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5 Ways to Overcome Writer’s Block and Start Writing Your Next Project: Tips & Tricks

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Are you struggling with how to start your project? Itching to get writing but don’t know where to start? Maybe you feel stuck or walled off by writer’s block.

Have no fear. It happens to everyone.

Fortunately, there are several effective strategies you can use to overcome writer’s block and start writing your next project.

Say goodbye, writer’s block! We’re about to get your creative juices flowing again!

1. Change your writing environment.

We have to start here because it’s often an overlooked key to unlocking the stuck mind. When we do a certain thing or go to a certain place over and over again, our brains mold pathways that make thinking patterns fall into those same old ruts right away. The goal here is to change things up and break those crusty old behaviors.

Here are some of the ways to do that:

  • Change your writing schedule. Write in the evening? Try writing first thing in the morning.
  • Try writing in a different place. If you write in your office, try writing at a coffee shop instead.
  • Take a break and walk around. Get the endorphins pumping! This really helps.
  • Go for a drive to nowhere. 20 minutes in the car by yourself with no distractions (or maybe some music or an audiobook) does wonders to “reset” your brain.

2. Warm up with a writing exercise.

Writing exercises are great because you never know where they will go or what you will get out of them. More than a few of my own works have come directly from writing exercises I did to warm up my fingertips.

It doesn’t have to be a formal exercise either. The point isn’t to follow a set of arbitrary rules, but to get your brain thinking in the “writerly” way while expanding into newer, fresher territory.

Here are some ways to do that:

  • Describe something. Pick something you see and describe it. Spend at least a page doing so. Try describing the thing or person without naming it directly.
  • Practice freewriting. This technique involves writing without stopping or censoring yourself for a set period of time, say 10 minutes. Just write whatever is in your brain and see where it goes.
  • Write from a prompt. There are thousands of writing prompts available on the web, such as those provided by Writer’s Digest. Another great way to jumpstart your creativity.
  • Try a writing exercise. Or two. Or several. Reedsy offers a helpful list of writing exercises for novelists in particular, but anyone can get value from them.

Also Read: 5 Simple Tricks to Improve Your Descriptions

3. Start with a dramatic hook.

Now we’re getting into pro-level writing techniques designed to unstopper your writer’s block. In this method, you will open a new project with the most dramatic image, setting, or scene you can imagine. It doesn’t have to be connected to anything yet. The point here is just to make it arresting, intriguing, and make the reader want to turn the page—even if the reader is just you.

Here are some ways to do that:

Open on an arresting image.

This is a great technique because it sparks instant intrigue and excitement.

Consider making the image seem out of place at first to arouse curiosity and wonder. Is the Statue of Liberty’s head lying in a garbage heap? The Mona Lisa on fire? A foreigner surrounded by masses of seemingly identical locals? There are no rules, only imagery.

Describe something visual.

By opening on the description of something visual, you can draw the reader in by setting the scene and starting small before expanding their view of the scene. Begin by describing the image in detail, along with the action, and then exploring outward from there to pieces of the world, other characters, and events that may have occurred off-screen.

As with the arresting image, you may find it helpful to take inspiration from art, such as one of the innumerable collages on Pinterest, artist pages on Facebook, Deviantart, or classic works of art found in museums around the world.

Begin anywhere but the beginning.

Really. Many writers find themselves unable to dive into a new novel or screenplay because they can’t figure out how to start the book. Here’s a secret: start it later.

For now, pick a part of the book you know you want to write and start writing there. Is it the description of a character? A place? An exchange of dialogue? An action?

Don’t let yourself be held back.

Open with conflict.

Another favorite choice of writers, especially in the movies. If you’re writing a screenplay, jump into the action in media res without lapsing into direct exposition. If you’re writing prose, start on an action and dive right into the scene conflict. Many great stories start with action.

Conflict is the bread and butter that keeps readers glued to the story. So why not open the story with some type of conflict? Physical, social, purely internal—again, don’t limit yourself.

Start with dialogue.

This is a riskier tactic but opening up on the right line of dialogue (or even a voice over in film) is a way to make the audience stick around to see what happens next. Dialogue that’s outrageous or obviously out of context works well here. So does tying the dialogue directly to the middle of a conflict: “What do you mean you’ve lost it?” or “Like I said before, you wanted a problem, now you got a problem.” Et cetera.

If you can make it work, it’s a great way to go. In general, however, opening with action or description is a stronger choice, so use this technique carefully.

4. Start with research.

Many writing projects require research. Personally, I find my best ideas come to me directly out of the research I do—while I’m doing it. Making notes and scribbling ideas down as I go, in no time at all, I end up with a stack of material that helps me get started. I like to think of these as tent pegs I’ve put in the ground, and when I get to the writing phase, my task is to connect with pegs with canvas until a cohesive structure is built.

Here are some ways you start with research:

  • Stick your nose in some books. Good old-fashioned research technique. I keep a separate notebook I can write ideas down in, page numbers, and other notes so as to avoid defacing books (yes, I am that kind of person).
  • People watch. Go to a public place and write descriptions, behaviors, backgrounds, or whatever you like about the people and groups you observe.
  • Make a visual board. Using websites like Pinterest or a more conventional corkboard on the wall can help you bring together characters, images, settings, and ideas to make the world feel more real. Start by selecting one image. That way, you’re less likely to get overwhelmed.
  • Watch or read interviews. This approach is overlooked far too often. By looking at interviews from subject matter experts and survivors of very specific experiences, you can garner details for your story that you might not be able to get anywhere else.

5. Start by concepting with a friend.

I love this approach. Personally, I find it very helpful. Two brains are better than one. The simple act of verbalizing and articulating your ideas in front of someone else and getting their feedback helps you sort out what works and what needs work. Let the ideas flow freely. Don’t worry about ideas being “too big” or “too crazy.” You never know what will stick to the wall.

Think of this strategy as a creative brainstorm with someone who will act as your sounding board. Your hype person. Your confidant. Your friend you owe a coffee after putting up with your insane story ideas.

Another advantage to this strategy is that being put on the spot to articulate an idea verbally helps you “hear” it out loud more like a stranger would. It also forces your brain to suddenly connect dots and make observations you might not have consciously known before.

If you have a friend who’s willing to take the extra step with you, set up a few ground rules for the concepting session:

  • Use as many “what ifs” as possible.
  • Agree that no “what if” is a bad idea.
  • Try to explore each “what if” as far as possible.
  • Always respond with “yes and” —meaning you must agree to the “what if” and add another element, detail, twist, or “what if” on top of it.
  • Don’t shy away from the big “what ifs”—what if the genre was X instead of Y; what if the main character was the opposite gender; what if the story started at the end; etc.

Final Thoughts

Overcoming writer’s block can be a challenge, but by using these five tips and tricks, you can break through your creative roadblocks and start writing your next project. Whether it’s changing your writing environment, warming up with a writing exercise, starting with a dramatic hook, starting with research first, or you simply need to brainstorm with a friend first, these strategies can help you approach your writing with renewed energy and focus.

Use as many (or as few) of these techniques as many times as you need to pop the cork on writer’s block. By this time next year, I’m confident you will be well into your creating your best work yet.

And, of course, never stop writing!

advice, exercise, how-to, poetry, tools

3 Ways to Write Better Poetry

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So you’re a poet who wants to improve your craft. Maybe you’re a writer who’s thinking about making the jump into poetry. Or maybe you’re a creative person looking for a new way to express yourself.

Whoever you are, wherever you are in your life’s journey, welcome to poetry.

Poetry is a powerful, timeless art form unlike any other. It twists and conforms language into unusual combinations to deliver meaning and expand our perspective of the world.

What is a poem?

A poem is whatever it wants to be. When someone says “poetry is ____” they destroy the essence of a poem. If that’s the case, then how do you define a “poem”?

A poem is a brush stroke on an empty canvas.

A poem is a gust of summer breeze that clutches your hair on its way to the north pole.

A poem is a mud puddle.

A poem is a falling leaf.

A poem is the first sip of a fresh beverage.

A poem is a broken pencil covered in dog sh*t on the sidewalk.

A poem is whatever you want it to be.

How to write better poetry

Now that we know what a poem is, let’s get down to brass tacks: how to write better poetry.

I could tell you to go out and experiment with poetic forms , classic rhyming poetry and modern free verse poetry, but you can learn how to do that from anywhere.

Instead, let’s take a look at three strategies that have served me well in my personal journey as a writer, both in terms of growth and getting poems published.

Want to read some of my published poems? Check it out.

1. Describe around something

This technique is one of the most helpful for a poet. The idea here is to describe something without ever directly labeling it for what it is. In labeling something, you diminish it only to the 1- or 2-dimensional image conjured by the label’s name.

For example, try describing a tree without using the words “tree,” “wood”, “forest,” or “bark”—much like what we did in the What is a poem? section above.

Try it out, see where it leads you. Surprise yourself with what you get.

In the following poem by Erin Cunningham (used with permission), the poet describes a river without using the words “river,” “stream,” or “water.” The subject matter is only labeled in the title, but not in the body itself.

American River, North Fork
by Erin Cunningham

foam tents tumble down
	the forest’s snake

ice scurries through my
	toes, my fingers

immersed with angled stones,
	silt, sand shimmers

spent sun paints your road white
	like gems, it glitters

how your calm rinses city’s stain,
	the stink of stress and toil

what wonders wait around
	your emerald elbow

what secret snakes, minnows,
	bears, hawks hide?

will golden flecks settle
	in slick palms?

will my feet sink
	into her bed

become her loam?

perhaps I’ll build a roof
	upon her beachy banks

retire from all societal care
	my mind made smooth

as her whispering rhythm

but with daylight’s eclipse
	Monday is waiting

Note how, at the very end, she gives the poem an additional layer of meaning that makes us re-examine the entire poem with a new perspective.

2. Write write write, then cut cut cut

This is another powerful technique to add to your poetic toolbelt. After you’ve written your poem, go through and cut all unnecessary words. Then go through it and cut out even more. Small words like articles and prepositions and even many adjectives should be at the top of the list.

Now cut out even more words. Chop down each line to just the bones.

And then cut it again.

Cut beyond what you’re comfortable with and see what’s left (remember, you can always add words back in).

Experiment with using punctuation, white space, formatting, and placement on the page to enhance your minimalist poem and replace eliminated words.

As with technique #1, you’ll surprise yourself.

For example, let’s take the four-line stanza:

When the lightning rod stands upright
defiant in the weather, unbreakable femur bone
against the rain, you are thunder’s shivering spear
strike deep, Thor’s arrow, find your mark!

And cut cut cut, then cut some more. Until we get the much leaner, more modern:

lightning rod
weather bone
thunder's spear
strike deep

Has a completely different feel, doesn’t it?

You don’t have to write every poem like this—you don’t have to write any poem like this—but it’s a good technique to master to help improve your poetic craft.

Less is more.

3. Imitate another poet

Life imitates art. Art imitates life. Poets imitate poets. There’s nothing wrong with this. In fact, many poets find themselves so inspired by a poem that they simply must write a poem of their own to celebrate the original.

In this technique, you will use an existing poet’s style or individual poem as a jumping-off point for your own.

Look to the poem in question as you write, following the phrase structure, line length, punctuation, topic—whatever you feel in the moment—as you go.

Here are a few helpful tips to get you started:

  • Use the same number of words or syllables per line.
  • Follow the same phrase structure, but change the text itself.
  • Start the poem by replacing words with antonyms.
  • Copy the shape, lines per stanza, or length of lines.
  • Write your poem on the same subject but with a different perspective.
  • Contradict the original with a direct rebuttal.

You may find that halfway through this exercise your poem has taken on a life of its own. That’s wonderful! Feel free to leave the original poem behind as you explore your own poem’s life.

How to become a better poet

Write. Keep writing. Continue writing every day, all the time, forever and into infinity.

Even if no one ever reads half of your work, every new poem brings you one step closer to becoming a stronger poet. Practice makes perfect, right?

In addition to writing, seek to explore new forms, styles, and subject matter. Instead of just imitating the greats, try perusing published works in several of the hundreds of online poetry journals out there. You’ll get a lot out of the amazing and daring poetry you find there on the cutting edge. Besides, there are too many under-celebrated poets out there.

In the meantime, we are always growing. Life is a process of becoming. We are always becoming better poets.

Never stop writing!

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5 Simple Tricks to Improve Your Descriptions (and Become a Better Writer)

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One area where many writers struggle is with writing prose descriptions. This is understandable since description is the bread and butter of storytelling. And yet writing good description can also be tenaciously challenging.

There is no tried-and-true formula for writing “good” descriptions. Think of it more like writing what’s appropriate for the tone, voice, genre, and action of the story. In The Sun Also Rises, considered one of the great works of 20th-century literature, Ernest Hemingway wrote his description simply, sparingly, and unadorned. Compare that to another classic, Moby Dick by Herman Melville, where the author goes on for page after page just to describe a painting.

That said, you don’t have to be a Hemingway or a Melville to write good description. Here are five simple tricks anyone can use to level up their writing game and become a more effective storyteller:

1. Don’t name it, describe it instead.

Seems obvious, right? It’s less obvious than it sounds. It’s also a very simple trick to write more engaging, more interesting (and more artistic) prose descriptions. The idea here is to not name the subject being described. Instead, you will say anything and everything but naming what it is (this is also an excellent—and fun!—writing exercise).

Let’s take the example of a zombie. “Zombie” is a great example because in naming the subject a “zombie,” you automatically conjure a one-dimensional abstract idea in the mind of the audience, which both cheapens its impact and forces you to work harder to overcome biases or preconceived ideas about what a zombie is, does, and should be like.

Instead, we can describe what the zombie looks like (pale skin rife with infected sores), how our senses perceive the zombie (a wave of sickeningly sweet stench assaults my nose, triggering my gag reflex), or what it does (stumbling forward like a baby deer, unsteady on its legs)—all without having to use the literal word “zombie.” (Don’t worry, audiences are smart. They’ll get it.)

Another way to think of it: How do your characters experience the situation? How about: Here is a dead, rotting human being that is somehow impossibly moving around me. And I recognize their face. Am I sure they’re even dead? Are they diseased? I can see splintered bone through a hole in its skin. I think I’m going to be sick. How do you stop this thing? Et cetera.

Compare that to describing the subject as a “Zombie”—a light term, a funhouse idea, something you see in movies. What a difference, right?

2. Avoid abstractions.

Piggybacking off #1 in the list, avoiding abstractions is another easy way to write better description. An “abstraction” is any word that is open-ended in its interpretation, and therefore lacking in concrete detail. Think of words like “perfection” or “good” or “beautiful.” Sure, you can use these words and the audience will understand what you mean in a general sense. But each person will see “perfection” or “beauty”—and even “good”—very differently. Poets avoid abstractions like they’re on fire. Maybe they’re onto something.

Like #1, you are essentially avoiding the abstract word (“zombie” is abstract, but not necessarily an abstraction) and instead describing the specific things that add up to that abstraction. If we are describing a new character as “perfect,” instead jot down a list of descriptors, characteristics, aspects, or behaviors that make you think of “perfect.” Guess what? String those together and you’ve just written a better description than simply writing “perfect.”

For example, if we are describing a sculpture, “perfect” could be replaced with statements like marble so smooth and intricately detailed that it resembled real cloth you could touch and move with the slightest breath, or swooping inward at such a meticulously symmetrical angle, or bewelled about its mouth with emeralds and rubies and other precious stones, each as clear as a mountain stream and free from defect. The list goes on.

As with #1, we described around the abstract idea without using the abstraction itself. The end result is description that’s far more vivid.

3. Be specific.

You’ve probably noticed a recurring theme there. Superb descriptions have one thing in common: specificity. The best descriptions aren’t too vague, abstract, or general. They use specific details. In this case, we mean being really specific. It’s hard to over-emphasize just how effective this tactic can be in getting an image across.

Specific is concrete. Specific is unique. Specific conveys an idea with as little wiggle room as possible for misinterpretation. In addition, highly specific descriptions tend to stick in the audience’s mind and imply a much greater level of information on top of that. In short, it packs a punch.

Let’s say we’re describing a character’s midlife crisis. There are endless ways to do that. One thing to avoid is vagueness. It’s a big feeling with a lot of factors that go into it.

Compare:

She was having a midlife crisis.

to:

She felt like her life amounted to a bug splattered sideways on the windshield of an old rusty pickup truck, which was then retired to a dilapidated barn and left to gather dust.

Obviously, one of those descriptions is way more specific. Think about how much more information that “bug splatter” description delivers compared to the plain “midlife crisis” sentence. Remember, not everyone in the audience will understand what it’s like to experience a midlife crisis, or will have had exactly the same experience as the character. Being specific helps illuminate the unfamiliar.

4. Use uncommon words (occasionally).

Building on what we learned in trick #3, one way to help your descriptions be more specific is to pepper in the occasional uncommon word. This doesn’t mean hunt down the most obscure word you can find and jam it into the text (hint: that usually doesn’t help—it’s akin to using an abstraction). Instead, try grabbing a few of the more unusual words out there to help your description stand out. You’d be surprised at just how many words readers know.

For example, let’s say we are describing a stranger that looks exactly like someone our character already knows. Instead of saying the stranger looked exactly like someone I know or they could be their doppelganger, you can be more specific by describing the stranger as a flesh-and-blood simulacrum of my childhood best friend, [insertnamehere]. Not only are we being specific, but dropping the uncommon word, “simulacrum,” into the description makes the event less mundane and much more mystical.

Uncommon words are also a great addition to a character’s dialogue to help differentiate them from the rest of the cast. If you elect to go this route, I strongly suggest not adding it to every character’s dialogue unless you’re going for a certain effect.

5. Paint the picture, but don’t belabor the point.

Here’s a trick from screenwriting that I wish every writer knew. One of the most mind-boggling parts about writing description is: What do I describe and how much?

Good question.

The answer is simpler than you think: You don’t have to describe everything. In fact, it’s better that you don’t. Description slows pacing and holds little weight compared to other narrative elements, like conflict or creating memorable trailer moments.

So how do you “paint the picture” with description?

First, let’s start by pointing out that all the tricks we’ve talked about up to this point feed into this one tactic. You will use #1-#4 to accomplish this, but especially #3. 

I mentioned screenwriting. When you’re writing a movie or TV script, you have so little space to communicate information that every phrase must carry maximum impact. Do you remember when we described a character’s midlife crisis as a bug splattered on a windshield? (If not, it’s time to revisit the description back in #3.) That’s the start of painting the picture. Using that very descriptive sentence, we create a crisp, concrete sense of emotion, mindset, and imagery.

In a screenplay, we could end it there. But if you are working in a more word-heavy medium like narrative fiction, then you can use that line as the start of painting a more complete picture. Maybe we don’t have to go into every single detail that led to the midlife crisis. However, we can support that initial description by adding supporting statements that give specifics. Again, not everything, just a few brushstrokes to get the point across, help us understand the character, their current emotional state, and the situation. And we will do so using every trick we have at our disposal.

For example’s sake, we’ll follow up our sentence, “She felt like her life amounted to a bug splattered sideways on the windshield of an old rusty pickup truck, which was then retired to a dilapidated barn and left to gather dust,” with three descriptive statements about the most salient items in the character’s mind that lead her to this feeling.

Maybe she feels the cavity in her soul, an aching in the deepest recesses of her body and spirit because of the death of her daughter (I know, dark). She feels like a songbird caught in a birdcage and the owner has gone away, never to return. And most recently, her latest art gallery opening was a disastrous flop—only five tickets sold and even the gallery owner got drunk and passed out after one-too-many back-room martinis.

Even if we wrote nothing else about the situation, the audience would at least get a strong sense of where this character is in her life, how she is feeling right now, and also pick up on a tone that mixes both tragedy and comedy. And we only had to write four short descriptions. Magic!

The Bottom Line

Good description doesn’t happen by accident (okay, maybe sometimes it does). It takes hard work to write descriptions that connect with the audience, create a clear sense of the subject, and convey the writer’s intention. Yes, there are other ways to continue improving your ability other than writing description. And also yes, description isn’t the only part that matters in storytelling. But learning to write poignant description is a surefire way to improve your overall skill as a writer.

That’s it for now. Never stop writing!

Do you have thoughts? Questions? Contemplations? Share in the comments below or message me on Twitter: @storyscience.

advice, books, how-to, movies, TV

Why Does Success or Failure Matter? A Quick and Easy Guide to Creating Stakes in Storytelling

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Let’s start at the beginning—

What Are Stakes?

Stakes are what a character stands to lose if they fail, or if they don’t do something. But more than that, stakes are the why.

What about motivation, you ask? Motivation is also a why, isn’t it? Yes! But stakes create that motivation.

If a character doesn’t have a reason to do something, then they aren’t motivated. When that character acts without being motivated to do so, we don’t understand why the character is doing what they do. It ends up feeling forced or contrived.

However, knowing what’s at stake if they don’t act gives that character a reason to move forward—because the alternative (not taking action) is worse.

In story terms, stakes are why something matters—decisions, complications, obstacles, plot points, etc.

Why Are Stakes Important?

Without stakes, you can’t have those big pivotal moments where the hero makes a choice between Option A and Option B. Stakes crystallize why a reluctant hero must rise to the challenge to take on a difficult task because what they stand to lose if they don’t take action is worse. Stakes are why the hero can’t just walk away from the people relying on him/her/them and take the easy way out.

What If My Story Doesn’t Have Stakes?

If you don’t know already, I’m a story consultant. All too often, I see screenplays, novels or tabletop game materials that are missing stakes.

This lack of stakes will tank your story’s impact in a number of ways:

  • The audience won’t understand your characters’ motivations.
  • The audience won’t invest in your characters or your story.
  • The audience will feel like the plot has not point.
  • The audience will come away feeling like the story was a waste of time.

Stakes make the decisions and actions of the characters matter. Stakes are why we invest in the protagonist and their success. As we, the audience, bond with those characters, their success or failure becomes ours.

Yikes.

Nobody wants that.

How Do I Put Stakes in My Story?

Once you know how stakes fit into the narrative formula, it’s actually quite simple. The easy place to start is in terms of “life and death” because the outcome of success (life) or failure (death) is so concrete. That’s your starting point.

Next, let’s abstract that idea to character growth (“life”) or character death (“death”). Characters must continue to grow and develop or they become stagnant, which is “character death” from a narrative perspective.

A character that ceases to grow is for all intents and purposes “dead.” If your protagonist has become stagnant, something must happen to make them grow again. Nobody wants to follow a protagonist that stays narratively dead. Instead, they want to experience a character moving forward in growth, meaning success or “life” in the narrative.

Many movies start out with the protagonist “stuck” in a status quo that does not allow them to grow, motivating a need for change but unable to move forward without the inciting incident that will change everything.

A protagonist who finds themselves in a dead-end job and marriage has died, proverbially or narratively. But then some spark suddenly introduces itself and they now have the opportunity to grow again—to choose “life.” Or, the protagonist can remain where they are by choosing “death.” (Think American Beauty.)

Some people find it helpful to think of the “life” part of stakes as the character’s “way of life.” That is, the way of life that is best for the character, usually involving growth or moving forward in some way.

Faced with the two choices, the protagonist is motivated to choose growth (“life”) on the new path. But there will be obstacles along the way that block the protagonist’s path, threatening to send the character back into stagnancy (“death”). If the character overcomes the obstacle, they succeed and move on, continuing to grow. Failure means a setback (if the stakes are lower). Later in the story, when the stakes are high enough, failure means a return to death.

So a rough formula might look something like this:

Stakes > Motivates Action/Decision > Character Proactively Acts/Decides > Faces Obstacle > Fails or Succeeds

If Succeed > Raise Stakes

If Fail > “Character Death”

Tips for Putting Stakes in Your Story

Here are a few quick tips to help you put stakes in your story:

  1. The stakes must be clear, always.
  2. The stakes must be big enough to motivate action or decision.
  3. Don’t go too long without reminding the audience what’s at stake.
  4. The strongest stakes confront characters with “death”—metaphorical, proverbial, or literal.
  5. Start small, go big. Use that contrast to create a sense of rising conflict.
  6. You can always go bigger.
  7. Can you lower the stakes? Only if other, bigger stakes present themselves.
  8. Once an obstacle is overcome, raise the stakes (repeat as needed).
  9. Use other characters to illustrate the consequence of failure (i.e., the stakes).
  10. Use antagonists to actively work against the protagonist, enforcing the stakes.
  11. Your antagonists have stakes, too. What motivates them to succeed over the protagonist?
  12. Use escalation and counter-escalation to continually raise the stakes.

Making It Matter: Examples of How Stakes Work

Let’s say we have a male character that runs a business. He is motivated to complete a big project for his biggest client. He’s operating a business, after all. But that motivation alone is not very strong. Knowing why he wants to complete the project strengthens that motivation significantly. We add that “why” with stakes.

Here’s how we might do that:

  • The project is on a tight deadline.
  • It requires his entire workforce.
  • If he fails to deliver the project at high quality and on time, he may lose that client forever.
  • If he loses his biggest client, his struggling business will fold, and everyone will lose their jobs.
  • The business owner will lose the business he built from the ground up for more than 40 years.

If the audience knows those five whys—what the stakes are for failure—the owner’s motivation suddenly becomes a helluva lot more powerful. Because we know the whys, as the audience, we invest in that character’s success and want him to succeed. He knows the stakes, too, driving him forward. The more the character wants to succeed, the more the audience will want it for him.

Raising the Stakes

Throughout your story, there should be a general rise in the stakes. At each obstacle or plot point, you can “raise the stakes.” When you raise the stakes, you are adding more to what your character will lose if they fail. It not only fuels motivation so they don’t give up when faced when bigger and harder obstacles, but keeps the story interesting and the audience invested. By the time you reach the big climax in act three, the stakes should be at the highest possible point.

The simplest way to raise the stakes is to throw in a new complication. After all, you can’t sit on the same stakes forever or the audience will get bored. Adding a complication, bump, or obstacle in the protagonist’s goal-seeking puts pressure on the character, making it harder to achieve that goal. Again, the stakes make all of that matter.

How much can you raise the stakes? All the way! But keep it appropriate to the world of your story.

For example, you can go: Loss of face > loss of status > loss of livelihood > loss of life > loss of family’s life > loss of country > loss of world > loss of universe > loss of time and existence.

However, going all the way to the “loss of time and existence” may be too  big to be appropriate for your story. A smaller, character-oriented story will run on a smaller scale than a big action sci-fi story. But, as with the narrative character “life” and “death” concept, the “loss of time an existence” can be expressed in metaphorical terms in relation to the character. For example, our business owner may feel this way about the loss of his business.

Speaking of which….

Example of Raising the Stakes

Let’s return to the example of the business owner:

Time to throw in something new—a complication to the business owner’s goal. He discovers one of his employees is stealing from him, jeopardizing the project. If it continues, the project won’t be completed on time and the business owner risks losing money, the client, his business, and more.

To overcome the obstacle, the business owner proactively confronts the employee, who responds by threatening to frame the owner for fraud—raising the stakes.

How does this raise the stakes? Now the stakes are bigger than before: The business owner stands to lose his biggest client, business, livelihood, the livelihood of his employees, and he’s in danger of losing his reputation and going to prison.

We can do this in other ways, too:

The business could burn down, or the client pulls their order without paying at the last minute, or the employees stage a walkout because of the long hours they’ve been working. Maybe all of these complications happen, adding pressure to the business owner and illustrating for the audience how close to failure the protagonist is.

In the third act, the stakes may inflate to their biggest size yet.

Maybe the business is a small biotech research laboratory. An insider from his client reveals that if the lab can’t deliver this order on time, they won’t be able to contain a dangerous pandemic. The stakes jump from loss of livelihood and reputation to global life and death.

Whew!

Without stakes, none of it would matter.

There’s an added bonus in working out the stakes for your story. Did you notice how, in doing that, we inadvertently (but deliberately) outlined an entire story and all its major turning points? And what a dramatic story it is!

If you are struggling with structuring our outlining the major beats or plot points of your story, consider looking to the stakes and seeing if that helps you get over that hump to reach the finish line.

Minimalist Reviews, movies

Good Boys: The New ‘Superbad’

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A pro story analyst reviews the 2019 film Good Boys.

Good Boys is the latest comedy from director Gene Stupnitsky and writer Lee Eisenberg, both known for their work as producers on The Office. Presenting a new take on the teen coming-of-age story, Good Boys is positioned to become the new Superbad for a younger generation.

So, how does Good Boys stack up in terms of storytelling?

Where Good Boys does well:

Concept Execution

Good Boys absolutely nails the challenges, priorities, desires and perceived obstacles of the age group, as well as the ignorance of youth. It’s a coming-of-age story, but in a different way than a teen-to-adult coming-of-age premise. Just like a teenager learning some of the hard lessons of growing into adulthood, Good Boys dials the age back one step to show grade school-aged “kids” learning the hard lessons of growing into tweens and pre-teens. Along the way, they learn the realities of childhood, individuality and growing up.

Emotional Content and Theme

When it comes to digging out the potential heartfelt emotional content inherent in the concept and surfacing those ideas to the audience, Good Boys hits a home run. Few coming-of-age comedies that rely so heavily on gross-out antics dare to go so deep.

Tapping into Topical Sentiments

Good Boys ties in many darker modern social trends in a way that delivers funny social commentary. The film’s portrayal of bullying, child predators, “CPR” dolls (read: Real Girl Dolls), respect for women, fluid sexuality and male emotional bonds is always double-pronged, illustrating simultaneous viewpoints of childlike innocence and adult reality through the lens of humor.

Where could Good Boys have done better?

Good Boys is by no means a perfect movie. One of the areas it struggled with is…

Transitions Between Beats

While not necessarily the fault of the actors, it’s more likely that writing and editing are to blame here. Jumping off from the resolution of one beat and abruptly onto the next in the middle of a scene may require more creative grace than Good Boys can muster at times.

Quick pacing and vibrant dialogue help gloss over the fact, to be sure, but cannot cover up those blocky transitions.

Conviction in the Acting

Pinning the success of a feature-length major motion picture on the performance of young actors requires exceptional chops from its stars. Jacob Tremblay, Brady Noon and Keith Williams perform with a surprising emotional range and conviction – and they absolutely deserve recognition for it. But sometimes the conviction isn’t completely there, making for more than a few hollow line deliveries. Again, expecting young actors to carry such a colossal undertaking is asking a lot, even for an especially talented actor like Tremblay.

The stars shine, but they aren’t able to make every moment count.

Conflicting Subject Matter vs. Target Audience

One of the major challenges of a movie like this is that, despite its seemingly broad appeal, it’s focus on issues of a young age group conflicts with its R-rating and obvious adult targeting. Although not a deal-breaker for the film, other lower-quality films have hit a brick wall in terms of box office success for the same reason. The Golden Compass comes to mind.

Rating aside, the film stands on its own.

While Good Boys isn’t likely to win an Oscar and it’s gross-out humor may be off-putting to some, this film is a prime candidate for under-appreciation – and potentially future ‘cult’ status. Although it may not be exactly this reviewer’s cup of tea, Good Boys offers a unique take on the classic teen coming-of-age story that’s bound to make its mark in comedy film history.

Rating: 4 / 5

Featured image photo by Noom Peerapong on Unsplash.

movies, top 10

10 Westerns to Watch Before You Die

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If you watch movies, then you’ve probably seen (or heard of) the western, one of the most iconic genres of the Hollywood film industry.

Maybe you love them. Maybe you’ve seen one subpar western movie and thought “meh.”

I hated them…until I watched the right westerns.

The goal of this article is not to re-hash the “best western films ever” that have been written about and recycled endlessly. (You can find any number of these lists on IMDB.com.) Rather, these are 10 of the westerns that changed my outlook on the genre.

Everyone of these westerns is worth watching before you kick the bucket, or if you’re simply seeking to expand your film education, or if you are planning to write one yourself.

But enough about me. Let’s dig in…

10. The Magnificent Seven

John Sturges | 1960 | Runtime: 2h 8m | IMDB: 7.8 | Metascore: 74

Mexican peasants recruit seven gunfighters to defend their village from a band of vicious banditos in this classic, iconic western. Yul Brynner, Steve McQueen and Charles Bronson star in this western adaptation of Akira Kurosawa’s Seven Samurai, delivering action, grit and drama on the American frontier while accompanied by Elmer Bernstein’s Oscar-nominated score.

If you like this, also watch: The Magnificent Seven (2016), The Professionals, Rio Bravo, Silverado, Vera Cruz, Young Guns

9. 3:10 to Yuma

James Mangold | 2007 | Runtime: 2h 2m | IMDB: 7.7 | Metascore: 76

If you’re looking for something a little more modern, this film is it. Starring Russell Crow and Christian Bale, 3:10 to Yuma has it all: nail-biting action, big set pieces, great acting, iconic roles—all without sacrificing quality characters. Considered to be one of the great westerns of the 21st century, this remake of the Glenn Ford classic tells the story of a destitute war veteran-turned-rancher escorting a wily outlaw to the 3:10 train to Yuma. Nominated for two Oscars.

If you like this, also watch: 3:10 to Yuma (1957), High Noon, Open Range, Rio Grande, Stagecoach, Tombstone, Winchester ‘73

8. Shane

George Stevens | 1953 | Runtime: 1h 58m | IMDB: 7.7 | Metascore: 80

Alan Ladd stars in this small tale about a mysterious gunfighter who defends his newfound friends from a vicious frontiersman and his band of violent cronies. A departure from earlier westerns, this Oscar-winning film forgoes blood-pumping action sequences in favor of a slow boil that delivers a cathartic payoff and several iconic scenes. Particularly memorable are its breathtaking landscapes that underscore a previously-overlooked story: the struggle of the second wave of pioneers against the frontier’s first settlers.

If you like this, also watch: The Big Country, The Great Silence, Johnny Guitar, Open Range, Pale Rider, The Outlaw Josey Wales, Shenandoah, Unforgiven

7. Broken Arrow

Delmer Daves | 1950 | IMDB: 7.2 | Metascore: N/A (External only)

Let’s start by making clear that we are referring to the 1950 film starring Jimmy Stewart, not the 1996 flick starring John Travolta or the 1950s TV series of the same name.

What makes Broken Arrow stand out is not its three Oscar nominations, but its unusually progressive approach to “cowboys and Indians.” Unlike the typical western that focuses on the struggle of white hats vs black hats or cowboys vs Indians, Stewart’s characters seeks to bring the two sides together in peace—but at great personal cost. Although Broken Arrow is perhaps the first big Hollywood blockbuster to depict indigenous Americans as sympathetic and fully human, the movie industry still had a long way to go in how they express “minorities” (read: non-white folks). They still do.

But, then again, Hollywood has a pretty dicey history when it comes to racial and gender equality, even though the majority of industry professionals are strongly pro-equality. (It remains a sad fact that Hollywood’s biggest influencers are still a bunch of rich white guys.)

If you like this, also watch: Dances with Wolves, The Far Country, Giant, The Man from Laramie, Legends of the Fall, Little Big Man, The Naked Spur

6. Butch Cassidy and the Sundance Kid

George Roy Hill | 1969 | Runtime: 1h 50m | IMDB: 8.1 | Metascore: 66

Hollywood legends Paul Newman and Robert Redford star in this classic by screenwriting great William Goldman about two outlaws who haven’t changed with the times—and pay the ultimate price. Not only does this classic film boast four Oscars to its name, IMDB also lists Butch Cassidy in its Top 250 films of all time.

Westerns set after the end of the American Civil War (1865) tend to express themes of changing times, technology versus human effort, and old-fashioned heroes struggling to adapt to the new status quo. Accolades aside, Butch Cassidy sits at the pinnacle of this theme. Times have indeed changed since the Civil War ended. Now, the traditional “wild west” has evolved into a strange world populated by technology and civilization, leaving the old cowboys in the dust.

If you like this, also watch: Gunfight at the O.K. Corral, Last Train from Gun Hill, My Darling Clementine, The Treasure of the Sierra Madre, The Wild Bunch

5. The Gunfighter

Henry King | 1950 | IMDB: 7.7 | Metascore: 94

All too often overlooked but an absolute gem, this black and white film starring Gregory Peck focuses on the plight of the gunfighter who has reached his peak, but then finds himself unable to escape his reputation. In some ways, The Gunfighter demonstrates attributes of an anti-western without fully shedding its western skin. It’s a slower, tragic character piece that illuminates a neglected aspect of the western, the gunfighter as a human being, while revealing the emotion, wisdom and ignorance that so often is left out of more traditional western flicks. Thoughtful and introspective, the cast carries the show with aplomb and magnetism, carefully circumventing devolution into a mindless shooter.

If you are a serious cinephile, then be sure to put this notch in your belt. It will stick with you.

If you like this, also watch: The Bravados, The Man Who Shot Liberty Valance, The Shootist, Yellow Sky

4.  The Searchers

John Ford | 1956 | Runtime: 1h 59m | IMDB: 8.0 | Metascore: 94

Like The Gunfighter, this under-appreciated masterpiece will burn itself into your memory. The Searchers is nothing less than John Ford at his best. John Wayne at his most John Wayne-ness. The high point part of every western crammed into 118 minutes—although it seems much longer.

That said, The Searchers tells the story of two men who set out to find their captured niece/sister after their family is murdered by a Comanche warband. The thing is, it takes them half a decade to find her, enduring hardship and personal sacrifice along the way. Lighter comedic moments counter-balance the heavy drama. Expect to laugh, cry, and cheer.

If you like this, also watch: El Dorado, Fort Apache, Jeremiah Johnson, Nevada Smith, Red River, Ride the High Country, Rio Lobo

3. Django Unchained

Quentin Tarantino | 2012 | Runtime: 2h 45m | IMDB: 8.4 | Metascore: 81

Moving forward in time to modern cinema, Tarantino’s provocative film is not so much a “western” in the orthodox sense as it is a self-described “southern.” In terms of genre, Django Unchained still fits the bill for the “western” genre.

Django tells the story of a freed slave who pairs up with an itinerant German Jew to rescue his love from a charming but sociopathic plantation owner. With an all-star cast that includes Christoph Waltz, Jamie Foxx, and Leonardo DiCaprio, Django Unchained is one of Tarantino’s greatest. Viewers can expect the trademark Tarantino contrast of meticulous patience and brutal violence. By roping in a host of alluring minority characters, the movie doesn’t hold back on its tacit (sometimes blatant) criticism of the Old South.

But don’t let that fool you into thinking Django is just a revisionist apology for slavery. The film is much more than that—and nothing short of an enthralling ride from start to finish.

If you like this, also watch: Duck, You Sucker, The Hateful Eight, Hell or High Water, McCabe & Mrs. Miller, The Revenant

2. True Grit

Ethan Coen, Joel Coen | 2010 | Runtime: 1h 50m | IMDB: 7.6 | Metascore: 80

Underrated and understated, the 2010 remake of True Grit is a small story that delivers 110%. Jeff Bridges stars as Rooster Cogburn, a hardened, gritty man who reveals his inner soft side while protecting a young girl with a powerhouse personality (played by Hailee Steinfeld). As far as remakes go, this 2010 version leaves its 1969 predecessor in the frontier dust.

While the Coen brothers’ storytelling far outstrips that of the original, Jeff Bridges delivers some of his best work. In comparison, John Wayne’s performance in the previous True Grit is, well, not great. The newer True Grit remains a personal favorite of mine for its understated delivery and eloquent filmmaking.

But don’t take my word for it—True Grit was nominated for 10 Oscars, after all. Less than 100 films in the Academy’s cinema history can claim as much.

If you like this, also watch: The Assassination of Jesse James by the Coward Robert Ford, The Ballad of Buster Scruggs, The Big Gundown, Dead Man, True Grit (1969)

1. The Good, the Bad and the Ugly

Also known as: Il buono, il brutto, il cattivo | Sergio Leone | 1967 | Runtime: 2h 58m | IMDB: 8.8 | Metascore: 90

If you only ever watch one western in your life, this is the movie to watch. The most famous Spaghetti Western of all time, Il buono, il brutto, il cattivo stars Clint Eastwood as the lead, Tonino Delli Colli’s breathtaking cinematography, and Oscar-winning composer Ennio Morricone’s timeless soundtrack. A three-way triad of conflict drives the story as a “good” character teams up with a “bad” and an “ugly” (read: chaotic neutral) character to uncover buried gold, all the while trying to outwit, kill or imprison each other along the way.

The result?

Nearly every visual and soundtrack stereotype pop culture associates with the western genre comes from this film. Three-way Mexican standoff? Check. Frenetic classical guitar music and blaring trumpets? Yup. Clint Eastwood? Double check. Stony-faced men of few words? Triple check.

IMDB.com ranks The GB&U as the top western and #9 in its 250 Top Rated Movies—to which Once Upon a Time in the West (another Sergio Leone film) is a distant second at slot #37.

The Good, the Bad and the Ugly has to be #1 on this list not just because it’s an outstanding cinema masterpiece, but because it has inspired filmmakers, writers, actors, cinematographers, composers and wannabe cowboys for decades since. In many ways, The GB&U is unofficially considered the ultimate expression of the western as a movie genre.

If you like this, also watch: A Fistful of Dollars, For a Few Dollars More, High Plains Drifter, Once Upon a Time in the West

Honorable Mentions

Clearly, this is by no means a comprehensive list. Many gems did make the cut—not because I dislike them or find them lacking aesthetic value. Rather, I tried to stay focused on 10 stand-out works of cinematic art that not everyone may have seen.

I did not include any comedies in the aforementioned list. If you are interested in comedy-westerns, start with films like Blazing Saddles, Three Amigos!, My Name is Nobody, and (if you’re brave enough) Wild Wild West (1999).

If you want to explore film that goes against everything the western genre is and stands for, then watch No Country for Old Men, an unofficial anti-western in the most extreme and bitter sense. Warning: As with any anti-genre, if you like the genre itself, anti-genre may make you uncomfortable. If you want to start with something milder, try a Revisionist Western.

And lastly, I did not include any of the TV show westerns that litter the history of the small screen, like Lonesome Dove, Bonanza, and Deadwood, to name a few.

If you are interested in exploring other gems in the western genre, several IMDB users have put together helpful lists of top westerns to watch. I found this list particularly useful.

Thinking about writing your own western? Or looking for help on the next draft? I’m happy to help.

movies

Why Big Budget Spec Scripts Don’t Sell

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When I first decided I wanted to become a filmmaker more than 30 years ago, the Hollywood spec market was not the same as it is today. Back then, a starry-eyed screenwriter could write a big action flick and pray it got picked up and made into the next big summer blockbuster.

In today’s spec script market, that is no longer the case. In fact, it hasn’t been the case for many years. It’s not that a big budget script written on spec will never sell, simply that it probably won’t. Optimistically, chances are pretty slim.

Photo by Moose Photos from Pexels (Twitter: Moose_photos)

What follows is not so much a warning to avoid writing big budget spec scripts. But rather, a quick rundown to provide you with a basic understanding of why that big budget script you wrote on spec probably won’t find a buyer and what you can do about it.

The Problem with Big Budget Spec Scripts

In the world of film and spec screenplays, nobody wants to take on an expensive movie project that isn’t based on an existing IP (intellectual property). An example of a movie based on an existing IP is the incredibly popular Avengers film series, set in the Marvel Cinematic Universe (MCU). Yes, the outcome is lucrative, but they are also insanely expensive to make. If we assume the tried-and-true formula that the cost to market one of these films is equivalent to the cost of making the movie, then Avengers: Infinity War looks something like this:

Budget: $321M (est.) x 2 (marketing/promotions) =

$642M (total cost to make)

And that’s before the studio breaks even.

MCU movies have a higher guarantee of making their money back because they have decades of movies, comics, games, merchandise and an adoring fandom to tap into.

By comparison, your script has none of these things. Now you may be starting to see the other side of the coin.

Your Script as Viewed by Executives

When we look at spec scripts from the perspective of producers and studio executives (“execs”), here’s what they see:

  • A risky financial liability
  • A story that isn’t marketable enough (aka, not appealing to a broad enough audience to make its money back)
  • A potential flop that could tank their career

Keep in mind that these studio folks are responsible to investors and their organization to make money. A financial loss can result in getting fired and/or loss of reputation that could take years to rebuild, if ever. Historically, two or three box office failures in a row can bankrupt a movie studio completely. In many cases, it only takes only one high-budget gamble to put the studio out of business.

Therefore, when a producer or exec looks at your script that isn’t based on an existing IP, they are thinking that there is no guarantee that:

  1. Audiences will go to see the movie
  2. The movie will be any good
  3. It will be able to make its money back, even if #1 and #2 are true (many cult classics were box office failures, while many forgettable films were financially successful at the time)

To execs, licensed material based on an existing IP means security and a higher-than-normal possibility of a return on investment.

This may sound like a way to weed out newcomers to film. While it certainly has that effect, it really just comes down to the bottom line. A financial success means they get to keep making movies, gain prestige, and possibly even a get a promotion—professional aspirations anyone can understand, even if they despise the system. (Don’t hate the player; hate the game. Right?)

Why People Write Big Budget Scripts on Spec

Truth be told, writing big budget movies that inundate the screen with jaw-dropping spectacle never before absorbed by human eyes is a large part of why many screenwriters go into the biz. Writing a novel just doesn’t seem to have the same effect on the senses. In my experience of writing fiction, poetry, plays and games, nothing compares to the exhilaration of writing a chest-thumping action sequence for the big screen.

But if writing a big budget script on spec is such a foolhardy endeavor, why do it at all?

If you haven’t embarked on this insane journey already, my professional suggestion is a strong and firm don’t. Practically speaking, it’s a waste of everybody’s time, especially yours.

Being a stubborn writer myself, I ignored my own advice and wrote one anyway. Actually, not one—but two.

The Good News About Your Big Budget Script

If you have shared the big budget spec script journey with me, then fear not. There is a path forward. Sure, you will be fighting an uphill battle to get your script out there, but your screenplay doesn’t have to go to waste. You still have options.

Here’s the good news:

  • Writing a big budget script is a priceless learning experience that will help you grow as a screenwriter.
  • You’ve proven to the world (and yourself) that you can complete a challenging feature length script.
  • You can still use your script (or selections from it) as a writing sample, building up your portfolio.
  • Your creative story can be adapted into a novel, comic or game, where it’s chances of success are higher.
  • Have you considered using your script as the basis for a short film?
  • It’s fun as hell.

See? All is not lost. You haven’t written yourself into a corner.

But next time, maybe leave the big budget spec idea at home. (Unless you’re stubborn, like me.)

 

Need help with your next idea? Reach out!

books, how-to, movies

Adapting Your Screenplay to Novel: Turning Your Script into a Book

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So you’ve recently completed this amazing big budget blockbuster screenplay . Now you want to make something happen with it. The problem is: No one is biting.

Why?

Because big budget spec scripts don’t sell. (You can read more about that in my previous article.)

Maybe your best next step is to consider adapting your screenplay into a novel. Although this is the reverse of how the process usually works (books adapted into movies are more common), that doesn’t mean this road is any less viable. In fact, adapting your completed screenplay into a book should be a go-to course of action if your screenplay is still gathering dust after a year or two.

Recently, I decided to take a big budget fantasy script that was a pet project of mine and transform it into something marketable. That meant tossing aside the idea that this script would be sold on spec (it wouldn’t) and taking a more realistic approach: Turning my screenplay into a novel.

Having embarked on this new experience, I can now offer some helpful advice on what to expect when you adapt your spec script into a book.

If you haven’t dusted off that old screenplay lately, maybe it’s time to turn it into a book!

Why Adapting Your Screenplay Into a Novel is a GREAT IDEA

1. It’s far easier to get a book published than to get a screenplay made. And lastly, a successful novel will help build the IP required to support that big budget sci-fi/fantasy/superhero spec script you wrote.

2. You already know the characters, story and world. Much of the hard work is already done. Writing the novel will also help deepen your understanding of each of these elements, in turn making the script even better (assuming you update it).

3. Simply put: It’s fun! So much more fun than I can put into words. The rush of writing those big visuals as they splash and evolve across the screen is simply indescribable. Why not enjoy what you love doing most?

CHALLENGES TO EXPECT

1. You Can’t Just Paste a Screenplay and Expect a Novel to Happen.

I cannot understate this point. Movies and book simply aren’t the same. This may seem obvious at first, but the differences are deeper and truer than even most professional realize. They handle storytelling in different ways. For you, this means you can’t just copy and paste your script into prose format. You will have to invest time in writing the book for the medium.

J.R.R. Tolkien once stated that his genre-defining epic The Lord of the Rings could not be filmed for this very reason. The effort to successfully adapt the series to screen required monumental effort by Peter Jackson and his many, many teams of moviemakers.

Cut-and-paste didn’t work going from book-to-screen, so it won’t work in reverse, either.

2. Not Everything Translates from Screen to Page.

Certain storytelling constructs will require additional effort to make them work. For example:

  • Novels reveal the internal monologue / film does not
  • Action thrives on screen / requires more work in prose
  • Screenplays are leaner, less forgiving / books have more freedom to explore
  • Novels are longer, so can have wider variance in structure / script structure is fairly rigid

3. You Will Have Gaps — Big Ones.

Whereas a screenplay has the magical effect of stimulating the imagination with minimal words on the page, and a movie has the luxury of using dedicated specialists to realize design for costumes, sets and atmosphere, a novel must do most of this for itself. For example, characters will require more description to capture the reader’s imagination.

Likewise, objects, sensations, visuals, impressions and feelings will take a little more exploration to make the same impact. Things you wouldn’t normally have to mention in a screenplay (because their presence is implied by the location, for example) often demand a mention to help set the scene as well.

Writers like J.K. Rowling and J.R.R. Tolkien demonstrate a remarkable gift for writing minimal description to communicate their ideas. Storytellers like Herman Melville prefer to wax poetic for pages (even chapters) at a time about the virtues of a painting. Most of us lie somewhere in between.

Either way, be prepared to put some extra time into fleshing out the character gaps, locations, and the thoughts and sensory interpretations of the character, possibly even the narrator (if applicable). It helps to think of your screenplay as an annotated outline for your book.

4. Writing the Book Version Will Make You Want to Rewrite Your Spec Script.

Simply throwing a rough draft of your book onto the page will give you the opportunity to dive deeper into your characters and story world than you would have previously. I found it helpful to push myself through the end of a completed rough draft of the novel before taking a step back to reassess how my new discoveries might impact the next draft of the original spec script.

In case you’re wondering: Yes, I did simultaneously rewrite the script and the book. And yes, it was hair-pullingly difficult. In the end, both story forms benefited greatly from the process and I have no regrets.

(NOTE: Don’t feel obligated to rewrite your script—not at first, anyway. You can still use it as-is for a writing sample. Rewriting your script may not be worth the effort.)

5. Screenwriting is More Fun, but Novel Writing is More Fulfilling.

This isn’t so much a challenge as a forewarning. Nothing beats the rush of writing a screenplay, especially when you are wrapped up in the intensity and immediacy of the moment. Compared such an amazing experience, writing a novel can feel a little bit like a letdown. Not that it’s bad—because it isn’t—but in many ways, it takes longer in a book to cover the same ground as in your screenplay. That can be frustrating.

Still, in the end, writing a novel gives you so much more freedom to express yourself and explore the characters, voices and world than you get in the restrictive screenplay format. Because of this, creating a novel can be more fulfilling in the end. Even screenwriting great William Goldman recommended writing something other than screenplays on the side.

I still love my spec screenplay (it was a vanity project, after all), but I’m even more proud of the book that came out of it. Additionally, the novel version also has a dramatically higher likelihood of being read by other people than my spec script.

And let’s face it, there’s nothing like sharing your story with the world.

What was your experience? We would love to know.

books, how-to, movies

So You Wrote a Big Budget Sci-fi/Fantasy Script. Now what?

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Recently, I put the finishing touches on the second draft of a big budget fantasy feature screenplay. I wrote it both for fun and as a portfolio piece, knowing full well that a script like this would never get made. Even though it probably wasn’t the best use of my time, I still put more time, passion and meticulous care into this manuscript than I care to admit right now. (Hint: It was a lot.)

Curious for input from other Hollywood industry pros, I sent the script out for feedback. If you’ve ever written an original big budget spec script, then you probably have gone through what I experienced next. While the feedback was positive, these pros all told me the same thing: No one will ever want to buy this, no matter how good it is.

So, you’ve written a big budget sci-fi, fantasy, superhero or action script on spec and no one in Hollywood wants to bite. You’re probably asking yourself: What do I do now?

Now that you have a big budget spec script on your hands, what do you do with it?

The short answer: Don’t toss it. Your script still has value.

The longer answer is, well, a bit longer. Let me explain.

Having a completed, polished screenplay under your belt will always be a feather in your cap whether you sell it or not. What you do with it next, however, is the big question.

First, let’s be clear and up front about expectations:

  • A big budget script is very hard to sell in Hollywood.
  • A big budget sci-fi/fantasy/superhero script not based on an existing IP (intellectual property, such as Lord of the Rings or Marvel) is even harder to sell.
  • A big budget script based on an IP you do not own or have rights to will not sell in Hollywood (because it’s IP/trademark infringement).
  • Your big budget script probably isn’t going to be made into a movie.

In short, your big budget genre movie is next to impossible to sell (let alone get made) in Hollywood. That may sound harsh, but understanding the reality you are up against is crucial to knowing where you shouldn’t be focusing your efforts. Instead, we’re going to take practical steps to make the most of that awesome script of yours.

Now that we’ve got that out of the way, let’s look at your path forward. You essentially have two choices:

  1. Use your script as a writing sample.
  2. Adapt your script into a novel.

1. As a Writing Sample

If you are like me, writing sci-fi/fantasy is your jam, meaning when you write in that milieu, you are at your best (replace with superhero, action, etc.). Pick out a few choice selections from your script and use these to promote your ability, professionalism and creativity when auditioning for new writing projects.

You probably won’t jump to working on big budget projects directly from a spec script, especially if you are still new to the business, but it can be the linchpin that opens a doorway that eventually leads to that prized assignment.

Besides, while you are using your incredibly cool script as a staple portfolio piece, you can simultaneously be pursuing option #2:

2. Adapting Your Screenplay into a Novel

Converting your spec screenplay into a novel is perhaps your best route to getting that story onto the big screen (yes, you read that correctly). In fact, you can even do this and #1 simultaneously.

If your book is successful, then the powers that be will be much more keen to turn your book into a movie. Now you’re back where you started—except this time you have the backing of an existing IP.

However, I should err on the side of caution in saying that there are no guarantees here. All of this hinges on the fact that you can:

  1. Complete a novel,
  2. Get it published, and
  3. Reach a wide enough audience with a strong enough impact that your novel is considered successful enough for adaptation to the screen.

It doesn’t have to be a novel, either. Video games and comic books are viable options as well. In fact, your superhero script may be more suited to one of these genres than a novel.

Regardless of the route you take, embarking on this journey is certainly a far better strategy than sitting on a perfectly good, superbly awesome story that the world would otherwise never get to experience.

Better to share than to hoard in secret. (Yes, you can quote that).

So now that you’ve written a big budget sci-fi, fantasy, superhero or action script on spec and nobody in Hollywood wants to bite, maybe all your story needs is a new medium to make it big.

Time to get writing.

books, how-to, movies, TV

So You’re Going to a Pitchfest

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So you’ve decided to go to a pitch festival (aka “pitchfest“) for writers.

That’s amazing.

But before you go, there are a few things you should know.

In my most recent Hollywood pitchfest experience, I was surprised at how many participants were woefully underprepared. Considering the amount of resources and time it must have taken for many of these people to travel to Los Angeles for the pitchfest, this hit me hard.

In fact, I found myself doling out advice to many participants who seemed to have little or no idea how to prepare for their pitches, let alone a two-day marathon—a pitchfest, if you will.

So I’m going to pass on some of that advice to you to help you make the most of your own pitchfest experience. While this advice is specific to going to a pitchfest, it also applies (mostly) to virtual pitchfests or anyone pitching a story to an industry professional—movies, TV, books, scripted, unscripted, pitchfest or pitch meeting.

1. Prepare, Prepare, Prepare

Know Your Story

Start by learning your story inside and out. It may have been awhile since you dusted off that script or pitch. Over time it’s easy to forget important details—especially when you’re put on the spot.

One-sheets

Be sure to write, polish and print out a one-sheet to give to every person or team you pitch to. A one-sheet is essentially your pitch, synopsis and contact info put into writing on—you guess it—one sheet of paper. You can read more about the one-sheet here.

Business Cards

Have these at the ready for networking purposes. You never know who you are going to meet or where that relationship will take you in the future, even among the fellow pitchfest attendees.

NOTE: Business card finishes are not all created equal. For instance, while glossy business cards may look spectacular, matte business cards are far easier to write on with any type of pen, and thus, they are more useful.

2. Do Your Homework

You don’t want to waste time pitching to someone who isn’t interested in your type of project. That’s not a good use of anyone’s time. Instead, do your research first:

  • Find and pitch to companies who are interested in your type of project, format or genre. Don’t just guess, check out their websites and IMDB.
  • Research how similar, successful projects in the same genre/format been pitched in the past. IMDB and Box Office Mojo are your friends here.
  • Try crafting a “hook” into your pitch that dials into that company’s mission statement or core focus. Remember looking up the company website? That’s where you should look.
  • Don’t stop refining your pitch! Use nonverbal responses you receive from each detail of your pitch to improve or alter your next pitch. (I once derailed an entire pitch because I mistakenly used the word “shenanigans” instead of “petty squabbling” in my opening statement. Needless to say, I never used that word again after that.)

3. Dress Respectably

This should go without saying, but it still needs to be said. Groom yourself, dress professionally, smell nice and grab a breath mint or two. This doesn’t mean you have to dress up like you are going to fancy dinner (don’t do that, btw), but simply that you want to show the professionals you are pitching to that you respect their time, you respect the process, and that you put conscious time and effort into what you do.

In short: you don’t want to be “that guy” or “that lady” that executives dread.

4. Don’t Be Robotic

I know it can be very challenging pitching to strangers. You’re taking this beautiful, highly personal story that’s trapped in your head and trying to explain it in a way that doesn’t sound completely ridiculous or insane to someone who could potentially change your life forever.

No biggie.

When you pitch as a writer, you aren't just trying to sell your story, you are trying to sell these executives on the idea of 'you.'

However, if you want the best possible chance at selling your story at a pitchfest, it’s critical to be enthusiastic, friendly, emotive and passionate when conducting your pitch—all while pretending you are acting natural. That’s why practicing your pitch is so essential to great delivery. Even if you’ve pitched your story a thousand times, it’s important to keep your energy up like it’s the very first time. You want to show your pitch recipients that you love your story.

That means DO NOT:

  • Use monotone voice like you are reciting verbatim from memory (even if you are);
  • Avoid eye contact, greetings or human interaction (even if you want to);
  • Read from a notecard or prompt sheet (just don’t).

Which leads us to our next point…

5. Sell Yourself

When you pitch, you aren’t just selling your story, you’re selling yourself. On more than one occasion, it is the personality and enthusiasm of the pitcher that sells the company on their project—or, at the very least, enabled that storyteller to move onto the next stage of their relationship with that company.

I know this can be especially challenging for many writers who are introverts and socially shy or awkward. Well, this is where you learn to grow.

Need help? Try taking a public speaking class, practicing your pitch to your friends, or even signing up to take a workshop on pitching. Also be sure to check out Good in a Room on pitching a feature film, TV show, or unscripted reality show.

6. Lead the Conversation

Remember that when you go in to deliver your pitch, it’s you in the spotlight, not the individuals you’re pitching to. This is an important distinction because many writers open their pitch like this: “I have ten scripts. What do you want to hear?” If the executives knew, they wouldn’t be at the pitchfest! Besides, it’s a weak way to open that not only reduces their confidence in your storytelling abilities, but also hurts your ability to “sell yourself” (see #5, above).

Instead, jump right into your pitch with confidence and gusto. Afterward, be sure to be proactive in providing a one-sheet and asking for contact information, such as a business card.

7. Concept First, Details After

Don’t make the mistake of diving into the details of your story without getting a crystal clear concept out of the way first. This is essential. When giving your pitch to a complete stranger (who knows nothing about your story yet), start by giving them the big picture. Once they’ve locked that down, then move into more detail from there. If you can’t give the audience a grasp on what the overall idea of the story is, the details may come across as an incomprehensible mess.

Besides, having a concept that absolutely kills may be enough to sell your story, meaning weaknesses in the execution may be more easily overlooked.

8. Have a Backup, or Two, or Three

There’s nothing worse than having your pitch shot down right at the get-go. This happened to me and my pitching partner on our very first pitch on the very first day of the fest. A quick “I’m not interested in that” made our blood run cold. Fortunately, we had prepared a handful of backup pitches as well. Not only did these backups salvage the pitch session, but we received a read request for both of the alternatives we pitched.

The moral of the story? Come prepared with a backup…or two…or three.

9. Network, Make Friends

Remember those business cards we had you make all the way back in #1? Well, here’s where you use them.

Networking with other writers and storytellers at a pitch festival is a way to open doors for future relationships and collaboration.

Networking with fellow writers and storytellers should be one of your primary objectives when you go to a pitchfest. For many writers I spoke to at the Fade In Hollywood Pitch Festival, many hadn’t even thought of this. However, several writers like me and my pitch partner had quite a bit of downtime, so we devoted that time to networking and building future relationships.

Besides the obvious benefit of building your professional network, there are a few other not-so-obvious benefits to making nice with your fellow participants. For one, sharing valuable pitching techniques, nuances and experiences can help you and your new contacts pitch more effectively.

Also, one of your new friends may be scheduled to be pitch to the same company as you at an earlier time, meaning they can offer valuable insight into how to target your pitch. For my own experience, this influenced how my pitching partner and I customized our pitch to the company, resulting in a read request for our script.

10. Get in the Right Mental Space

This is a frequently overlooked aspect of preparing for a pitchfest. Putting yourself in the right frame of mind to accomplish your goals, absorb feedback, and process events that are happening faster than you can say “pitch festival” is important to getting what you want out of the whole process.

Don’t Pin Your Future on the Pitchfest

Maybe you’ll sell your story, maybe you won’t. Just as nailing your pitch won’t necessarily lead to sale, bombing a pitch (and it happens) doesn’t mean your dreams are forever shattered. Either way, your life isn’t over. You will have good pitches and you will have bad pitches. The important thing is to do your homework, deliver your best, and if you don’t sell anything this year, try again next year.

Set Reasonable Goals

Go into the pitchfest with a purpose. That is, don’t aim to sell your story because you probably won’t. Instead, aim to get read requests. Getting one of these busy professionals to read your story is the biggest hurdle. And even if they don’t like your story, they may like the cut of your jib. In that way, it’s important to think of these pitches as not necessarily a way to sell your project right then and there, but rather as opening a door to a relationship that could potentially result in a sale later on down the road.

It’s Not Always You

Not all pitchfest attendees will be interested in your project. This isn’t necessarily your fault. Some people are “checked out” before you ever get face-to-face them. Often, they may not be in the market for what you are selling or are simply a filling in as a warm body. It sucks, but it happens. And it’s not always because of you.

Hopefully, these tips on maximizing your experience at a pitchfest will help you feel more confident and prepared for the upcoming extravaganza. Pitching is hard. Talking to strangers is hard. Pitching to strangers is even harder. But with practice, preparation, and a little bit of luck, maybe your pitch will be the one that sells.

If you want to read about the pitchfest experience from the other side of the table, check out Manny Fonseca’s article here.

Break a leg, pitchfester!

Have any additional pointers you’d like to share? We’d love to hear ‘em.

Storytelling techniques and consultation by pro storytellers Ethan Cunningham & James Gilmore.

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