John August

So-Called Experts

Writers Boot Camp

QandA, So-Called Experts

Have you had any experience with [Writers Boot Camp?](http://www.writersbootcamp.com/) If you have, would you recommend it for a first time screenwriter?

–Cayrn Rose

I don’t have any first-hand experience with it. After visiting the website, it looks like an intensive course designed to get writers through the first draft. I say, if it helps you get your script written, great. I’d liken it to one of those upscale spa retreats where you pay a lot of money to eat grapefruit. Sure, you could do it yourself for less — but would you? Sometimes, paying money is good motivation for taking something seriously.

That said, I’m always leery of Patented Screenplay Secrets and script gurus (self included). There’s no magic, no shortcuts, no perfect second-act template. Most of the screenwriters working in Hollywood learned their craft through trial and error, along with massive rewriting. Workshops often bill themselves as helping writers avoid the painful mistakes, but sometimes what you really need are the painful mistakes.

If any readers out there have experience with Writers Boot Camp or other workshops, please write in.

Getting help as a deaf screenwriter

QandA, So-Called Experts

questionmarkHi my name is Sami and I am deaf. I don’t write good in English, although I can write screenplay and know its format.

Suppose if I complete the screenplay and I want to be sure that this screenplay is complete accurate and perfect…how do I make sure it is? Do I send it to some script doctor and have them check the format, grammar, and etc? If so then do they have right to share the credit?

–Sami

answer iconOne of your instincts is right: you do need someone to look over your writing, since your English isn’t terrific. I’m guessing you grew up using American Sign Language, which many non-deaf people assume is a direct adaptation of English. It isn’t. Not only does the language omit a lot of our needless filler words (such as articles), but it can structure sentences and phrases in much different ways than a spoken language might. This is why, over time, it has become very sophisticated and robust. Unfortunately, fluency in signing doesn’t always lend itself to the written word.

Which is where you could use some help.

A “script doctor” isn’t really the right term for what you need. That term generally applies to a highly paid screenwriting pro who does specific, short-term work on a screenplay to fix some perceived problem. What you’re looking for is really just an editor, someone with stronger grammar skills who can help with spelling, word choice and punctuation. Think of it this way: if you were hired to write a magazine article in French, you wouldn’t think twice about having a native speaker look over your work. That’s what you need.

Obviously, you should write about whatever subject interests you, but I’d encourage you to seek out the work of other deaf filmmakers. There are at least three deaf film festivals running, and other entries can be found in many of the better programs around the country. There is also the opportunity for cross-over with deaf theater companies, such as the renowned Deaf West Theater in Los Angeles.

Even if your work ends up having nothing to do with deaf issues, you’d benefit from meeting other writers and artists to see how they handle the challenges and opportunities the medium presents.

Robert Mckee

QandA, So-Called Experts

Have you taken Robert McKee’s screenwriting class? And if
so, what did you learn from it?
–Bill

To read his brochure, you’d think that everyone in Hollywood has taken McKee’s
course, but the truth is, I don’t know anyone who has.

Whenever I hear his
name brought up, it makes these tiny hairs rise on the back of my neck, because
it usually means the speaker is going to cite some piece of screenwriting gospel,
or use a clever word like "counter-theme."

I’ve never met McKee and have nothing against him, but to read his bio
it’s clear that he’s not a very successful screenwriter and never really was.
That’s not to say he can’t be a great teacher, just as many great film critics
are not filmmakers, nor do I think that there’s anything wrong with a screenwriting
class per se, especially if it helps you get off your ass and write. But I
would rather have dental surgery than go through a structural analysis of CHINATOWN.

The downfall of these classes and books (Syd Field’s is the best known), is
that the guru comes up with a theory about why scripts are good or bad, then
manipulates the examples to prove his or her point. I remember one professor
in graduate school who when confronted with counter-examples, would label some
of the greatest movies ever made "failed films," simply because they
didn’t fit her framework.

Overall, it’s worth reading a few books and taking a few classes to get a
handle on how Hollywood talks about scripts and movies. Internalize what makes
sense to you and chuck the rest. Kevin’s question goes right to the point:
You’ll learn the most by reading a lot of screenplays, good and bad, and learning
how they work.

The truth is, there’s no magic formula for writing a great script. (Or for
that matter, a commercial one.) Anyone who tries to convince you that theirs
is the One True Way is deluding themselves and you.

Screenwriting contests

QandA, So-Called Experts

What are your thoughts on screenplay writing contests? There
are hundreds of them to choose from, and most of them charge around $50 to
enter. Is this truly a viable way for an unknown writer to get discovered?
Or is it a waste of money?

–Tim Wilson

The two screenwriting awards I know best are the Nicholl Fellowship
and the Sundance Screenwriters Lab,
both of which have a history of being a tremendous boon to a young writer.
The benefit is not just being selected, but in the follow-up and guidance these
programs provide. If you have a great script that feels right for these competitions
– and by that I mean it’s not an obviously commercial action thriller or such
– these might be places to consider.

Beyond these two, it gets murkier, and harder to separate the good competitions
from the bad. In general, I’d say the ones associated with festivals are a
little more reputable, and might be worth the entry fee. Just make sure it’s
a real festival that’s run for a least three years.

I’m more suspicious of unafilliated competitions, because it’s never clear
what their real motivation is. Some are run by upstart management companies
who are trolling for young writers. Others are just in it for the cash. And
even if it is an honest competition, having won a contest no one’s heard of
isn’t going to help you in your career.