Scott Rosenberg's Zen Approach To Screenwriting

Wisdom from screenwriter Scott Rosenberg (Con Air, Things To Do In Denver When You're Dead, Beautiful Girls)

"When you think you have a great script - if it really is great - they will find you. The town is starving for great scripts. It sounds awful and pat and overly simplistic: but if you want to succeed as a screenwriter, write a dope script. I am not saying that shitty scripts don't get made. Of course they do. More times than not. And a good 65 % of working screenwriters should have their laptops revoked. But at some point, they wrote that one. That one that people noticed. A Zen approach is a good one. Don't do a mass mailing introducing yourself to every agent in town. Don't foist your script on the guy at the next table in the diner, who happens to be reading "THE HOLLYWOOD REPORTER". Just know that they will find you. It sounds strange. It's not. L.A. is a city fueled by the frantic frenzy to find the next great script. The key is write it. And then watch them tumble..."

Read the full interview HERE.

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One Storyteller's Process

Writing is tough. We all have our own styles; and it can be daunting when we read interviews with writers or listen to podcasts with gurus, because they often have very specific rules, entirely different to our own. 

So it's good to get different perspectives. There is no right way to write -- all that matters is that you get the work done, and you write well. Zoje Stage has written a guest post about her process, which I find very fascinating because it is quite similar to my own. So many 'experts' tell you to get up at 9am and begin writing immediately, in a structured way. Zoje Stage has a different approach, which she eloquently explains in the following guest blog. 

A guest post by Zoje Stage.

Whenever I hear a writer discuss their writing process I am intrigued. Intrigued in a similar way as when I see someone with a really interesting tattoo: I recognize the beauty of the tattoo, yet I have never once coveted another's tattoo as my own. Both of these things are singularly personal. Though I'm sure no one out there really covets my writing style (or my tattoos), here's how I work:

I do not write every day. Or even every month. Yet I consider myself to be a fairly prolific writer. I average three or four new screenplays a year, plus rewrites and polishes. I know it is common for writers to have a set schedule, squeezing in writing time before and after work. And many writers outline first, or create a synopsis or treatment to serve as a guide. These methods don't work for me. I need uninterrupted time, and the only instances when I have not finished a script are when I attempted too much initial research or planning. Because, you see, I am a stream-of-consciousness writer.

I have written this way since I wrote my first screenplay twenty-three years ago. My process requires a certain amount of "down time" - which is when the things I've been influenced by settle into my brain and soul. I keep a notebook of story ideas and I jot things down. But what really gets the process going is, no kidding, a moment of inspiration. Sometimes it comes while I am watching a movie or staring into space. Sometimes - again, no kidding - it comes to me in a dream.

For me, the "moment of inspiration" means that something suddenly gels: a couple of characters, a couple of scenes - and the initial story idea. The next step is to look at my calendar and see when I can fit in some extended writing time - preferably where I can write for five or six days in a row, several hours each day. Then, in the days leading up to my designated start time, I let my mind wander around my story and characters. I jot down notes for scene ideas; I pick character names and occupations.

I write a first draft in an average of seven days, writing for as long as I possibly can on each day. As a stream-of-consciousness writer, I need to be in the story - in the moment - to generate the momentum needed to finish a first draft. Writing has always been a magical process for me, because I don't know on Page One exactly where things are going to go, or how we will get there. As I get into the process, I start to see different paths, and I continually jot down scene ideas as part of each writing day.

My goal for a first draft is simply to finish it as quickly as possible. There are certain tricks I employ to make the process easier, such as: I end each day in the middle of a sentence (usually dialogue) right smack in the middle of a scene. The idea is to "set up" the next writing day so the hard part - starting - won't be so daunting. Sometimes I still find myself avoiding the start of the writing day, inspired instead to empty the dishwasher or scrub a spot of toothpaste off of the floor (yes, I wander as I brush my teeth). 

On a full writing day I'll write fifteen pages or more. On a half day, I shoot for five to ten. My style requires inertia... keep going! I am a hunt-and-peck typist, but I do it incredibly quickly. My stories are primarily character driven - and I can see that my style might not work as well with plot-driven material. But I have written a fair share of horror, science fiction and even action, though I think it is the depth of character that sets my work apart even then. 

After I get the first draft, I usually set the script aside for awhile. My first drafts tend to be pretty good - but clearly subsequent drafts are better. But after the initial flurry of activity, I again require "down time" to gain perspective on the story and generate new ideas. Sometimes it helps to have someone read the script and point out holes, missed opportunities, or confusing moments. But, as most writers know, it's very hard to find the reader who responds to the needs of your story without altering it toward their own sensibilities. As a rule, if one person has criticism (or praise) for a certain element, I ignore it. If two or more people criticize (or praise) the same thing, then I take it seriously.

Screenwriting in particular is an art form where people want to stick their fingers in your pie. I am not here to feed everyone. I consider myself to be a conceptual artist, and as such it is imperative that I defend my work. And it is equally imperative that I understand how my work will function (or not) in the real world. I am always open to suggestions that make my initial idea better. I am rarely open to ideas that spin my story in a totally new direction. 

I am somewhat schizophrenic in my writing, as I write both independent films that I want to direct, and also higher concept scripts that I want to sell. But my process is the same. Especially when one is engaged in a precarious occupation that may or may not pay off financially, I think it is vital that the effort feel meaningful and fulfilling. I love what I write. I love the stories that emerge during the writing process; I love my characters; I love how I feel after creating something that didn't exist a week before.

I have believed since I was a teenager that everyone is given a talent, and that it behooves us to recognize our talent and try to make the most of it. Some might look at my twenty-three years of effort as an exercise in masochistic tendencies: a constant cycle of victorious out-put tempered by nearly non-stop rejection. But, in the immortal words of Popeye, "I am what I am." I can't be another kind of writer or another kind of person. I could wish that more people see the magic that I try to produce, but I have no illusions about the reality of marketing or the nature of competition. 

Your style of writing probably won't change for having read this; you may even feel more validated that your writing style is right for you. (And it is.) We are each the accumulation of our own experiences and unique imagination. My stories have been set in motion by being a highly sensitive person living with an imperfect body, influenced by the strange and sometimes dark permutations of human behavior. I think I am a stream-of-consciousness writer because I process the world physically - and I have to spew all that I've absorbed back out into a more coherent form. Being a storyteller lets me breathe - in, out, in, out...  

For whatever it's worth, this is my process.

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Advice From Screenwriter JOHN COLLEE - Guest Author MANDA DIAZ

Written By Manda Diaz. 

I started reading Kid’s blog about this time last year. It was the first blog I read regularly. (I don’t think he knows this. I wonder if it will frighten him?) Back then, I was just a uni student that loved writing and reading about movies. Two internships and a lot of volunteer hours later, I’m a film journalist.

I try to play it down when my friends make comments about it being the best job in the world, but the truth is, it’s awesome. Most days I stumble around feeling like the film geek equivalent of Cinderella. Shouldn’t I still be paying my dues behind the register at a supermarket or by folding clothes at a chainstore?

One of the best things about being a journalist is the chance to talk to some absurdly creative and talented people. From a 20 minute phone conversation with a composer, a producer, a screenwriter or a director, the feature I’m writing will only ever feature a few choice quotes and anecdotes. That means I have audio files on my computer and stacks of notebooks on my desk filled with gems that nobody but me will ever have access to. It feels selfish.

My favourite interview to date was with the charming Scottish screenwriter and former doctor, John Collee (Master and Commander, Happy Feet, Creation and the upcoming Walking with Dinosaurs.)

We spoke twice- because, mortifyingly enough, I couldn’t understand the recorded audio of our first, publicist-organised conversation. Luckily, John was kind enough to let me call his mobile that weekend. We spoke for more than half an hour and he had some wonderful things to say that didn’t make the final article. So you could say this is the journalist’s equivalent of a director’s cut. I hope you enjoy it.

John Collee On Structure

• Don’t just start at the beginning and try to muddle through to the end. Actually structure the story. Start with a short synopsis and build up to a longer synopsis and then a longer and longer synopsis. Break it down into sequences and work out how you’re going to get to those sequences and really work on the skeleton of the film before you commit to dialogue and detail and description.

John Collee On story

• Know the world of the story. So that’s all about research. If you’re adapting a book, it’s not just about reading the book, but it’s about getting to know the world and immersing yourself in the emotions of the people who you’re writing about. You have to put yourself in the head space of the people you’re writing about- you’re presenting it as a subjective experience.

• Expose your writing to as many people as possible so talk about the story rather than working away on your own. Talk about the story as much as possible and get responses.

John Collee On Life, Writing & Creativity

• I was once asked what's the best advice to give to a young writer and I said “Go out and get a life.” Go out and generate some life experience, it'll almost be better as a writer, rather than studying creative writing for three years, just go out and do wild stuff. A lot of the writers and novelists who I admire, like John Steinbeck and Graham Greene and Ernest Hemingway, first and foremost lived a life of adventure. I think that's the thing to do. The truth is, style in writing is relatively unimportant. Experience of life is all important.

• Having unique life experience is an extraordinary gift. Your wealth is your life experience- good and bad. Your real wealth is not money, it's the stuff you do. And the more extraordinary, the more engaged with the world- the better.

• I definitely believe that we're defined by what we do for other people and we have an obligation to do something worthwhile. And if you do happen to be a filmmaker, you have an obligation to make good and meaningful films and not just garbage.

• The best creative work generally comes out of being engaged with family, people and society. And if you're properly engaged, then great creative stuff comes out of that. Some of the best journalism I ever wrote was descriptions of the patients who I'd treated when I was working in the third world.

• Write about something that’s important. By all means, find the stories that inspire you but then try and analyse why they’re important, what they’re about. What do you want your audience to feel differently upon leaving the movie theatre?

Writing and storytelling can be lonely. You spend so much time living in your own head, that you forget there are other people out there that can help you and guide you when you're stuck (which is just what Kid did when I emailed him, struggling to put together this post.) Magazine writing often feels very one sided. That's why communities like this blog are important- they encourage sharing and feedback, and most importantly, they remind you that you're not alone. Thanks to Kid for giving me this opportunity to spill these tips. Better they're out in the blogosphere than hidden in a notebook in my desk drawer.

You can read Manda's fantastic blog Memoirs Of A Word Nerd HERE.

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Advice For Starting Your Screenplay

Starting your screenplay is difficult. There are so many reasons not to. You need to check Facebook, you need to convince yourself you have a lung disease on WEB M.D, you need to eat a sandwich, you need to think about the sandwich you've eaten, you need to make phone calls.

Beginning the process of writing is hard, it really is. And there are many tools and tricks you can try, in the hope they'll spur you into action. But for me, there is only one way of really starting. And you can use this phrase as a mantra. I promise you, if you use it, it will work every time.

SIT DOWN

SHUT UP

WRITE

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SCREENWRITING Advice, Ideas and Inspiration

I am not one of those people who says "To write a successful screenplay, you need to follow a 17 point plan and you must have an incident with a dead chicken." For me, if I can give any advice - it's that you should do whatever you can to be YOU, and to get that onto the page. I am not telling you what to write; in fact, I honestly don't want to tell you anything, because I don't really know anything. I just want to share things that have helped me over the years. Below are links to things I have written that may, I hope, inspire.

To begin with; it's important to realize; even Aaron Sorkin has self-doubt. Self-doubt is a troubling thing; because if you're not careful in can make you become one of those writers who never actually writes. A lot of people quit screenwriting because of heartbreak, but not before they find many things to do instead of writing.

Sorry if you think it's a bad idea to talk about self-doubt and the lack of confidence. But it's best not to ignore things that are there (things that we all have to deal with.) But don't worry; there are things we can do about it. You need to remember: it's your screenplay, not anyone else's. If you listen to other people too much, you'll go insane. So stop listening to the critical people around you -- not only are they bad for you but pretty soon, every time you mess up or, worse-- don't write, you'll blame them-- them??? but who are THEY?

Don't be polarized by writer's block, INTERACT with it, dance with it, see what it has to say.
When you finally realize this is what you want to do with your life -- you make that decision; and you realize, truly, that this is your life. It's now or never.

I always find it helpful to realize why my work is important in the world. If you make a comedy, it's IMPORTANT, because we NEED to laugh and smile; if you're making a crazy horror film, we need to get more in touch with the parts of ourselves that feel the extremities of fear, and LIFE. IF you're writing an inspirational film about a marginalized section of society.. it's important because you could inspire millions to improve their lives. If you write a story for children, and it only ends up being half as good as you hoped.. you may inspire one child, you may make their life BETTER. How amazing! Never underestimate the importance of your writing in the wider world.

If you're a Kid In The Front Row like me; you should look back to your youth for inspiration. There's so much magic there. And if there's not magic, there's pain; and a lot of who you are and who you've become is from that place. Your memories and feelings from long ago will inspire your writing.

Why do you want to be a writer? So many reasons. Once you've figured that out -- I can only give one bit of advice. It has nothing to do with content or how to configure a scene or whatever, I'm not the guy for that. All I ask of you -- is that you write from the heart. And KEEP CREATING AGAIN AND AGAIN. The magic comes from turning up for work every day and getting the words down, because one day, the magic will strike. And that is why you write.

And lastly; listen to what SCOTT ROSENBERG has to say. That I insist on.

I am sincerely so excited and inspired by all of you -- I love it when you're writing and I am concerned when you tell me you're not writing. Keep going! Keep believing in yourself, keep me informed of your progress. Your ideas are needed in the world. Sure, writing is hard, making a script sale is hard, getting anything produced is hard. But right now, that's not your concern. Your concern is writing. Deep down, you know you were born to do it. I can't wait to hear from you that you've written FADE OUT some time soon.

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How An Upcoming Writer Can Get To Meet Steven Spielberg and Tom Hanks.

This is one for the screenwriters, especially those who may be struggling with their projects right now - or wondering how on Earth you might ever make it in the industry. What I'd like for you to do is to read this article all the way through - and then go and do what is suggested, for real.

I want you to relax - maybe lay down on your bed. And allow yourself to drift into your imagination. And I want you to imagine the following scenario.

You have finished your feature film screenplay. You've sent it out to a few places, posted it on a few writers websites; and you're hopeful about it.

You get a phone call. The man on the other end asks for you by name. When you confirm it's you, he says, "My name's Steven Spielberg. A friend of mine passed on your screenplay to me and I really like it." After you disbelieve him and sit in shock for about five minutes, he follows up with, "I would like to meet you, I'm going to be in your town next week with a colleague of mine, and we'd like to discuss your project with you."

A week later - you are making your way to an office you've been summoned to. you feel apprehensive, in fact-- you feel ridiculous, who set you up to this? And then you arrive. You tell the pretty reception lady your name and say that you have a meeting, she tells you to take a seat.

Thirty seconds later; Steven Spielberg is in front of you. He has a big beaming smile and he shakes your hand. He walks you to an office - and he's rambling away excitedly about some trailer he just saw -- you're struggling to listen because you're so scared and excited. You enter a meeting room.

"This is my friend Tom, I wanted you to meet him too."

Tom Hanks throws out his hand to shake. "Hi I'm Tom Hanks," he says, as if he needs introducing. It's down to business.

Spielberg faces you excitedly. "Some of the people who work for me spend a bit of time on the internet, looking around for talent, for something fresh and exciting, and one of them came across your screenplay and sent it to me."

You sit there, frozen.

"I want to Produce this." he says. You think it needs repeating. "So, Tom here has been looking for another project to Direct, it's something he's been wanting to do for a while.."

Tom effortlessly glides into the conversation, like he's trying to charm Meg Ryan in Zabars. "I read the first page of your script, and I just knew there was something about it. This is definitely something I would like to develop."

Steven Spielberg looks at you with a serious face -- you try your best to look relaxed. "We can only pay you $100,000, I'm afraid. Things are changing in the industry right now and there's no guarantee we can bring this into production.. but uh, we can pay you $100,000 which is something - how does that sound?"

You mutter something about it being okay. Tom stands up and goes to shake your hand again. "This is exciting," he says, noticing your beaming smile. "So who you wanna cast? Megan Fox? Kristen Stewart?" -- you look towards him, wondering if he really wants an answer. "you know, my wife Rita would like the role - you think she could pass for 22?"

You leave the meeting - you have MADE IT. Through sheer luck, MENTAL CRAZINESS and plain absurdity, Steven Spielberg and Tom Hanks have not only read - but decided to buy and produce your screenplay.

Now - as you come out of this conversation in your imagination -- how do you feel? How does it feel to have sold a screenplay to two of the biggest names in the industry? How does it feel to know you've finally got everything you always wanted and deep down knew you were capable of?

You probably feel calmer, more at ease, and happier. Notice your body language now - you're sitting a lot more comfortably - you're even breathing better.

Is this new feeling something you could use when working on your screenplay? Is this feeling of ease, of being you, of having achieved, something you could take out into your life more? Does it feel more like who you really are?

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