fees collected will be refunded promptly to the Writer(s). Notification of contest cancellation will be made on the day following the Final Deadline.

Fees
Early Deadline: $35 USD
Regular Deadline: $45 USD
Late Deadline: $60 USD


- G

Writing Contests

Hey...

So today (now that my rant about skinny jeans is done), I wanted to talk a bit about writing contests.

Some people say that writing contests are just a way for some people to make money. And I guess for some of the sponsors that is true, BUT I think even those contests can offer you a little insight into your writing.

I never enter a contest unless it offers feedback. Feedback is the most important thing you can get your hands on as a writer. If you let your family and friends read what you write, GREAT! but don't expect impartial feedback from them. They will either be overly hard on you, or far too easy on you. Feedback is what will help you develop your story in subsequent re-writes... and there will be many re-writes. I joke on the main the-greenlight.com webpage that I have re-written my script Losing Faith 150 times. Well, I'm currently working through 151. Why? Well because of some feedback I received and some new ideas to punch up the humour. As you grow as a writer go back to your previous work and take a look at it with fresher more experienced eyes. You'll see holes and rough patches that you hadn't noticed before.

My suggestion is that you find yourself a pro. Before I start shipping my scripts off to contests I like to feel that they are as close to perfect as I can get them at the time. (I know I just said I've re-written them 150 times). Find someone who will work with you, and offer you ways out of problem areas. A good reader will point out the weak parts but show you what you've done well because it can act as an example of how you have been clear in your writing and created some strong scenes. They will help you learn from your own success and their experience. Once the two of you have reached the point of exhaustion with a certain project and you both agree that material you have in your hand is really good... Send it out into the world of contests. See what other people, who aren't intimately involved in the creative process have to say. Chances are they will come back with some useful tips and ideas for improvement.

Writing contests are good tools, but they can be quite costly. AND THE WAITING WILL DRIVE YOU MAD!!!!

A few good ideas to make sure you are working with a reputable contest are:

1. Submit only to contests that are recommeneded by other people in the industry. I like to use a website called Movie Bytes to find and research contests. But the WGC has posts occasionally for these types of events.
   
2. Follow the submission guidelines to the letter. It sucks to have your script disqualified for a minor issue.
3. Try using a service like Without a Box when possible. They will qualify your project and make sure its not missing anything and track your submission for you to make sure it has been received by the contest officials.
4. Look for the annoucement in the periodicals they say they will be announcing in or have announced in previously. Some\Most contest say they will annouce the winners in a magazine, or post the results on their website for 6 months etc. Check! See if the previous winners are listed.
5. Make sure the cost justifies the return. If they are asking for $75 and all you get is email notification that you've made it to the finals... No good. There are plenty of economy contests that offer feedback, software and publicity to their winners.
   

If everything checks out, the next thing to do is submit... and wait... and wait...

Waiting for the deadlines to arrive is grueling. I always try to make the early submission deadline because there is usually a break in the cost of the entry fee. But it makes waiting for results (sometimes up to 8 months) a living nightmare! Because, if you are like me, you are constantly re-writing your work and making it better so by the time the contest roles around you've found 20 funnier jokes, 3 typos, and taken out 2 scenes that made the script lag in the 2nd act. The way I have overcome my writers anxiety for situations like this is to simply forget about them. I put an entry in my calendar that reminds me that I have a deadline coming up and I check the website or keep a more vigilant eye on my email for about a week before the announcement date. AND you do have to watch! I read a review of a contest by its winner who said he had no idea he had won until he received his prize pack in the mail. The contest people had not otherwise contacted him, but when he went to the homepage there was his name in lights! Sooooo... don't completely forget, but put them out of your mind. You know?

Writing Contests are good tools. Look for contests with feedback, and low entry costs. If you go for the high end contests with big entry fees, make sure the return on your investment is good. Feedback, and interview with a few agents, a live reading of your script... You know... Make sure to do your homework, both in researching the contest, and in evaluating your work. Rarely do contests accept corrected pages so if you send them a script with 100 typos, you'll likely be kicked out in the first round.

Good luck!

- G