Posts Tagged ‘#screenwriting’

Con Men, Gurus, and the Screenwriting Instruction Industrial Complex

December 31, 2013

A few months back, I started making Vines. I called them Six Second Screenwriting Lessons. The name meant to be ironic, of course,  a statement on the absurdity of anyone teaching anyone else to write a screenplay, a way of calling out the screenwriting gurus who make money by sharing the ‘secrets’ of the trade with anyone willing to pony up a few (or a ton) of bucks. The way I felt then is the way I feel now: all anyone in a creative field can do for anyone else is to be an example, to encourage, to be honest about the challenges and rewards of attempting the same path. 

I’m glad that some of you have gotten something of value out of these messages. To those who have gotten in touch with me to say that they are writing again after a long hiatus or finally finishing that screenplay, I want you to know that I’m thrilled for you. And I hope 2014 brings you even more accomplishment. 

As this year comes to a close, I want to revisit two of the most controversial Vines.  

On the first SSSL, I said, “All screenwriting books are bullshit. All. Watch movies. Read screenplays. Let them be your guide.”  And then on the fourth one, I said, “ The so-called screenwriting guru is really the so-called screenwriting con man. Don’t listen to them, if you don’t know their movies.” 

Since then, I have been asked many times, “Do you really mean all screenwriting books? Aren’t there any of any value?” And, “Are you including Robert McKee in those statements?”

 There’s a safe way to answer those questions, and it’s an answer I’ve given, “I haven’t read every book. There are parts of McKee’s book that are interesting. Some screenwriters I respect, including Billy Ray and Akiva Goldsman have told me that they’ve gotten a lot out of McKee’s course…”  

 But if I am being honest, my real answer is that I fully believe what I said in the vines. 

 Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars.  

But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar, no seminar at all. 

To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. 

The truth is, you don’t. 

If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. 

If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. 

If you love horror movies and want to make those, read and watch those. 

Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way.

This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is in the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things. 

But basic does not mean easy. Or simple. It’s not enough to read and watch. You have to really think, And try. And fail. And work harder. But if you do, and you have a knack for it, you can get there. 

If you don’t, I can assure you that it won’t be because you didn’t read Save The Cat. 

Does this mean that there are no legitimate resources for someone who wants to write for a living? Absolutely not. 

When I say, “…Don’t listen to them if you don’t know their movies,”  I’m saying it for a reason.  There are people out there who are not giving false testimony, who are, in fact, successful screenwriters, filmmakers, novelists who aren’t full of shit. Guys like Craig Mazin and John August, whose podcast Scriptnotes explores the screenwriting career accurately and with honesty. Both Mazin and August are working screenwriters, in the trenches, and have written screenplays that have turned into movies time and time again. 

I know Craig and John. Like them personally (even if Mazin is maddeningly unbeatable in an email putdown contest, which he is). I don’t always agree with everything they say, don’t always think about screenwriting the way they do, but I am sure that for the aspiring screenwriter, what they offer has tremendous value. Because they are actually experts. They write movies for a living. Instead of giving advice for a living. 

So they have no incentive to lie; they are only in it to give back, to teach. 

This is how I have always felt about William Goldman’s books. And David Mamet’s.  But if you check these out, you’ll note that none of them offer dictates on how your screenplay must read, where it must fit in the market, how it must be structured. They are, in other words, written without bullshit. 

And there are wonderful books on the creative process too, on getting through creative blocks, on what it means to live the life of the writer, books like Steven Pressfield’s War of Art and Stephen King’s On Writing that I have read more than once. And plan to read again. 

Once more, these are written by people who have DONE it, at the highest level, and who aren’t trying to limit you in the guise of guiding you. 

So. Do I stand by the statements that all screenwriting books are bullshit. And that screenwriting gurus are con men? Yeah. I do. 

And I think you should save your money and your time and spend both on someone much more likely to impact your success.  You. 

Happy New Year. 

What should I write?

December 8, 2013

Right behind the Most Asked Question is this: which genre should I write in? And, of course, its companion: which genres should I avoid? There’s also this variation: how do I know which of my ideas is the most commercial given the current market conditions? 

Ten years ago, I hardly ever heard these questions asked. Sure, there were magazine articles about what types of screenplays sold and which ones were made, but there wasn’t this idea out there that the screenwriter had to be as calculating and careful as a scientist plotting the course of a space craft, where a mistake of even one centimeter could have horrific and permanent implications. 

I think these questions come from twin desires: 1) the desire to feel like we’re not wasting our effort and 2) the desire to believe that we can reduce the odds of failure.

And I get it. Nobody wants to feel stupid or vulnerable or like we deserve the blame for failing. It’s so much easier to look to external conditions, outside advice, expert opinion and say: but I listened, I did the right thing, I did as I was told. 

The problem with this is it’s a false construct. There are no experts. Nobody knows what anybody will want to buy, watch, read or sell. Nobody ever has. Which is why most movies and television shows fail.

So why do so many people claim to know which genres are viable and which are losers? 

Because they want you to feel like you don’t know, like you don’t have an internal compass, like you NEED them. 

But you don’t need them. In fact, what you need to do is shut them out. 

Is it true that certain genres did better at the box office this year? I’m sure it is. Is it true that certain others did worse? Again. Yes.

But ask yourself this: would any of those experts have told you to write The Butler? Or Enough Said? Or even American Hustle? 

No way. 

Somewhere inside you, you know where your storytelling passion is. You know what you have a true point of view on. You know the story that only you can tell in the way only you can.  If you write that one as well as you can, if you are consistent and rigorous and honest with yourself, if you are brutal with the screenplay, get all the bullshit out of it, get all that you know and feel into it…hey, it’s no guarantee of anything but this: that screenplay will give you the absolute best chance you have to make an impact, get noticed, get started. 

I know that’s not the same kind of promise many of the clowns leading seminars at the Radisson will give you.

But it does have the advantage of being the truth. 

Now dig in. 


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