Interview with Weiko Lin, author of “Crazy Screenwriting Secrets”

I recently had the opportunity to interview award-winning screenwriter and instructor Weiko Lin about his excellent book, Crazy Screenwriting Secrets: How to Capture a Global Audience.

Professor Lin has been a writer, director, producer, and is currently a tenured associate professor of screenwriting at Emerson College in Boston. 

He has also been a Fulbright Senior Specialist, received a Samuel Goldwyn Writing Award, and placed in the finals of the Academy Nicholl Fellowship contest.

In this interview, he discusses how a young boy from Taiwan became a sought-after screenwriter, how stories once aimed at a niche audience have gained widespread acceptance, and how the best screenplays resemble a fine dining experience.

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For people who may not be familiar with your work, can you tell everyone how you got started in screenwriting and what inspired you to write the book?

I was born in Taiwan and immigrated to LA when I was 8. 

I graduated with a degree in English Creative Writing from UCLA. I continued at my alma mater in the MFA screenwriting program. I also received a Samuel Goldwyn Writing Award and was a finalist in the Nicholl Fellowship. That's how I got the managers I still work with today. 

Shortly after, I sold my first feature pitch and wrote projects for companies including the digital studios of Turner, Disney, Ivanhoe Pictures/SK Global (producer of "Crazy Rich Asians"), Don Mischer Productions, Wanda, and many more. 

I wrote the original story for and produced a Chinese language romance film titled "100 DAYS", which is now available on Amazon Prime. That film premiered at the Hawai'i International Film Festival and was released theatrically in Taiwan. 

The seed for this book came out of the accessibility of diverse content and our hunger to connect to stories that reflect the world we live in today. I hope this book can inspire more global and diverse creators.   

In the book, you compare the process of screenwriting to that of cooking. You compare a story outline to a recipe, the characters to ingredients, and the act structure to each course of a gourmet meal.

What advice would you give to aspiring writers on how to apply this approach when they write their scripts?

It's just another approach of beginning, middle, and end. I believe we consume stories like how we consume food. The key is narrative construction in movies should feel organic, not chaotic or random. 

Most fine dining restaurants have a specific way in which they present their food: appetizers, sides, drinks, and so on. Each one is designed to support the one main course. The desserts are often sweet and satisfying. Even the alcohol you pair with it would be a port. 

The movie experience should be just as satisfying to the audience as a fine meal is to the diner.

Speaking of approaches, another part of the book talks about the relationships between writers and agents, managers, and attorneys. One of the biggest questions that rookie writers ask is, “How do I get an agent or manager?”

For writers who don't live in LA or NY, what advice would you give these writers on how to approach getting representation?

Most importantly, make sure you have solid material ready to show: one strong feature sample and one strong TV sample that are similar in tone. You should also have one very personal sample that may not easily get made, but one in which the story comes from the most authentic, personal depth and perspective that only you can express. 

Competitions are a good way in – but you should be selective about which ones you spend your money and time on. These contests should be reputable and prominent competitions with past winners achieving results in attaining legitimate representation. 

Queries can be overwhelming, especially since managers and agents get a ton of them via emails. You should do some investigating and find assistants or newly promoted agents/managers with whom you might share a connection, such as going to the same university or coming from the same town. This common bond should ensure that the blind queries aren't so out of nowhere. 

Speaking of representation, you also mention how scripts that deal with different types of audiences have found success. You mention Brokeback Mountain, Black Panther, Crazy Rich Asians, Slumdog Millionaire, Moonlight, and a host of others.

How has the success of these films changed the opportunities available to aspiring writers from under-represented groups?

With streaming platforms and big box office success of typically underrepresented narratives and characters, there are more avenues to make movies with hyper-specific points of view. In these cases, a typical, expensive theatrical release might otherwise not be an option. These films used universal emotions to connect beyond a specific audience – they moved a mass audience. 

Since the latest edition of your book came out in 2019, a few things have changed since then. In your book, you mentioned Netflix and other streaming services. 

How do you think the growth of streaming services has changed the game for aspiring screenwriters?

Streaming services have certainly opened more opportunities to create content. There are more avenues for specific stories to be told that might have been challenging before with limited platforms. 

Even more so, if aspiring screenwriters know or are familiar with another language and culture, that might even create more mediums where your stories can live. 

Of course, one of the reasons that the streamers have found a bigger audience has been COVID-19 and the resulting lockdowns.

How do you think the COVID pandemic and the subsequent waves of openings and lockdowns have changed the market for new screenwriters?

I'm no expert on this, but audiences will always crave the theater-going experience. I know I do. But perhaps during this time where we had to consume content on streamers, the streamers have amassed a more accurate sense of what the audiences are watching. 

For screenwriters who are looking for coaches or consultants, what advice would you give them on what to look for in a coach?

The key is having the same taste. That goes a long way because then both of you are invested in bringing this story to life that you both hope to see. 

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You can pick up your copy of Crazy Screenwriting Secrets on Amazon or at Michael Wiese Productions.

Story Into Screenplay offers script evaluations and one-on-one consulting sessions from professional screenplay analyst and award-winning screenwriter Gerald Hanks.

For more information, contact Story Into Screenplay at storyintoscreenplayblog(at)gmail(dot)com or send a direct message through the SIS Facebook page.

Screenwriting with the VOTE Method: National Champion$

With the college football bowl season winding down and the CFP National Championship on the horizon, the new film National Champion$ examines the issues surrounding the "student-athlete" model and how it impacts the big-money world of college football.

NOTE: The purpose of this review does not involve evaluating the story, direction, or performances in the film.

Instead, the purpose involves illustrating how a screenplay by Adam Mervis (21 Bridges, The Last Days of Capitalism) could apply the VOTE Method as a tool for character development.

This post contains some MILD SPOILERS for the film.

PROTAGONISTS

LEMARCUS JAMES

LeMarcus James (Stephan James) must choose between playing in the college football national championship game or fighting for the rights of his fellow players.

Victory: What does he want?

LeMarcus wants to lead a player boycott of the College Football Championship Game to protest their unfair working conditions.

Obstacles: What stands between him and his Victory?

• He could lose his final opportunity to win a national championship.
• He risks his status as the #1 overall pick in the NFL Draft, which could net him millions of dollars.
• The billion-dollar machinery of the NCAA and their member conferences come down on him.
• A ruthless private investigator threatens to reveal dirt about his past.

Tactics: What actions does he take to overcome the Obstacles and gain his Victory?

• He gives speeches to win over his teammates and his opponents.
• He goes to the media and illustrates the inequities between the rich coaches and the poor players.
• He hides from his coaches and moves to different hotels.
• He confronts the investigator and his coach over their hypocrisy.

Emotion: What emotional need drives him to pursue his Victory?

LeMarcus needs to find a way to support Emmett Sunday, his best friend and teammate, who suffered a life-changing injury and will never make the pros.

EMMETT SUNDAY

LeMarcus's teammate and best friend Emmett Sunday (Alexander Ludwig) faces the end of his football career without any hopes of making it into the NFL.

Victory: What does he want?

Emmett wants to support his family after his college football career ends.

Obstacles: What stands between him and his Victory?

• His numerous injuries prevent him from starting an NFL career.
• His time spent in games and practices prevented him from getting a quality education.
• His stand with LeMarcus could get him blacklisted for any future football jobs.

Tactics: What actions does he take to overcome the Obstacles and gain his Victory?

• He supports LeMarcus in his efforts to improve the standing of college football players.
• He helps LeMarcus develop his media strategies.
• He hides LeMarcus's movements from their coaches.

Emotion: What emotional need drives him to pursue his Victory?

He needs to make a difference for the players who will come after him and experience the same hardships.

ANTAGONISTS

COACH JAMES LAZOR

Missouri Wolves head coach James Lazor (J.K. Simmons) has the opportunity to win his first National Championship – but only if his star QB shows up for the game.

Victory: What does he want?

Coach Lazor wants to find his star player and win the National Championship game.

Obstacles: What stands between him and his Victory?

• LeMarcus keeps changing his location.
• Several players join LeMarcus's strike.
• His wife leaves him for a professor.
• College football executives breathe down his neck to get LeMarcus on the field.

Tactics: What actions does he take to overcome the Obstacles and gain his Victory?

• He sends his coaches on a manhunt to find his QB.
• He gives an inspirational speech to his remaining players.
• He gives a press conference to address LeMarcus's terms.

Emotion: What emotional need drives him to pursue his Victory?

He needs to win the championship to justify the long hours spent coaching and the loss of his marriage.

KATHERINE POE

Private investigator Katherine Poe (Uzo Aduba) works with the NCAA as a "fixer" to solve issues that the white male establishment wants to keep out of the public eye.

Victory: What does she want?

Katherine wants to find LeMarcus and save her job with the NCAA.

Obstacles: What stands between her and her Victory?

• LeMarcus's public statements interfere with her subtle approach.
• His frequent movements send her on a wild goose chase.
• Her bosses underestimate her capabilities.

Tactics: What actions does she take to overcome the Obstacles and gain her Victory?

• She exposes LeMarcus's drunken actions at a college party that led to a COVID outbreak on campus.
• She threatens to expose his part in a bar fight that led to a man's death.
• She tries to find his half-brother, who could expose more secrets about LeMarcus's past.

Emotion: What emotional need drives her to pursue the Victory?

She needs to prevent the threat that LeMarcus's strike presents to the non-revenue college sports that allowed her to get an education.

National Champion$ is now available on Prime Video, Google Play, the iTunes store, and most major on-demand platforms. 

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If you want to start the new year with a new (or improved) screenplay, Story Into Screenplay can help.

Story Into Screenplay offers script evaluations and one-on-one consulting sessions from professional screenplay analyst and award-winning screenwriter Gerald Hanks.

To start the new year off right, you can keep your resolution to write your best screenplay by getting an evaluation on your first ten pages for only $10. 

For more information, contact Story Into Screenplay at storyintoscreenplayblog(at)gmail(dot)com or send a direct message through the SIS Facebook page.

Let's make 2022 the year your script launches your career!

 

Screenwriting Advice: Interview with Pamela Douglas – Author of “Writing the TV Drama Series”

 

For any aspiring screenwriters who want to write for TV, Story Into Screenplay has posted an interview with Pamela Douglas, author of Writing the TV Drama Series and professor of television writing at the University of Southern California's School of Cinematic Arts.

To see the complete interview with Professor Douglas, check out this YouTube playlist.

If you would like to discuss how Story Into Screenplay can help you with your script, please drop an email to storyintoscreenplayblog(at)gmail(dot)com with the subject line “Writing the TV Drama Series”.

What I Learned At My First Austin Film Festival

For those of you who want to attend a major networking event for screenwriters, but you don't have the money or time to spend a week in L.A., I highly recommend spending an October weekend at the Austin Film Festival.

I just returned from my first AFF and found the experience both extremely exhausting and highly rewarding.

Here are some DO-s and DON'Ts I learned at AFF:

DO talk to everyone you can. Some rookie writers only focus on wanting to talk to the “important” people (agents, managers, producers, big-name writers). If you're only focused on who you think could help your career, you could miss out on connecting with someone who can give you some valuable insights. 

For example, you could stand in line at a panel on animation and meet a Finalist in the Pilot Script category who coordinates post-production for Marvel. 

DON'T miss out on the parties. Most people who attend business conferences know that the real business doesn't get done on the conference floor, but at the after-party. While writers tend to favor solitude and shun social interactions, these parties tend to deliver some of the best networking opportunities.

For example, don't get so hungry, exhausted, or dehydrated from attending so many panels and discussions that you miss out on the chance to make a vital connection.

DO hang out at the Driskill Hotel bar. While the conference rooms and ballroom host the major panels that make up the conference, the real connections get made at the bar. Even if you don't drink, just get some water or a soft drink, say hello to other writers, and share horror stories about your industry experiences. 

For example, you could be watching a baseball game on the bar TV and swap baseball memories with a fan of the opposing team.

DON'T feel like you don't belong. While some writers may feel that they don't measure up in an image-obsessed town like L.A, Austin prides itself on defying conventional standards. (The unofficial city motto is “Keep Austin Weird”.) This attitude can help you when approaching writers you feel have “made it”.

For example, you could learn that you have a “six degrees of Kevin Bacon” connection with a major writer or that you and a panelist share a love of a specific obscure film that only seven other people have seen.

DO explore Austin. The city is more than just Sixth Street, Longhorns football, or Matthew McConaughey. It's also not a “hick town” that doesn't measure up to the glitz and glamour of Hollywood. While you're there, take the time to check out some local attractions.

For example, while Sixth Street claims to be the “Capital of Live Music”, you can find the true birthplace of Austin's live music scene on South Congress at a little place called The Continental Club. 

DON'T put too much pressure on yourself. Odds are, you're not going to land an agent, a manager, or a writing assignment from just a single conversation with an industry insider. Networking is about planting seeds. Not all of those seeds will grow into a fruitful relationship, so lighten up and enjoy the process.

For example, if you get the chance to talk an influential producer, an A-list writer, or a top-level manager, try to treat it more as a casual conversation and less as a high-stakes pitch meeting. Let them like you first, then give them a chance to like your writing. 

Many rookie writers complain about the barriers to breaking in. They say, “It's not what you know, it's who you know.”

In an industry that requires so much collaboration and contains so many moving parts, this sentiment isn't an injustice, it's a necessity. This fact of life also shows why networking events such as AFF are so vital to screenwriters who lack access to the L.A. scene.

In my experience, who you know gets you in the door, but it's what you know that keeps you in the room.

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For writers who are looking to improve their chances in contests such as AFF, Final Draft, or Screencraft, Story Into Screenplay offers script analysis and one-on-one consultations.

For the month of October, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film or feature film) for only $10.

For more information about this offer, email storyintoscreenplayblog(at)gmail(dot)com with the subject “10 Pages for $10” or fill in the form on this page.

Interview with Christopher Vogler - Author of "The Writer's Journey".

Author and script consultant Christopher Vogler recently celebrated the release of the 25th Anniversary Edition of his seminal book, The Writer's Journey.

Here's a sneak peek with Chris's story on how he got started:

To see my complete interview with Chris, check out this YouTube Playlist.

I will also be attending the Austin Film Festival from Friday evening (22 October) to Sunday afternoon (24 October).

If you're going to be at AFF and would like to discuss how Story Into Screenplay can help you with your script, please drop an email to storyintoscreenplayblog(at)gmail(dot)com with the subject line “Austin Film Festival”.

Baseball, Screenwriting, and "The Writer's Journey": Home Plate

The final stop for the baserunner sits just ninety feet away: home plate. However, he has to get past the catcher, the only player on the field covered in body armor. The catcher stands ready to take out any runner who tries to score.

The final stop for the screenwriter sits a lot farther than ninety feet away: getting your project made, distributed, and in front of an audience. The screenwriter may have to overcome numerous obstacles before they can slide into home.

Scheduling conflicts, legal entanglements, contractual obligations, logistical issues, and so many other problems can delay a script's production or halt it in its tracks (see: March 2020-present). 

Just as a baserunner can take a lead from third base to improve their chances of scoring, the option represents a lead toward getting the script made into a feature film or TV pilot.

Finally, with some beneficial timing and some guidance from the coaching staff, the baserunner can make a break for home, score the winning run, and celebrate with a Gatorade shower from his teammates.

This process also holds for the screenwriter, as they rely on guidance from their script coach, their manager, their agent, and their producer to slide into home and get the cameras rolling.

Let Story Into Screenplay get you ready to play in the Big Leagues and coach you into creating the best possible version of your script.

This week, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film, or feature film) for only $10.

For more information about this offer, email storyintoscreenplayblog(at)gmail(dot)com with the subject "10 Pages for $10" or fill in the form on this page.

Baseball, Screenwriting, and "The Writer's Journey": Third Base

Once a runner reaches second base, that doesn't mean that his mission is halfway to completion. The process of getting from second to third often entails more luck and patience than any other part of the game. 

As a writer, once you get to second base and get representation, that agent or manager will work with you like a teammate ready to help you advance to third base: getting your script to a producer.

In baseball, a poor decision by a baserunner between second and third can kill a team's chances to score, despite the best efforts of the teammates hitting behind him. The runner can also encounter bad luck, such as the shortstop snatching a line drive and tagging him out on the way to third. 

In screenwriting, a poor decision can run you right out of the game and kill your chances of selling your script or working with a producer. Current events, poor timing, or just plain bad luck can also send you back to the dugout.

In baseball, when a runner reaches third base, they have another helper in the form of a third-base coach. That coach can advise the runner whether to stay on base or make a mad dash for home plate to score.

In screenwriting, if you're lucky enough to reach third base, the producer could act as your third-base coach and help you put together a deal to get your script made into a movie or TV series.

Check back tomorrow to see how to "score" a deal and take your project from the page to the set to the screen.

This week, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film, or feature film) for only $10.

For more information about this offer, email storyintoscreenplayblog(at)gmail(dot)com with the subject "10 Pages for $10" or fill in the form on this page.