The List: Recommended Screenwriting Books

Because I write screenplays and TV scripts, I am often asked for book recommendations.  Everyone has their favorites, I have mine.  Writers ask other writers for their suggestions because we're all afraid we might be missing out on a great read; one that will give us that golden nugget of information that sparks something inside of us and makes the difference between an outstanding script and an average one.

My list of screenwriting books is a bibliography of works that are basic books all writers of any skill and experience level can benefit from reading.  I also maintain a separate list of TV writing books that focus on the completely different style, and business, of script writing unique to television.  If you want to know how to write movies or how to write a TV show, you'll find the best reference material on these two lists.

Additionally, since quite a few of the screenwriters I know also write in other styles, I have a reference list of novel writing books and a list of journalism reference books.

Each one of these books has helped elevate my writing.  Some of them are invaluable for the insights on the screenwriting business.  Others will be useful for formatting questions or other mechanics of writing scripts.

TWS

#BrutallyHonest Feedback

If you follow me on Twitter, you may already know about my random nights of #brutallyhonest feedback. What is this? On a night when I have little desire to do my own work, I will tweet that I'm open to reading scripts and giving feedback. What's the catch?

Yeah, there's a catch. Of course. I have criteria:

• 30 min. TV comedy pilots only.

Yes, that's right. No features. No outlines. No treatments. No napkin notes or index cards. No specs. And the kicker is that I usually get everyone their feedback that same night. Not always, but usually. No waiting for a week with ulcers developing and festering. No gnashing of teeth or desperate tweets for days on end. It's fast and it's free.

But, it's brutal.

I make it a point to live up to the hype. I don't care who you are, you're getting feedback. You're going to hear things that no one else will tell you. This is not for the weak. Not for the young. Not for the shithead who would scribble out a rough draft and send it off to a prod. co. like he's the Second Coming. If you think your writing is all that, then keep your crap and don't waste my time. I'm going to tell you exactly where and why you lost me, what your biggest problems are, and where you let down your reader. I will point out your cheap shots, your weakest areas and your grammar screw ups that make you look stupid. By time I'm done with you, I am quite sure you'll feel like shit. At the very minimum, you'll be embarrassed that you sent me the pile of kindling you called a script. 

Better me than that fat executive you almost sent the piece of shit to. 

I don't have a regular schedule for #brutallyhonest feedback. You'll have to watch for the hashtag. Make sure you read the criteria. It does say comedy, right? You have to make me laugh. That's about all I get out of this.

TWS

Scripts I want to read

It occurred to me a few days ago that, while I read a ton of scripts, I may not be reading the scripts that will best teach me how to get noticed in Hollywood. Sure, reading classics and works of the greatest screenwriters out there today are great ways to improve at the craft of writing screenplays, but these scripts were written by some at the height of their careers. What about reading those scripts that got an unknown noticed? What was it about those early works that caught a reader's eye and sent the script up the chain to be purchased and developed?

I took the question to one of my best Twitter partners-in-crime, @tracinell, who started getting the feelers out there to our online screenwriting community. It's been an interesting few days. Two scripts came up immediately, Juno by Diablo Cody, and Little Miss Sunshine by Michael Arndt. Beyond those two, I then pulled up the analysis of spec sales in 2009 by Scott Myers from Go Into the Story. For 2009, Scott had listed 67 sold scripts. I looked up each of the screenwriters listed to see how many of those were first time sales for the writer. The time-consuming task between the list and IMDbPro was an eye-opener. Here are my rough observations:

• By my loose criteria, maybe 11 of these scripts were from first time, unconnected writers. 
• Many of the scripts purchased were written by teams. While one may be a newcomer, the other was generally well connected which eliminated them from my list. 
• That's about 17% of sales.
• Many of the sold scripts were topping that year's Black List.
• Once someone sold ONE script, several others followed quickly. This is important. Have an arsenal of material. When you're hot, you're hot.
• Finding those first scripts to read isn't an easy task. Even back from 2009 sales, many of those films are still in development or in production making those scripts scarce.

I'll get to later years' analyses, but for now I'm letting 2009 sink it. Not the greatest news for unconnected writers but it's also encouraging: It does happen. Now it's just a matter of working on the craft to up those odds.

TWS

Best Books about Screenwriting and TV Writing

Whether you are a beginning screenwriter or have been honing your skills during the past decade, you are most likely always ready to read the best books on screenwriting. Sometimes, it's for inspiration, other times for motivation to stick to the craft despite the years of tenacious efforts seeking the first break into the business.

I have compiled a bibliography of the best screenwriting books I know about and use, and have made the list available on my Web site, AcademicBib.com. There are books on screenwriting and books on TV writing, each with a link to Amazon so you can get some information about the piece, read reviews and see if it's a book that interests you.

AcademicBib.com is a work in progress, so navigating the site is still a bit rough. However, using the links directly to the books on screenwriting and TV writing should make the search easier. Missing a book you're looking for? Let me know! You can post here in a blog comment or email the information to TheWriteScript@Yahoo.com.

Happy reading and, better yet, happy writing!
TWS

Writing, writing & writing

In addition to writing my scripts and my academic work, I'm now teaching myself how to write Web code. I'm starting with the easy-to-learn html and CSS, then I'll later be incorporating PHP and MySQL. It's a different type of writing but there is a certain creativity that comes into play that reminds me that even though the words I'm writing are wrapped up in code, they are no less my words.

What's gratifying about writing Web code is that I can upload new code and see the results, both good and bad, of my labor instantly. Live on the World Wide stage. It has become my new hobby, a way to distract me from my thesis, a way to kill time that feels more productive than video games, a 2-star TV movie, or social media.

My first Web site is quite simple, a compilation of all of graduate core class syllabi reading lists that I used to study for comps. You can check it out: www.AcademicBib.com and while it's still pretty rough, there's a ton of bibliographic information already posted. What's particularly handy are the links on books to Amazon (it helps to see the book reviews to refresh the memory) or to JSTOR for the research articles. I'm currently posting American Government bibliographies and then International Relations will be next. After that, I'll work on Public Policy. We'll see where it goes from there.

I never thought of computer code as actual writing until I started doing it. Now I know it's a creative endeavor on par with creating stories and memorable characters. It requires much of the same planning, a similar mindset and drive to complete the project. It requires outlining, drafting, rewriting, editing and problem-solving. Building a site raises many of the same questions and doubts as writing a script: "Will people one day appreciate my work?"

But I'll leave the philosophical questions for others to ponder while I continue writing.

#Drinks4Doll -- It's a Party!

If you've spent much time at all with the Twitter screenwriting community, you've come across @DerisiveDoll.  If you've followed Doll's posts in the past few months then you know she's about to move 3000 miles across the country to re-start her life in Los Angeles and pursue the dream we all have of breaking into the business as a professional screenwriter.

We want to help get Doll's journey off to a great start by having a huge going away Twitter party so that our #Scriptchat community and #LoglineFriday faithful can spend some time offering support and best wishes to Doll before she hits the road. 

• Date:  Sunday, March 20, 2011 
• Time:  Immediately following U.S. #Scriptchat (6 p.m. Pacific, 8 p.m. Central and 9 p.m. Eastern)
• Virtual Party Location:  Go to Tweetchat.com and enter the hashtag: #Drinks4Doll. 
• Theme: Surf's Up! Relax in your favorite beachwear.

We have games planned and prizes to give away, so don't be late and don't be shy.  Also, if you'd like to help us get Doll outrageously drunk during the party, please considering "buying" her a drink by clicking: #Drinks4Doll and making PayPal donation. If you don't want to condone drinking, then think of it as a few dollars for gas or a latte. It doesn't have to be much and you don't have to donate to attend, just show up at #Drinks4Doll and party with us.

See you next Sunday at #Drinks4Doll and please help us spread the word on Twitter!

Thanks,
@TheWriteScript and @Tracinell

Pilot: getting ready for take-off

Grad school really impedes my writing. Comprehensive exams are finally over. I now have less than a week to make a few changes to the TV pilot and get it submitted to Scriptapalooza before Friday. Looking forward to having that done and getting the script "out there."

With the first week of TV pilots down and a few more coming up this week, it is already apparent that Hollywood needs a new crop of writers with fresh ideas and a different perspective. Frankly, someone's got to be able to present something that is not a formula-driven cop or lawyer procedural. These rehashed story lines are already old...and these are the new shows. Why can't creatives be more creative? Why do some people believe that the only stories of interest take place among cops, reporters, lawyers and doctors? I know these people...they're not nearly as interesting or exciting as TV makes them out to be. But for some reason, we keep perpetuating these myths.

No worries. I will rescue Hollywood and give you something worth watching and characters you want to spend time with. No cops. No lawyers. No doctors. No journalists.

Promise.

#Scriptchat

I'm a relative newcomer to Twitter. Fortunately, one of the first things I discovered was #scriptchat. Every Sunday there is a EURO chat and a US chat. It has been entertaining and enlightening about scriptwriting, and breaking into the business of writing, for TV and film. For someone like me -- a Hollywood outsider -- it has been priceless.

Tonight's guest host was TV writer/producer Jane Espenson. It is incredible to have a forum where anyone can ask the guest any question and get such honest answers, not just the usual "write" and "you can do it" b.s. It's worth an hour each week or you can read the transcript that's posted on the Scriptchat site the same night. Tonight's chat was progressing so fast, I'll have to read the transcript to pick up all the info I missed.

Whenever I find myself thinking that I'm wasting time on Twitter, all I have to do is remind myself of scriptchat and how much I've learned.

Pilot #1 -- Done

Pilot #1: Done and registered. I have my very first WGA registration number. I feel so...so...registered. Probably the first time I've been happy to be just a number. Yet there's something highly symbolic about having that number. There are those who start to write, and those who finish. I'm a finisher. I got through the marathon called the second act and made it across the line to pick up my number. Lots of starters...fewer finishers. That makes me feel good.

Now onto Pilot #2, f.k.a. the Spike TV script. Going to give it a quick read then come up with a plan of attack to finish it up.

Grad school picks up again way too soon. Dreading the workload and trying to balance all the balls again. Back to insane time management if I expect to have screenwriting time. However, I can ALWAYS find time to do the things I enjoy.

Scripped and Spike TV -- Not for me: Redux

Daniel writes:

I had the same moral dilemma, but if you read even closer, every submission except for the winner retains their rights. I guess just get a good legal team. And if you do win, well at least you get 2k and the bragging rights if they don't let you go further with it.

The Write Script:

Ever hire a lawyer? Let's say you win and want to challenge the legal agreement you acknowledged by taking on Spike TV (owned by Viacom). The retainer alone will be more than $2k. If you manage to win and get, say, the WGA minimum for a 30-min. piece, you won't have much leftover. In fact, you may just lose your house in the gamble as well.

Bragging rights? What's to brag about? I'm a schmuck? I'm so desperate I'm willing to give my work away and allow others to treat me like dirt? Who wants to broadcast that?

I'm glad the deadline has passed and I don't have to think about them any longer. The only moral dilemma here is on the part of the contest sponsors. They now stand for everything that is wrong with the business. I'll broadcast legitimate contests coming up and you can be sure I'll also broadcast which ones I consider bad for writers. But your comment (and thanks for commenting) highlights the attitude that many struggling writers have: desperation. If we weren't all so desperate, so willing to sell ourselves at ANY PRICE (and pay for the opportunity!), these crappy contests would go away.

Remember Walt and "keep moving forward."

Cold Open Trials and Errors

My cold open on Pilot #1 is pissing me off.

I feel I should be able to fix the problem quickly. In fact, at this point in the process -- essentially a completed script -- it should practically write itself. But it's not. I'm fighting with it throughout the day mentally, hashing out options and playing "what if..." games with new ideas. I want the opening to be funny, but it's taking place during an unfunny event. Everything humorous comes across as inappropriate, or distracting from the story or confusing.

[Note to Tina Fey: How do you handle this problem?]

I want/need to finish this. Soon. It'll work itself out. I expect tonight I'll lie in bed before sleep takes over thinking through the newest idea. Most of my brilliant ideas happen that way...in unusual places at odd times. Right now, I'm ready. I am open to the spark that will make all the words fall into place. My brain is creative and magnificent. I know the last few pieces to the puzzle will be found soon enough.

Yet, I'm impatient. Soon enough hasn't been soon enough.

Great Expectations

I have high expectations of myself. I fully expect that I will always do well in my classes, that I will continue to write good papers, do quality research  and soon get out of grad school adding those little initials after my name. I expect the same with my scripts. I never go into the writing thinking that I'll write something adequate or acceptable. From the outset, my intention is to knock it out of the park.

Home runs always? No.

The difference between having high expectations and of expecting perfection, is that high expectations still get the work done. Sometimes, you even impress yourself and others. Sometimes, you fall short of impressive and maybe you barely get to "it's OK." If you expect perfection, I doubt that anything will ever get written. Even if it does get written, it will never get shared with others. It will never get to the outside. Perfection, of course, is impossible. It's incapacitating because it's an unachievable goal.

My great expectations are to get the work done. That's the work of a writer. I've got the October deadline for Scriptapalooza for the TV pilot scripts. I plan to get a little writing done this weekend if the Universe allows it. My scripts won't be perfect, but they will be far better than the guy who claims to be a writer but can't get past the fear that others will deem his work to be just "OK." I've written long enough to be over that. My fear is in NOT getting the stories written. My fear is that you won't have the opportunity to see my stories on your TV or at your theater. That would be tragic for you and disappointing for me.

I don't want you to have to suffer that tragedy. But more importantly, I don't want to disappoint myself.

Relaxation begets Stress

What a great break! There's nothing like doing nothing. But now that the break is over it's difficult not to look at the calendar and wonder where 2/3 of summer went.

Really? Only four weeks left?

In mid-August, it's back to the University for the madness that is the Fall semester. That time of welcoming a new class of first-ever college students tasting their first morsel of freedom. It's a time of drama dealing with their tragic miscalculations of time needed to get passing grades and teaching less about science and more about time management. Frankly, I have my own issue with time (and the lack thereof) yet for different reasons. How I would love the workload of an undergrad! I could get As and solve all the world's problems during my spare time.

Really!

I'm getting into the academic mindset now that I've seen the calendar. Over the next four weeks, I'll start spending increasingly more time on the comprehensive exam study and the thesis. Less time will be devoted to screenwriting. Ideally, I graduate in December. Then I can be a writer without conflict, without guilt. I'll get two or three of my pilots ready for the October scriptapalooza contest and that will be it for screenwriting until December. Pilot #1 needs some minor work, Pilot #2 is partially drafted and Pilot #3 is merely a funny idea in my head and hasn't hit paper yet. I really doubt it'll be ready to submit this go-round.

Really.

I tell my students that all of life is a balancing act, that your time will always have competing interests. It's all about choosing which balls are worth juggling and then not dropping the important ones. Right now, I'm juggling too much. The grad school time suck, however, is nearly done. I'm really close and it would be tragic to drop the ball now.

Really!

R & R @ the beach

Planning several days of relaxation in the beach cities. Not sure how much screenwriting I'll do, I mostly want to clear away the stress and recharge, refuel. I'd like to wrap up Pilot #1, but we'll see how that goes.

It's always good to spend time in the South Bay...it's my hometown, my turf (and my surf), my past. It's where I began and where I became me. Growing up in the shadow of Los Angeles gave me a toughness and an edge I wouldn't have developed elsewhere. The confidence of being able to survive and thrive in a big city is an incredible asset. But it's always good to get back to the small-town feel of the beach cities. To feel the ocean breeze, smell the salty air and watch the fog roll in.

After a few days at the beach, I'll be ready to throw myself back into the work.

Go Into The Story

A huge thanks to Scott Myers at Go Into The Story for linking The Write Script on his blog. If you haven't read GITS, check it out. For a beginning screenwriter, his site is enormously helpful.

Thanks, Scott!

Reading Pilot Scripts -- 30 Rock & Community

I found two scripts online for pilots that have been produced: 30 Rock and Community. Interesting reading. The first thing that occurred to me about each was that the main characters' names were later changed. For Tiny Fey's 30 Rock, the female lead, Liz Lemon was originally written as Lisa Lemon. The Tracy Jordan character was originally Lawrence Jordan . In Dan Harmon's Community, the male lead, Jeff Winger, was named Jeff Crocker. Frankly, I think the name Liz Lemon is funnier than Lisa Lemon. Yet I also think "Crocker" better described Harmon's character than "Winger." But what do I know?

My intention of reading these scripts was to see that from the creator's pitch to the pilot production, things get changed. The essential ingredients remain, but names can change, scenes are rewritten and some elements are simply scrapped for different elements. I don't know to what extent the changes came later from Fey or Harmon, how much was dictated from suits or were battled out in development. It doesn't even matter.

Would I freak out if some suit insisted on changing my lead character's name? Yeah, I might die a little inside, but when faced with the possibility of having a pilot script turned into a pilot episode, followed by an order for 13 episodes...hell, I'd be all, "Sure, change whatever you want. What do I know? You da boss." Did Tiny Fey roll over so easily? Next time I have lunch with her or find myself beside her on an airplane, I'll ask.

Until then, the writing continues.

Pilot #1 ... Waiting for more notes

Tonight I finished the fourth draft of Pilot #1. It's been sent to my reader. I'd set it aside last week to think about it some more. It's weird to read it after a few days off. All the fresh jokes seem old now...I've heard them SO many times. Hard to read the piece as though it's the first time.

Does every writer feel this way?

Here's the deal...

It has been quite a month for ideas. Not sure why, but TV comedies are crowding my brain right now. I see what's on TV and the new shows getting produced each year. Not many of them are shows I want to watch. Now I'm writing what I want to see. Here's the list of projects I'm working on:

Project 49
This is my feature film. The project is outlined and several major scenes are written including the first act. About 20 pages written so far on the first draft.

Pilot #1
This is the 30-min., single-camera comedy I am nearly done rewriting. I'm cleaning up a few scenes, writing in a few extra parts for continuity and then it will be ready for WGA registration.

Pilot #2
Another comedy that I am now writing a quick first draft. Good, high concept. Spike TV: Bite me.

Pilot #3
Yet another comedy that will get started once #1 and #2 are both done/registered. I'll jot down some notes here and there in the meantime, but I don't need to have too many projects going all at once.

For each of the comedies, they are three distinct properties with nothing (other than the writer) in common. I want my portfolio to show range and depth. I want to leave a reader asking, "What will the next one bring?" Predictability would kill me.

Pilot #1 -- Penultimate Draft

I'm not sure exactly how to say this, but...

I love the snot out of this pilot.

The Reluctant Grad Student

Most of the coming week will be spent working on a human subject research project in my department, not writing. My colleagues were caught in a bind: summer vacations have resulted in a low number of grad students hanging around and able to work odd hours shuffling subjects through the rigors of the labs. I don't need the money, but at least it pays well enough that there's something left over after parking. However, I can think of better things to do with my summer than taking DNA samples from people with bad breath.

It's not that I don't like people...I do. In the aggregate. In theeeeeeeory. But not all at once and certainly not in close proximity. In praxis, I want distance. I love the asocial aspect of social networks. Dealing with a strange individual's spit is taking me about 2.5 feet outside my personal space, my bubble. There aren't thick enough latex gloves for the job. This is why teaching works for me. Classrooms and lecture halls afford the perfect buffer. Class over, they leave. It's the rare student who crosses the invisible line to "chat" or beg for grace or engage in some intellectual debate to prove to me they are smarter than their last exam may have (erroneously) led me to believe.

So it is with great reluctance that I lend my latex-protected hands to my fellow grad students and faculty. I will handle the spit. I'll be courteous to the subjects and think about the Pacific Ocean to quell the dry heaves forming as I mix chemicals and label vials. This was NOT what I had in mind when I enlisted in grad school.

MARGE SIMPSON

Bart, don't  make fun of grad students! 

They  just  made  a  terrible  life choice.

Most days, I disagree with Marge. Most days, I'm grateful to get paid to go to school. Most days, I don't have to play with spit. Those are good days. They'll be back.