thescriptgenie-blog

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If You’re Any Good At All…

Hello, ducklings. In the last post, I got into some detail about what a “script genie” does. While it is my job to read and critique the work of others, I am also a writer. I’ve been reading and writing since the age of 3. Despite having a lifetime of experience, I know there is always room for improvement. My late father used to say “If you think you know everything, it only proves that you still have more to learn.” 

How should one go about getting better at their craft?

I know I mentioned taking classes in a previous post. I think seeking education outside of the classroom is often the best way to learn in some cases. My creative writing class in high school was terrible. It was basically a credited study period. The teacher would give us an assignment, go over absolutely nothing with regard to format or plot and character development then expect us to write for 42 minutes while she corrected papers from her other classes. I was one of only about 5 or 6 kids in the class who passed with anything above a C (I got an A-). Why? I read! 

Yes, dear friends, if you can’t afford to take a class you can just read. While it pains me to my core to know that there are people who don’t have books in their homes, if you are one of those poor souls you can always use your public library. It’s free and you have thousands of titles and authors from which to choose. Reading other writers will give you a better idea of the kind of writer you want to be. I never had a favorite author because my tastes are so wildly eclectic that it’s hard to choose. 

But, if I’m a screenwriter, shouldn’t I read screenplays? 

Yes, you can do that if you choose, but more often than not, screenplays start in another format. Most of my work gets written as a short story first so I can get all the details out of my head and not clutter up the script with needless description. Also, there’s nothing new under the sun. We like to think we’re being original, but we’re always influenced subconsciously by what we take in. If you have an idea and you’re not sure how to present it, find something similar and read it. Take notes. Don’t duplicate it, just take notes to inform how you will tell your story. Let me give you an example.

A few years ago, I read a very short script (it was only 8 pages) about a trio of “real” witches who show up at an audition for a production MacBeth. The story was short and kind of pointless, but it got my gears turning. Knowing that there are modern day witches (Wiccans, if you prefer) who are active in theater, I thought I could take that basic premise, but tell a different story. I thought my idea was great, but my producer friend and spirit Dad suggested I go with a different play as a backdrop. It took no time for me to settle on The Crucible and then a whole new story was born that was even better than my original plan. I could really say something with the new story. I also ended up with a whole new cast of characters that I absolutely love. I don’t know where they came from, but I can’t imagine my life without them right now. They feel like family to me even though I know no one who is like these people. 

So, as I said, there’s nothing new under the sun. If you can imagine it, chances are someone has already done it. The challenge is to tell the story in a way the other guy didn’t. As my “sensei” is always telling me, put your signature on it.  

As an aside, I find it very odd that most of the actors I know are voracious readers while few of the writers I know are. I know I am coming from a place of privilege. I’m single with no kids and a non existent social life. I have nothing but spare time for reading, writing and all my other creative pursuits. My writer friends all have kids. But… if you can find a few hours a week to write, maybe take a little bit of that time to read something. 

That’s all for this week. Life is getting a little nuts for me. Despite the absence of family and friends who need my attention, I still have real world responsibilities. It may be a while before the next post, but it’ll be a good one. I promise.  

[thescriptgenie-blog]

Back to Basics

Hello, ducklings.  I know I hit you hard with that Jung post, but as I said, I wanted to get the big scary one out of the way so we get down to the more basic stuff. In this post, I’m just going to go over some of my personal bugaboos about being a script reader so you will know what you may need to work on to avoid getting passed over based on presentation. Let’s start by going over precisely what it is that I do. 

What is a script reader anyway?

For the novices reading this, let me explain what a script reader is and does. A lot of newbies think that simply sending their script to a producer means the producer is going to read it. Think again. Even the little guys don’t have the time that would be required to read every script that hit their inbox or crossed their desk (if anyone still submits hard copies, that is). That’s why they employ script readers. We are the gatekeepers between the writers and the producers. We are judge, jury and executioner of every screenplay that comes to us. If we don’t think a script is worth a producer’s time or money, he or she will never read it. 

How do script readers decide what scripts will be read by the producer?

For the most part, individual readers and/or firms have their own specific criteria, but the most common areas we all look at are Concept (which I will go over in a later lesson), Story (not synonymous with Concept and will also be covered later), Character, Dialogue, Conflict, Readability and Marketability. (Yes, you need to think about that stuff when you’re writing.) Personally, I get very specific with Readability. I break it down into individual components. Sadly, this is where a lot of writers lose points with me. 

I break Readability down like this: Format (Is the script presented in the proper format?), Pacing (How does the script flow?), Spelling, Grammar, Punctuation and Vocabulary. 

If the last four categories look like criteria on which your high school English teacher would have graded your work, remember what your term papers looked like when they came back dripping with red ink. Though I can’t make them bleed in a PDF, I will be merciless if your script looks like it was written by a third grader hopped up on Adderall and Red Bull. The rest of the world may have adopted the “As long as you get the meaning across…” attitude, but sloppy work makes you look bad. If this is what you want to do, if this is your passion, take pride in it and pay attention to what you’re presenting.

If it sounds like I’m just waiting for an opportunity to burst someone’s bubble, I apologize. That’s really not why I do this. In my capacity as a script reader, I don’t really have a lot of direct contact with writers unless they send their work directly to me. If the scripts come from a producer, my only job is to read them and deliver a verdict. I never make contact with the writer... no matter how tempted I may be.

For me, being a script reader is like reading self-published books. I go in knowing that this is someone’s brain child and is the result of months and even years of hard work. For that reason, I try to be respectful and sympathetic. (I’m a writer, too.) So, I’m not the heartless monster I make myself out to be. I’ve just never been very good at sugar coating the truth. 

Do you work directly with writers?

Only when they ask me for help. The friend who dubbed me “Script Genie” was actually the first writer to do so… the weekend we met. (I guess I made an impression.) I would love to work with more writers, but they seem to be a little reticent to ask me for help. I figure it’s either my direct and painfully honest approach or the fact that I don’t work for free. Sorry, but this is the industry. Criticism is part of the business and this is a business. Time is money. If you’re not willing to invest both in your work, you may not be as passionate as you think you are. 

That said, I try to be as constructive as possible in my criticisms and I keep my pricing reasonable. If you want to know my rates, you can message me here or e-mail me directly at script.genie.lynn@outlook.com .

That’s all for now, ducklings. Be well and be happy. 

[thescriptgenie-blog]

If you're any good at all you know you can be better.

Lindsay Buckingham

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Sometimes life leads you down side roads to avoid traffic before you can really start cruising

Ava DuVernay

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Happy National Poetry Day

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The Hero’s Journey: Jungian Philosophy in Literature and Film

I know that title sounds dry and kind of scary. I thought it would be a good idea to get the big scary topic out of the way first so we can just coast the rest of the way. I’m not going to dig too deep into Jung for a few reasons. 1. I never studied psychology. 2. My knowledge of philosophy is limited to Olly Thorn’s YouTube channel. 3. My exposure to Jung is limited to a book I bought years ago when I was researching male archetypes for a novel I was working on… and I never finished either the book I was reading or the one I was writing.

Long story short, like myself, Carl Jung (1875-1961) read a lot of mythology. Noticing recurring themes and figures in the mythologies across many cultures, he theorized that these themes and figures were part of what he called the “collective unconscious”. Even shorter, he said that all Gods, Goddesses and heroes were in fact the same figures representing a kind of idealized image of man. 

For personal and spiritual reasons, I couldn’t possibly disagree more with old Carl. However, I’m not here to debate his theory. I’m here to explain it and what its place is in the world of screenwriting. 

Having found these correlations, he devised a formula for understanding and even crafting one’s own mythology. He called it the “Hero’s Journey”. The Hero’s Journey is a 12 step guide to plot development. 

The Hero’s Journey

1. Ordinary world- This is where we meet our hero-to-be in his/her natural environment. All is well or at least seems to be.

2. Call to adventure- The main problem or question is presented. In screenwriting terms, this is your A plot line. 

3. Refusal of the call- The hero is reluctant to leave the comfort of home even if (and almost especially when) the stakes are high and lives are on the line. 

4. Mentor’s help- The hero, unsure of how or even if to proceed, seeks the counsel of a trusted advisor. This is usually a parent, a former teacher or trusted friend. This meeting of the minds convinces the hero to meet the challenge.

5. Crossing the threshold- The hero strikes out in their adventure, leaving home behind and casting themselves into the unknown. (Think of Frodo and Sam leaving The Shire.) 

6. Tests, Allies, Enemies and Gifts- This is the hero’s integration into the new world. Friendships are forged, valuable tools or weapons are acquired and enemies make themselves known. The latter doesn’t have to be the BIG baddy. It could be a series of smaller antagonists. (Harry’s first time in Diagon Alley should come to mind.) The first small battle(s) is (are) either won or lost.

7. Approach to inmost cave- The hero must face themselves. This can be done through a dream sequence or they could just remove themselves from the company to contemplate what they could have done and what they will have to do.

8. Ordeal-  The big battle. The primary antagonist has made their presence known. The hero and his/her company fight bravely, though some may fall in the fight.

9. Reward- The enemy is vanquished and the hero is triumphant. The now possess the promised prize, be it a tangible object like an antidote or something conceptual, like knowledge. 

10. The Road Back- The hero and the remaining company begin the journey home, but the road is not easy. Either the enemy has regrouped and given chase or a new enemy inhibits their progress. Another trial/battle ensues.

11. Resurrection- The hero now becomes a true hero in action, either by slaying the enemy or sacrificing himself/herself. (Avengers: Endgame)

12. Return- The hero (or their representative if the hero has died) returns to the hero’s home to bestow upon them the sought after prize.

Good Gods! That was long, wasn’t it? Like I said, this was the big scary part. Better to get it out of the way.

So, this is it. This is Jung’s contribution to literature and film. This is the industry accepted standard for plot development. If you have any thoughts or questions, leave me a note or message me privately.  Later, ducklings!

[thescriptgenie-blog]

This is so me...

[thescriptgenie-blog]

Hello, Tumblr.

My name is Lynn. I’m a writer and script reader/editor/consultant/sounding board, etc. So, if you’re wondering what a “script genie” does, that’s pretty much it. A writer buddy of mine just took my skill set and condensed everything down to “script genie”, so I’ve been running with that. It makes me sound like the magical being that I am. 

For the past two years I’ve been a script reader for a producer friend as well as spitballing ideas and tinkering with stuff with the aforementioned writer buddy. I love doing what I do and I want to do it more which is why I’m here. Well, that’s part of the reason. I also want to teach what I can to whomever is seeking the information I have to offer.

Addressing the last thing first, I was part of a group on Facebook for a couple of months for newbie screenwriters. There were plenty of us in the group who have varying degrees of experience writing and/or reading screenplays. There would be writers asking for advice and not liking what the voices of experience were telling them. The subtext was basically “Don’t tell me what I need to hear. Tell me what I want to hear.” Yeah, I don’t do that. You want sugar coated, buy a bag of M&Ms. I’m not horrible, but I am honest.

One thing I continuously said was “take a screenwriting course”. To this, I would hear “I don’t have the time/money.” Time? If you have the time to write, you have the time to learn. Money? Okay, that’s a fair point and I can completely understand. The online courses I took were only affordable for me because I got vouchers through Living Social. But you know what? They were REALLY good courses. So, I’m going give away everything I learned. Yes, I’m taking a page from Philosophy Tube’s Olly Thorn. (Thanks for the inspiration, Olly.) 

Now, first thing last. Yes, I do read and edit and everything else quasi professionally. It’s not exactly my day job as the work tends to be few and far between. I do enjoy the work, though. So, yeah, I’d love to get a little more of it if I can. If anyone has something they’ve written that they want to get read and reviewed BEFORE submitting it to a producer or director or whoever, I would be happy to do that for you... for a reasonable fee. I do charge, but I work cheap so you won’t go bankrupt. I’ll post the details for all of that in the not-too-distant future. This is just a “Here I am and here’s what I have to offer” post. 

I’ve got a lesson plan started so I will be hitting the ground running on the educational side of this. Drafting the posts can take time, so I’m planning on a new post every two weeks. That said, I can’t wait to get started. If I only help one person, this will all be worth it. TTFN, ducklings!

P.S. Sorry about the profile pic. I’m squirmy about having photos taken, so I don’t have many decent ones to share. I’ll fix that when I can.