GITS: The Twitter Conversations — Script Readers (Part 4)
So late the other night, I was just about to head off to my nightly 20 minutes of sleep when I decided to check Twitter one last time. Big mistake… that turned into a bit of brilliance.
The mistake was I saw that @BittrScrptReadr [The Bitter Script Reader] and @nate_winslow [Nate Winslow] were having a conversation about some scripts they had been covering. Of course, I butted in with a snarky question, then suddenly the whole thing changed into this terrific conversation in which another person who reads and covers scripts @amandapendo [Amanda Pendolino] joined in, and off we went for about an hour. As it turns out, hundreds of people tracked the exchange, so I asked Future Super Producer Nate Winslow if he could create a transcript? Of course, he figured out a way to do it. So I thought I’d serialize it with commentary this week.
BSR [Bitter Script Reader]
GITS [Me]
NW [Nate Winslow]
AP [Amanda Pendolino]
Here is Part 4 of GITS: The Twitter Conversations — Script Readers:
GITS: What does a writer need to accomplish by the end of Act One?
NW: Oof. A lot of things.
AP: by end of act 1: who is protag, what is their flaw and dilemma? what goal is s/he seeking
BSR: Establish goal/thrust. Define main character. Define theme. Establish arc
NW: I have to want to know what happens next by the end of Act I. If I don’t, we’ve both lost.
AP: also act 1: what is our world? what is the theme we’ll explore? dynamics between characters?
NW: Who’s trying to stop the protag from getting what he/she wants?
NW: All the main chars have to be introduced. Bringing someone in on pg 60: raaarely a good idea.
BSR: yeah. Just read a script this week where antag was mostly off-screen until about p. 75. Not good
AP: I HATE when we meet important people late in the movie. makes no sense to me
AP: also, I see a LOT of futuristic/sci fi worlds that aren’t defined enough.
AP: if your script isn’t in the current real world, you have a ton of world-building to do
BSR: Future/Sci-Fis are the worst. Terrible from amateurs — often questionable from pros
AP: “too many unanswered questions” is a big reason to add “w/reservations”
GITS: So are you saying sci-fi is a hard genre to write / sell?
BSR: The Matrix took almost a decade to sell because no one understood it. There’s your answer
NW: It’s just a tough ask. Set up an entire world, entire set of rules, create story logic.
NW: Writing a good script period is hard enough when its set in our modern world.
AP: sci fi is sellable, but AMBITIOUS. probably shouldn’t be a writer’s first effort
NW: Just added level of difficulty. When they’re done well, they’re done REALLY well.
GITS: Okay, so what about Act Two? What are you looking for there?
BSR: Act Two: Raise the stakes! A1 — put character in tree. Act 2 — Throw Rocks at him!
NW: The story has to escalate. There better be obstacles. There better be stakes.
AP: act2: clear shift. going on a journey. “trailer moments”/”fun&games”
BSR: Act Two — story escalation, actual plot twists and not stalling of climax (happens a lot)
NW: Things can’t be easy. I read a decent amount of Act 2s where it’s just a breeze for protag.
NW: No conflict = death. That translates to a really boring movie. Every time.
BSR: I agree with Nate about conflict. Also — flaming arrows, because you’ve gotta have flaming arrows
AP: midpoint=new goal. watch the structurally perfect LEGALLY BLONDE. elle starts being lawyer
GITS: And to round this out so we don’t blow up Twitter, what are the keys to a great Act Three?
BSR: Scott, with these questions, one would think you’re reading my notes on some of my Video segs
BSR: I’ve shot a 12-pt series going through concept, development, and each act, step-by-step
We want more @BittrScrptReadr video segments!
BSR: Act Three — Climax — everything comes together and it’s NOT easy for protag to prevail
NW: If there was a question/scenario raised in Act I, Act III better address it.
AP: Act 3 should be a FINALE. a new journey. applying our new lessons. dont forget set pieces.
NW: Too often, Act III addresses something entirely diff from what was set up in Act I.
NW: What’s the Billy Wilder quote? Problem in Act III means there’s something wrong with Act I?
BSR: “If there’s a problem with the 3rd act, the problem really is in the first 2 acts.” — Wilder
AP: I have a tendency to make my act 3 an “apology tour.” have to focus more on action
There you go: A thumbnail sketch of what is top-of-mind with script readers when they assess a screenplay in terms of three-act structure.
For Part 1 of the conversation, go here.
For Part 2, go here.
For Part 3, go here.
On Monday, these Hollywood threshold guardians tell you what genres they think are hot… and which ones are not.
Good news! Based upon feedback I received from readers who enthusiastically wanted another Twitter conversation with these fine folks, I asked Bitter, Amanda and Nate — and they agreed. So I will find a time some evening when they’re free and we will schedule something so that you may participate in a live Tweet chat to ask any questions you might have about the script coverage process.
Some background info:
The Bitter Script Reader has spent many years — “perhaps too many,” he says — working in development and as a reader at production companies and agencies. For over three years, he’s blogged regularly about the missteps he’s seen writers both young and professional make, and implored his audience to avoid those same writing pitfalls. You can find him at his blog and check out his videos on his newly-launched YouTube Channel.
After working for a motion picture literary agent at a major talent agency, Amanda Pendolino went on to become a professional script reader for a few different production companies. She is also developing some feature comedies, in addition to an original sitcom.
Nate Winslow moved to Los Angeles last year and spent the majority of his time reading scripts and writing coverage for a production company and an A-list director. He’s currently working for Franklin Leonard at The Black List, Scott Myers at this blog you’re reading, and two production companies.
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