Exclusive GITS Q&A: Justin Rhodes (Part 3)

Back in July, I posted this:

Warner Bros. acquires sci-fi spec script “Second Sun” from writer Justin Rhodes. Per Hollywood Reporter:

Story is an adventure set on another planet with twists.

Rhodes is repped by ICM and manager Kevin Donahue.

Recently I caught up with Justin who agreed to do a GITS interview, my ongoing focus on screenwriters who write and sell spec scripts. In this three-part interview, today we cover how Justin views the craft of screenwriting:

A few craft questions. How do you come up with story ideas? How important do you think the story concept is to the overall strength of a screenplay?

I don’t really come up with ideas so much as I come across some bit of information that triggers an idea. It could be a conversation, something I read, or even something that happens to me in my daily life. Most of the time, I get excited by something for about forty-eight hours before I realize that it doesn’t have all the elements it needs to become a movie. But every once in awhile the idea will stick with me. Usually the ideas I write as specs are ones that have managed to linger in my brain for more than a year. If I’m still not bored with it, there’s probably something to it.

I think concept is the most important aspect of the whole process. Dialogue can be improved, set pieces can be improved, characterizations can be improved, everything can be fixed with a rewrite or three. But if the fundamental elements aren’t providing hook that generates a trailer in someone’s mind when they hear it, if there isn’t a clear way to see what’s unique about this story compared to all the other ones, then all you’re really left with is execution. “Execution dependent” is a bad word that means “I can’t sell this unless you write it better than anyone.” So you’re placing all your eggs in a basket that assumes your own virtuosity. But if you’ve got a “strong concept,” then you’ve got a beacon that everyone can gravitate to even as the story develops.

How much time do you spend in prep-writing (i.e., brainstorming, character development, plotting, research, outlining)? Which of the aspects of prep do you tend to devote the most time and focus to?

I spend a ton of time in prep-writing, but that’s mostly because that’s just the way things work these days. If you’re pretty much anything but an A-list writer (and sometimes even then), you’ll end up having to generate a detailed treatment explaining every aspect of what you’re going to do between pretty much every step of the process. You’re rarely allowed to commence anything without a detailed plan that outlines what the draft is going to look like in excruciating detail.

But once you’ve got your hook, the element that’s most important to everyone is your cast of characters. I agree very much with your mantra that plot comes from character, so this is where I spend the most time. I’ve written it the other way around before, where I’ve tried to find someone to live within my oh-so-brilliant plot. But this approach takes away a lot of your protagonist’s ability to generate some spontaneous agency on his own, and ultimately I feel it’s the inferior way to do things.

Do you have any screenwriting principles you hold near and dear to your heart?

I deeply agree with Vonnegut that it’s essential to know what your characters wants at all times, even if it’s just a glass of water.

Finally as a talented writer living out the fantasy of literally millions of people, what advice can you offer to aspiring screenwriters about the craft?

As far as advice goes, I don’t really feel that I’ve earned the right to give much. The most important thing I’ve learned is probably that, despite how it feels when you write, the screenwriter is not the captain of the story. The captain is the director, or the studio, or the the producer, whoever you’re working for. And because they’re the ones paying you, they have the right to steer the ship wherever they want to go.

The screenwriter is really the ship’s navigator. The captain points at a map and tells you, “Plot a course for here!” And you might say, “But sir, there are shoals and rocks and pirates there! We shouldn’t head that way!” And maybe he listens to you. Maybe he doesn’t. But if he doesn’t, your job is not to complain. Your job is to use all the skill you have to make sure the boat gets to where the captain wants it WITHOUT hitting the rocks or the shoals or getting sunk by pirates. If you can do that, you’re well on your way. Sometimes you even find out that the captain knew where he was going after all.

Please drop into comments and thank Justin for his time, and wish him continued good luck with his writing career.

Comment Archive