Interview: Will Simmons — Part 6

Will Simmons made a splash when he wrote the 2012 Black List script “Murder City” which was subsequently acquired by Aldamisa Entertainment. He also has two other projects in the works: “Romeo,” a modern day re-imagining of Shakespeare’s play, and “Defenders,” a science fiction thriller pitch bought by Warner Bros in June 2013 based upon a Hugo Award-winning novel.

I recently had the opportunity to speak with Will at length about his background, “Murder City,” and the screenwriting craft.

Today in Part 6, Will digs into more aspects of the screenwriting craft:

Scott: How important do you think the story concept is to the overall strength and commercial viability of a screenplay, specifically a spec script?

Will: It’s more important than ever, especially in this current culture of mass entertainment consumption across multiple platforms. For feature films, you have to find a balance between commercial viability and creative integrity. Unfortunately, marketability usually trumps creativity. The rate of change is startlingly fast. Production models and story formats that worked a decade ago are antiquated today. If you can’t accurately express your concept in 30–60 seconds, then you need to go back to the drawing board. Or you can cater your story for television, where narratives are afforded a chance to develop at a more normalized pace. Exceptional writing will always find a home, but it’s important to understand which entertainment medium best suits your story.

Scott: Let’s talk about prep writing. You already referenced it a couple times. What do you do and how do you approach research?

Will: I try to become an expert on whatever subject I’m writing about. It’s a fun part of the process. I’ll consume everything from biographies and memoirs to archival news clipping and documentaries. It’s about mastering a field of study, so that you can write with confidence and verisimilitude. After you’ve thoroughly researched a topic, the writing becomes second nature.

I also use visual and auditory stimulation to shape my writing process for individual scenes; whether it’s colored light bulbs to set a specific mood, or a music playlist to establish the right tone.

Scott: “Murder City” has some terrific dialogue. You talked about it a bit, about how to do that. I’d like to see if you can dig down a little bit more. How do you go about finding your characters voices and how can a writer develop their ability to write dialogue?

Will: Dialogue is an enigmatic part of the craft. As strange as this sounds, I think the best way to approach dialogue is by embracing your alter egos. On a fundamental level, screenwriting is about devising provocative questions and answering them on your own. So you need to be able to hold a conversation with yourself. You need to empathize with characters whose perspectives are drastically different than your own, and then you need to channel their voices through your mind.

Scott: How about theme? How important is it? Do you start with themes, or do they emerge in the context of developing and writing story?

Will: Theme is the nucleus for every screenplay. Each scene should be an exploration of the thematic undercurrent. A poignant theme will lend itself to a variety of interpretations, which the characters can embody and externalize. It should grow in complexity as the story progresses and characters struggle to survive the journey.

Scott: When you write a scene, do you have any specific goals in mind?

Will: Scenes are mini-movies. They should push the narrative forward, but also retain an intrinsic entertainment value when isolated from the whole. In referencing a piece of cinema, we usually think of a specific scene that defined the movie; whether it’s the Deer Hunter roulette scene, or the Normandy invasion in Saving Private Ryan, or Travis Bickle talking to himself in a mirror, you want to incorporate special moments that are singular to your screenplay and your vision. Well-crafted scenes are always structurally sound, but also leave room for spontaneity. At some point, you have to abandon the tried and true conventions of cinema and forge your own path. That said, I never write anything unless I’m confident that what’s on the page is worthy of the final draft.

Scott: That speaks to coming from a perspective of someone who does a lot of prep writing, right?

Will: Indeed. Most of the creative exploration is done during my outlining phase, so when I’m writing a draft, the narrative events and subtexts are already firmly established in my mind.

Scott: What’s your single best excuse not to write?

Will: I have sort of an old-school, blue-collar mentality when it comes to work ethic, so instead of making excuses I just write nonstop. There are million reasons to procrastinate, but none of them are worth indulging. We all encounter moments of doubt and indecision, but to every problem there’s a solution. Sometimes you just have to work harder to find them.

Scott: Let’s approach it from the other angle. What do you love most about writing?

Will: The surprises. I love those moments when you’re in the middle of scene and you’re struck by this eureka idea that elevates the story to unexpected heights. Writers are dreamers; we want to see our words translated into images. So when you can take off the writer’s hat and find excitement in your story from a pure audience perspective, you know you’re on the right track. The endgame is to create emotional resonance with the viewer through the expression of visual ideas. Enthusiasm and optimism are key ingredients during the writing process. Your passion will always be apparent in the finished product.

Scott: Finally, what advice can you offer to aspiring screenwriters about learning the craft and breaking into Hollywood?

Will: Be prepared to sacrifice. For the most part, writing is a solitary endeavor, and you have to embrace the long hours and lonely nights. If you want to devote yourself fully to the craft, it’s often prudent to isolate from friends and family for extended periods of time. Some people will support your professional ambition, others will resent you and fall by the wayside. This isn’t a job for the timid or easily-deterred. Perseverance is the only path to success. You build a reputation on consistently delivering scripts of the highest quality.

My other major piece of advice is to take risks. Your writing should be personal and dangerous. Reveal yourself on the page. Don’t hold back.

For Part 1, go here.

Part 2, go here.

Part 3, go here.

Part 4, go here.

Part 5, go here.

Please stop by comments to thank Will and ask any questions you may have.

Will is repped by UTA and Energy Entertainment.

Twitter: @willsimmons_.