Prequels, Sequels, and Intellectual Properties: What's A New Writer To Do?

A recent article on the industry news site /Film examined how three original movies released over Memorial Day weekend all had disappointing box office returns. 

The road-trip comedy “The Machine”, the “Meet The Parents”-style comedy “About My Father”, the relationship dramedy “You Hurt My Feelings”, and the action-thriller “Kandahar” made a combined $13.1 million at the weekend box office. These numbers don't even come close to the big release of the weekend: the live-action remake of Disney's “The Little Mermaid”, which made over $95 million.

Even after a 66% drop-off from its first week, “Fast X” nearly doubled the box office returns of “Machine”, “Father” and “Kandahar” combined ($23 million vs. $11.7 million). After four weeks in theaters, Marvel's “Guardians of the Galaxy Volume 3” still brought in over $20 million. (Source: The Numbers)

When you combine these numbers with the ongoing WGA strike, the immediate future looks bleak for writers trying to break into the business. With this dismal news, you may ask, “Should I just give up on my dreams of writing for Hollywood?”

Not necessarily. This news means that aspiring writers must address vital issues with their scripts if they want to make them more attractive to producers and viewers.

WRITE WITH A BUDGET IN MIND

If your first spec script is a wide-reaching historical saga with a cast of thousands (e.g. “Gone With The Wind”) or a galaxy-spanning epic sci-fi adventure (e.g. “Star Wars”), you may want to adjust your expectations. 

Many aspiring writers fail to keep in mind that each frame of a film costs dozens of man-hours and thousands of dollars to produce. Most writers get their “big break” by writing low-budget features. These stories often involve less than a handful of actors, limited locations, and tightly-focused stories.

WRITE IN HIGH-PROFIT GENRES

Some genres have specific tropes that allow their stories to reach a wide, committed audience without the need for huge production costs.

For instance, horror, crime, and suspense films often don't require high budgets but rely on a tight narrative structure and a hardcore audience willing to absorb a new story that feeds their cravings. Also, faith-based films typically rely more on their positive messages than on extravagant production values to attract a built-in audience. 

WRITE IN DIFFERENT MEDIA

If your story doesn't fit within these genres, you may want to consider taking a different approach. For instance, if the scope of your story doesn't fit within a minimal budget, you may want to consider expanding that story into a novel. 

Thanks to companies such as Amazon, self-publishing has never been easier. If you can gather a fan base for the novel, you can show producers that you have a built-in customer base willing to pay to see that novel go from page to screen. 

Another approach, especially for stories that rely heavily on dialogue and have static locations, could involve turning the story into a stage play. This approach worked for Aaron Sorkin when he wrote the stage play for “A Few Good Men” and later adapted it for the screen.

WRITE PUBLIC DOMAIN ADAPTATIONS

If you want to write stories that can attract a built-in fan base but don't want to deal with the expense and legalities involved with intellectual property rights, you could adapt a story in the public domain.

For instance, “Succession” has become a global TV phenomenon. When you strip it down to its core, the story is a modern-day retelling of “King Lear”, as the siblings battle each other for both the crown and the affections of their patriarch.

This approach can also work with low-budget horror. The 2013  horror/comedy film “Warm Bodies” featured a pair of “star cross'd lovers”. Julie, a young woman from a family of zombie killers falls in love with “R”, a young man who happens to be undead. 

WRITE WITH A CLEAR CAREER GOAL

Another approach that could help you focus your writing career involves considering your primary goal for writing the script in the first place.

If your goal involves selling your ambitious first spec script to a major studio for a million dollars and signing a multi-picture deal, you may want to buy a lottery ticket instead. The process of buying a lottery ticket is faster, much less painful, and has much better odds of giving you a substantial payout.

If your goal involves writing a low-budget script that gets your name out there and gets you noticed, you could use this project as a launching pad for your more expansive stories.

If your goal involves using your scripts as portfolio pieces to show your skills at characterization, story structure, or dialogue, these efforts could help you land an agent or manager who can steer you toward those high-profile (and high-profit) projects. 

WRITE ROLES THAT ATTRACT MOVIE STARS

One way in which projects can pull viewers' eyeballs away from the overwhelming amount of established properties stems from the use of old-fashioned “star power”. Many viewers, especially those interested in more mature stories, will favor watching a great performance from a big-name actor over the latest superhero pyrotechnics or “fast cars and furious drivers” adventure.

Contrary to some opinions, producers are not vultures, actors are not peacocks, and viewers are not sheep. They're all people. In the end, stories are about people. If you can write a story with characters that can connect with people, you'll have a huge advantage.

One of the most effective ways to gain this advantage starts with a FREE 30-minute consultation call with Story Into Screenplay. During this call, we can assess your project, determine where you are in your writing process, and lay out a path to get your script ready for the big time.

You can schedule your FREE initial consultation by filling in this form or contacting us at storyintoscreenplayblog(at)gmail(dot)com. 

What Does a WGA Strike Mean for Aspiring Screenwriters?

Screenwriters who are trying to get into the business could face different outlooks on what a strike from the Writers Guild of America could have on their career prospects.

On the positive side, managers and agents may have more time to read scripts from non-union prospects than they typically would. Without the workload from their union-member clients, their readers (often unpaid interns) will have more opportunities to read scripts from non-union writers.

On the other side of the coin, most agencies will not be taking those scripts to market while the strike endures. As Eric Jones with The Tobias Agency told me and his other clients, "I am going to respect my friends at the WGA and cease submissions from Studios and Production Companies until a resolution has been reached."

Without the means to sell their clients' work to producers, the scripts sit and gather dust until both sides resolve their issues. While these issues address the short term, what does a strike mean in the long term for writers at the start of their career path?

For writers who want only to sell a single feature or pilot, the answer is, "Not much." Writers who count on one script to launch their career resemble those people who rely on a single lottery ticket to win a fortune: the odds are against you ever achieving this lofty goal.

For those who want to develop multiple stories and create a lasting career, the answer is, “Plenty.” When the strike resolves, union writers will walk away with more opportunities to make more money and have better working conditions than they had under the previous agreements. 

However, until a writer can sell at least one script, they lack the professional credentials (or “points”) needed to join the union and take advantage of these benefits. At the same time, these improvements for union writers could also create a new baseline for non-union writers who want to start in the industry. 

So what does a writer's strike mean for non-union writers? Just as with everything else in this tumultuous industry and these turbulent times, the short answer is, “Wait and see.”

In the meantime, here are some Do's and Don'ts to follow during the strike: 

DO: Educate yourself on the issues

As someone who aspires to work in this industry, it is incumbent upon you to learn why your potential peers are taking the steps toward walking off the job and, in some areas, shutting down Hollywood to stand up for their principles. 

If you have representation, talk to your rep and learn what your options are. If you don't, read the WGA Strike Rules and follow the news in industry publications such as Variety or Deadline.

DON'T: Expect a quick resolution

Whenever people must face a complex problem, they want a simple solution. The problems between producers and writers have been almost 15 years in the making. Add the issues of changing technology, emerging markets, political unrest, and recovery from a global pandemic to the list and you have what could be a long, drawn-out process toward resolution.

This strike will be the eighth labor stoppage since the formation of the Screen Writers Guild in 1941. These strikes have run anywhere from two weeks to twenty-two weeks. Issues ranged from residuals on TV reruns to payments for home video releases to compensation for digital downloads. The reasons that writers can take those payments for granted today stems from the gains made from previous generations who marched a picket line.

DO: Support your favorite writers

If you have a favorite writer, you can find ways to support them during the strike. If they have a book, buy a copy for yourself and one for a fellow writer. If they teach online classes, take the class and learn all you can from them. If you don't have the money to spend, spread the word about their work on your social media platforms. 

For those writers who live in New York or Hollywood, screenwriter Michael Jamin recommends going to the picket lines and marching with the writers. Not only does this show your solidarity with the union, according to Jamin, but it also allows you the chance to meet working writers that you may not have had until now.

“Whoever you're talking to (on the picket line) is going to be grateful that you're carrying a sign,” says Jamin. “They will talk to you because there's nothing else to do. Talk about a networking event!”

DON'T: Take “Scab” Work

Although such opportunities are not expected to become available during the strike, a non-union writer could still sign a deal with a company against whom the union is striking. Since the writer isn't a member of the union, the WGA is in no position to punish them for taking the job. However, the strike rules state that "Non-members who break the rules will be prohibited from joining the WGA in the future."

This means that the non-union writer will not be able to take advantage of the benefits that come with union membership, including collective bargaining, minimum wage agreements, health insurance, and pension payments. This “scab” work also puts a black mark against the writer's reputation in the screenwriting community, especially with showrunners, as they could see the non-union writer as undercutting the union's efforts to improve conditions for their fellow writers both now and in the future.

DO: Keep working on your craft

Just because you can't submit your work to producers doesn't mean your work as a writer stops. According to the WGA Strike Rules, writers can still write a spec script during a strike. You can take this time to work on a new idea, rewrite an existing script, or enter contests to get your script noticed.

One of the most effective ways to hone your skills comes from working with an experienced screenwriting consultant. 

Story Into Screenplay offers one-on-one live sessions with an award-winning screenwriter and veteran screenplay contest judge who can help you evaluate your project, clarify your goals, and guide you through the process of turning your ideas into a professional-level screenplay.

Get started with a FREE 30-minute session (phone or Zoom) to find out more. Fill out the Google Form to schedule your session today!

Screenwriting Advice: Contests vs. Coverage vs. Coaching

As the new year gets underway, many people resolve to eat healthier, work out more, and lose weight. They may look up fad diets, watch exercise videos, or sign up for a gym membership.

However, when it comes to losing weight, the most effective advice often comes from medical professionals or experienced trainers who have worked with clients to get the results they need.

At the same time, a writer's thoughts often turn to how they can make this year's scripts better than last year's efforts. They may have their friends, family, or writers' group look at their work and gauge their reactions to see where they can improve.

For writers who want an impartial evaluation of their projects from an industry expert, they frequently turn to one of three options:

• They get coverage on their project from a professional script reader.
• They enter their project into a screenwriting contest.
• They work with a screenwriting coach to get their project into shape.

COVERAGE

A professional script evaluation rates and analyzes the various aspects of a screenplay. These reports often indicate what works and what needs work when it comes to the writer's skills with character development, plot pacing, story structure, dialogue, and more. 

Studios and production companies often work with these readers to generate a "coverage report". These reports serve as a summary of the project's strengths and weaknesses and as a tool in the producer's decision-making process. They also often include a rating of "Recommend", "Consider", or "Pass".

Pros: Most professional script readers offer coverage-style reports. Rates on these reports are often affordable and can serve as a guide during the rewrite process.

Cons: These reports can reflect the reader's biases toward specific genres or approaches to storytelling. Since each report reflects the reader's opinion, the writer may need two or three (or more) to determine if an issue mentioned in the report reflects a flaw in the script or a bias in the reader. 

When Should I Get A Coverage Report? The most effective time to get a script evaluation is when the script is at or near a professional level. These reports often help the writers fine-tune the small details that can mean the difference in the script moving forward or staying in the slush pile. 

The grammar, spelling, punctuation, and formatting should also be 100% perfect. As the old saying goes, "You never get a second chance to make a first impression." 

CONTESTS

Screenplay contests can serve as launching pads for a screenwriting career. A placement in a contest can add to an aspiring writer's resume, while a win could add to their bank accounts.

Pros: With so many contests available in nearly every genre, the task of finding one that fits a specific project should be easy. Many contests also offer the option of purchasing feedback (similar to a coverage report) for an additional fee. 

Cons: With so many contests available in nearly every genre, not all of them have equal standing among industry insiders. Some may operate as nothing more than money-grabbing scams that prey on the hopes and dreams of aspiring writers. 

When Should I Enter A Contest? If the script has received at least two "Recommend" ratings from different coverage readers, it may have a strong chance to win a top-flight contest.

Another aspect involves choosing the best contest to enter. For projects in a particular genre, writers may stand a better chance at winning a smaller contest that focuses on that specific genre than competing for the top prizes in a bigger contest such as Austin or Nicholl. 

COACHING

While many aspiring writers rely on books, classes, and videos for their education, some projects may require an outsider's eye to spot where the project could improve.

Also, some writers may want to adapt their novel, biography, or article into a screenplay without the first idea of how to start the process. A coach can show them the differences between writing for readers and writing for the screen. 

Pros: Much like working with a personal trainer, the client can get expert advice and one-on-one training with someone who wants to see them succeed. This part of the process can also help with the client's feelings of isolation and frustration that come with taking on such a big project.

Cons: Much like working with a personal trainer, this process can be expensive and time-consuming. Much of the success of this process stems from the level of commitment the client is willing to put in, as well as the chemistry between the coach and the client.

When Should I Work With A Coach?: If you have a project in another medium, a screenwriting coach can guide you through the adaptation process. If you have a script and want to work with a professional who can take your project to the next level, an experienced coach can help you boost your writing skills. 

Even if you just have an idea and want to know where to start, a qualified coach can show you what agents, managers, and producers look for in a script. 

At Story Into Screenplay, you can get coverage-style reports, contest advice, and personalized coaching all in one place.

You can contact us through the form on this page or by sending a direct message through our Facebook page. Also, be sure to follow us on Facebook for updates, interviews, and more!

Let us help you get your script in shape in 2023!

Story Into Screenplay Interview with William Akers, Author of “Your Screenplay Sucks”

 

William Akers has taught screenwriting for over thirty years. He is a lifetime member of the Writers Guild of America. He has written feature scripts and TV episodes for Universal, Disney, MGM, and Paramount.

I recently got the chance to talk to him about his wonderful book, Your Screenplay Sucks: 100 Ways to Make It Great.

Story Into Screenplay (SIS): Before we get started, I have to say that I thoroughly enjoyed the book. Out of the hundred mistakes you mention in the book, I've probably made about ninety-seven of them!

William Akers (WA): I'm sure you got the three most important ones right, so good for you! 

SIS: How did you get started in screenwriting?

WA: I originally wanted to be a cartoonist for newspaper comic strips. As the idea of a story strip vanished, I got into screenwriting because it used a similar format: a story told within a frame.

I went to USC Film School and met someone who introduced me to a producer. That introduction led to me getting an agent and landing some writing assignments from the studios.

From there, I shifted from writing to teaching. I moved back to Nashville and taught at Belmont University for a few years.

SIS: What inspired you to write the book?

WA: The book came about because I was invited to speak at the University of Nevada-Las Vegas. I knew I needed to give the students a handout to follow the lesson.

The handout came from notes I had developed from fifteen years of teaching. It ended up being about a hundred pages long, so I thought, "This could be a book."

I remember the saying, "Write the book you need to have." I kept seeing the same mistakes over and over, so I knew it was a book my students and clients needed to have.

SIS: Out of the hundred mistakes you mention in the book, which ones do you see the most often?

WA: The mistake I see most often comes from writers who include too much detail in their descriptions. You've gotta cut stuff out!

The script has to be easy to read. When you put too many words on a page, the reader will want to quit reading. 

I remember visiting a producer's office and as I was waiting, I counted the number of screenplays on the shelves.

I counted over 1,400 scripts! Each of those scripts came from a writer with representation. Only a handful could ever get made.

SIS: What is the smallest mistake you've seen that can cause the most damage to a script's chances?

WA: That's a diabolical question! One small mistake I frequently see involves parentheticals. Writers often use them too much or put them in the wrong places.

For instance, writing action in parentheticals when they should go in the action lines. When you misuse something so simple, it signals to the reader that your writing lacks attention to detail.

Even the title can make or break whether a script hooks a reader. If a reader has to spend the entire weekend reading scripts, they'll go for the one with a catchy title first.

SIS: You also mention the mistakes that writers make when it comes to professional behavior. What's the biggest mistake you see from writers in that area?

WA: In a word: paranoia. When a writer asks a reader to sign an NDA, this signals to the reader that the writer is going to be a problem to work with.

First off, producers and studios stealing ideas from unknown writers are practically unheard of. It's usually cheaper to pay the writer than to steal the idea and face a legal battle later.

Also, even if the writer's idea gets stolen, producers and studios have floors full of lawyers who can fight back.

A writer's best hope is to throw their scripts out to anyone willing to read them and not be afraid of someone stealing their ideas. It's okay to BE paranoid, but it's not okay to ACT paranoid.

SIS: Your book came out in 2008. What changes would you make for a 2022-23 edition?

WA: I'm in the process of creating an updated version now. I have a massive three-ring binder I've labeled, "Your Screenplay STILL Sucks" that's still a work in progress.

The biggest changes I've noticed have come from the increased number of buyers for content. The streaming services are all looking for the next hit that can bring in subscribers.

Most of these services are looking for series rather than features. The ideal model is a limited series of three seasons with eight to twelve episodes per season that viewers can binge-watch.

However, you still need a great story. All the elements that relate to concepts, characters, plot, structure, and dialogue haven't changed.

SIS: What advice would you give to writers who are looking for a coach or mentor to guide them through the screenwriting process?

WA: Find someone you can trust. Don't let them string you along and keep you paying for advice that doesn't help you.

Also, find someone who can give constructive notes and who knows about the business. If you can trust them enough to pay them, listen to their advice, and don't get defensive.

I remember a friend telling me about how he approached William Goldman (Butch Cassidy and the Sundance Kid, All the President's Men, The Princess Bride) and asked him to review his son's script.

Goldman agreed to meet the young man at a coffee shop and discuss his script. Every time Goldman had a note, the young man argued with him. When Goldman had finished with Act I, he pushed the script back to the young man and told him, "Everything else is fine."

This should serve as a lesson to young writers: don't get defensive about notes, especially when it comes from a writer with two Oscars on his shelf!

SIS: How would writers reach out to you with any questions?

WA: You can check out my blog at www.YourScreenplaySucks.com. You can also email me at wma(at)yourscreenplaysucks(dot)com.

Get your copy of Your Screenplay Sucks through Amazon or directly through the publisher at Michael Wiese Productions.

Schedule your FREE consultation with an award-winning screenwriter and experienced contest judge by contacting Story Into Screenplay.

You can fill in the form on this page or email us directly at storyintoscreenplayblog(at)gmail(dot)com. You can also send a direct message through our Facebook page.

Screenwriting Advice: When September Ends

"Well, nobody cares, well, nobody cares.

Does anyone care if nobody cares?" - Green Day, "Homecoming" (2004)

So you've written a screenplay. 

It could be a deeply personal story about a tragic experience that shaped your outlook on life from that moment until now.

It could be a story that you've worked on for years, sweated over every page, bled over every word, until you thought it was perfect.

It could be a story that allowed you to bare your soul on the page and let out all the negative emotions you've kept inside your entire adult life.

It could be a story that delivers a vital message about the injustices in the world and how you, as a brave writer, have crafted these characters who stand up and speak truth to power.

For all of you courageous souls who have poured your heart, mind, body, and soul into your screenplays, I have two words for you.

Nobody. Cares.

Not your family. Not your friends. Not your writers' group. Not your writing teacher. Not your favorite movie star, for whom you specifically wrote the lead role. 

Certainly not anyone who has to read your deeply heartfelt story as part of their job. 

Not that production company intern. They're too worried about getting their own scripts on their boss's desk.

Not that contest judge. They're too busy slogging through hundreds of bad scripts as they try to find the one gem that makes their job worthwhile.

Not even that professional script consultant you admire. (HINT HINT) Sure, they care about making you a better writer. They care about helping you understand the process. But they don't care about YOUR story the way that YOU do.

The bad news is: Nobody cares.

The good news is: Nobody cares…until you MAKE them care.

How do you MAKE them care?

I'm glad you asked.

"Eddie Felson : You're some piece of work... You're also a natural character.

"Vincent Lauria : [to Carmen]  You see? I been tellin' her that. I got natural character.

"Eddie Felson : That's not what I said, kid. I said you *are* a natural character; you're an incredible flake." - "The Color of Money" (1986)

You MAKE them care about your story by MAKING them care about your characters.

If they don't care about your characters, all the beautiful writing, all the cathartic experiences, and all the sermonizing about the world's ills won't make them care about your story.

If you can get them to care about a walking tree that says its name over and over again, then you can get them to care about anything.

If you can get them to fall in love with a green-skinned, pointy-eared, black-eyed baby that doesn't even speak, then you can get them to follow you anywhere.

If you can get them to empathize with toys, cars, robots, ghosts, and insects, then you can play with their heartstrings like Jimi Hendrix on a Stratocaster.

The biggest mistake that writers make with their characters isn't that they don't deliver stirring speeches or wring a tear from a glass eye.

Your characters can be humans, aliens, animals, or machines. They can even be (literal) sock puppets.

What they can't be is (literary) sock puppets.

You can't write them as stand-ins for your family, your beliefs, or your traumas.

You have to write your characters like roles that actors want to play. 

You have to write your characters that viewers want to watch succeed or root for to fail.

You have to write characters that have unique goals and universal needs.

"You're so vain, you probably think this song is about you." - Carly Simon, "You're So Vain" (1972)

As much as I hate to break this to you, your screenplay shouldn't be about you.

It can reflect your experiences, but the reader doesn't need to see those experiences in excruciating detail.

It can convey your beliefs, but the script is not your sermon, nor is the reader your congregation.

It can serve as therapy, but the reader is not your therapist.

Your screenplay isn't ABOUT you because it isn't FOR you.

It's for the intern who has to decide if their boss should give it a look.

It's for the contest judge who has to determine if it could win a cash prize.

It's for the producers who have to find investors willing to put in millions of dollars to get it made.

It's for that struggling actor looking for a breakout role to launch their career.

It's for the crew members who get up early and put in long hours on the set every day during production.

It's for the post-production team who struggles to turn raw footage into spun gold.

Your job is to get all of these people to care about your characters enough to risk their jobs to turn your written blueprint into a finished product.

Most of all, it's for the viewer who wants to go on an emotional ride for an hour or two.

Until then…nobody cares.

"Won't you please, please help me?" - The Beatles, "Help!" (1965)

If you want to learn how to make these people care about your script, Story Into Screenplay can help.

If you have a script and want a professional evaluation from an experienced screenplay contest judge, Story Into Screenplay can help.

If you have a script and want one-on-one sessions to get it in the best shape possible, Story Into Screenplay can help.

If you have an idea and want guidance to turn that idea into a professional-level script, Story Into Screenplay can help.

You can book a FREE* 30-minute consulting session with Story Into Screenplay by filling in the form on this page or by emailing storyintoscreenplayblog[at]gmail[dot]com. You can also send a direct message through our Facebook page.

You can also check out the Story Into Screenplay YouTube channel to see interviews with some of the top story consultants in the business.

Gerald Hanks will also be at the Austin Film Festival and Screenwriting Conference from Friday, October 28, to Sunday, October 30. Email or DM for details.

"Where Have You Been?"

As a way to get back to the way things were in the Before Times(™), I thought I would post a new entry into this long-neglected space.

Just because I haven't been posting here doesn't mean I haven't been busy elsewhere. These other commitments have prevented me from giving this space the attention it deserves.

As for my "day job", I have been reading scripts for Coverfly and the Austin Film Festival. If you plan on attending AFF, drop me a line (storyintoscreenplayblogATgmailDOTcom) and we can talk about your project while we watch the Astros (hopefully) win Games 1 and 2 of the World Series! 

I've also carved out time to develop my first half-hour comedy pilot. Jobber is about a young aspiring pro wrestler whose dreams of superstardom in the world's biggest promotion collide with the reality of his new position as an "enhancement talent".

Since my Kairos Prize win last year, my wonderful manager has been taking my projects to some top-name producers and streamers. If I had permission to drop some names, you would likely recognize someone who had seen my work.

I've also been working with a wide array of clients on their scripts. While I'm not at liberty to discuss the details of any specific project, most of them involve adaptations of true stories, a subject I covered in a previous post.

I've also been expanding my VOTE Method presentation to live seminars. I've presented these quick, one-hour lessons at the Comicpalooza convention, the Houston Media Source (VIDEO LINK), and the Scriptwriters Houston group meeting.

While my attention in recent months has strayed away from generating words on paper (or on-screen), those efforts have gone toward my YouTube channel (LINK). I have posted several interviews with some of the leading script consultants in which we discuss their experiences within the industry, advice for aspiring writers, and hints on what to look for in a mentor.

Over the last ten years, I've been a produced screenwriter, an optioned screenwriter, a paid screenwriter, a contest-winning screenwriter, and now a "repped" screenwriter.

I've also been a film critic, a screenplay contest judge, a story analyst, a public speaker, a private consultant, and (on rare occasions) a top-flight screenwriting blogger.

As for the future, I am always looking for new avenues to help people turn their stories into screenplays. One of those avenues has been this blog, which I have neglected for far too long.

While I enjoy the interviews and the speaking gigs, I recognize that writers need to write, regardless of whether that writing involves screenplays, blog posts, or grocery lists.

My goal for the rest of this year involves putting out a new post each week (published on Friday) that reflects my thoughts on films, TV, or anything else related to the craft of screenwriting.

If you have any suggestions for future posts on subjects I haven't covered, drop me a line at the address listed above or fill out the form on this page. Also, please like and follow Story Into Screenplay on Facebook. While I will post long-form articles here, I also post short remarks and event updates on the FB page. 

I will also work on offering my VOTE Method lessons as online classes available by subscription or by one-time purchase. While the blog posts and live seminars scratch the surface of what this process can do, the additional lessons go deeper into showing the potential of how this approach can help you attract agents, actors, and audiences to your project.

As this "glorious summer" winds down, I want to ensure that it doesn't lead to a "winter of discontent" for my fellow writers. From now until the start of the Austin Film Festival, Story Into Screenplay will offer a FREE 30-minute one-on-one Zoom call for anyone in the US or Canada interested in developing their screenplay.

To schedule your session, email storyintoscreenplayblogATgmailDOTcom or fill in the form on this page with your name, your availability, and the title and logline for your project. If you're not sure how to create a logline, check out my post on how to use the VOTE Method to craft the ideal logline. 

Anyone who signs up for their FREE one-on-one call also qualifies for a discount on their script analysis reports and one-on-one consultation sessions. 

Don't put your dreams off until 2023. Let's get your script into shape before this year closes out. 

Story Into Screenplay Review: An Evening with Neil Gaiman

Most writers consider themselves fortunate if they get to hear advice on writing from one of their idols. In my case, I've now benefitted from listening to two masters of their craft.

In the summer of 2014, I got the chance to hear from the late great Stan Lee at Houston's Comicpalooza convention. 

This weekend, I got to see the still-great Neil Gaiman at Houston's Jones Hall for the Performing Arts.

"Shadows", "Saucers", "Bananas" and an "Orange"

In an era where big-budget superhero blockbusters draw record numbers of eyeballs, much of the audience likely found it refreshing to hear a single person on a bare stage stand at a podium and read aloud from their novels, poetry, and short stories.

Gaiman shared several of his reading selections, including:

"Professor Bananas": An experiment involving cherries, lemonade, and grass clippings makes its subject grow so large that he can wear the universe as an overcoat.

"The Price": An injured black cat brings the family who takes him in an entirely different type of bad luck.

"Watching from the Shadows": Gaiman relates his lifelong love affair with Batman. He dedicated the reading to the late Batman artist Neal Adams.

"Orange": A teenage girl must answer a questionnaire about how an alien presence has taken over her sister's body through a unique self-tanning lotion.

"The Day the Saucers Came": A young lover misses out on multiple apocalyptic events as they wait by the phone.

"Click-clack the Rattlebag": A young man gets caught up in a "bedtime story" from his girlfriend's eight-year-old brother. 

The Ocean, Omens, and Odd

He told the story of how he struggled for years to get The Sandman audio drama off the ground. When the programs launched on Audible, Act I and Act II became the top two fastest-selling audio dramas in the platform's history, outperforming the "Harry Potter" series.

He related how he teared up at a rehearsal for the stage adaptation of The Ocean at the End of the Lane. He noted how the premiere performance brought both he and his wife to tears, along with his surprise at how it affected the Daily Telegraph drama critic sitting next to them.

Gaiman also talked about his collaboration with the late Sir Terry Pratchett on his novel Good Omens. He related that he took his inspiration for the best-selling book (and eventual hit TV series) from numerous elements, including the Christopher Marlowe play The Jew of Malta and the 1976 supernatural horror film The Omen.

While many of his novels leave room for sequels, he claims that he gets "too distracted" to follow through on the subsequent stories. However, he mentioned the sequel to his 1996 best-seller Neverwhere, the 2021 release The Seven Sisters, and an eventual sequel to his children's book Odd and the Frost Giants.

Fountain Pens and Vocal Care

As for his personal habits, he prefers using fountain pens and notebooks to typewriters or computer software. When Moleskine went to a cheaper grade of paper several years ago, he switched to Leuchtturm 1917 notebooks to ensure that the fountain pen ink wouldn't leak through to the other side of the page.

A short story collection by fellow legendary British comics writer Alan Moore (V for Vendetta, Watchmen, Batman: The Killing Joke) sits on his nightstand.

He doesn't have a vocal care routine, even after reading aloud for two hours a night through seventeen cities in less than thirty days. (NOTE: If anyone could give him advice on taking care of his voice, it would be his wife, singer/songwriter Amanda Palmer.)

Writing Advice

As for his screenwriting career, he said that he turned in four episodes of Season One and the opening episode of Season Two for the TV adaptation of his novel American Gods. After that, the showrunners "did what they did" to his scripts.

He also offered some helpful advice for aspiring writers. For instance, when choosing whether to write for yourself or for the audience, you should write for yourself. If the writing fulfills you as a writer, it should also connect with the audience as a listener. If the writer doesn't find fulfillment in the writing process, the audience won't get what they need out of reading it.

One of the biggest takeaways for writers occurred when he stated his belief that creators should favor consistency over perfection. 

Gaiman remarked how he had admired colorist Steve Whittaker's work on Alan Moore's V for Vendetta and that he wanted Whittaker for The Sandman. However, Whittaker's relentless perfectionism prevented him from turning in the finished pages on time, so Robbie Busch handled the coloring duties for the first story arc, "Preludes and Nocturnes".

Gaiman used this example to illustrate how the pursuit of perfection can inhibit actual progress, both professionally and creatively. He stressed that artists should "keep moving forward" if they want to grow in their craft.

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