Q&A: Tom Benedek, Part 5
Today is the conclusion of a 5-part Q&A with screenwriter Tom Benedek (Cocoon), who has partnered with me in founding Screenwriting Master Class, a unique online resource that provides writers the essential knowledge and workshop experience to craft a professional quality script.
During the last decade, you have added teaching to your resume on faculty at both the University of Michigan at Ann Arbor and the USC School of Cinematic Arts. What brought you to teaching?
I just simply enjoy imagining the best possible version of my students’ scripts with them and helping them reach their goals with their projects. Show business can be tough on the soul. Teaching is a lift and a thrill for me. I am always honored when writers share their creative process with me. The vision and emotion my students bring to their writing projects is amazing. Facilitating their individual progress — helping writers tap successfully into their innate creativity and knowledge of life — is an exciting and sacred pursuit.
What are some of the challenges in teaching screenwriting?
I try to create a classroom atmosphere where it feels safe for students to share, critique, brainstorm and reflect on their stories and the writing process. There are many craft tools and structural principles to share with students as they develop (or rethink) their pages and story structures. I emphasize the necessities and ideals of story-telling and help students discover the ways and means to tell the stories they have in their hearts. I try to create a comfortable balance between lessons and workshopping, to use students’ class projects for the majority of lesson examples.
Screenwriting is a marathon. Most good scripts have been through draft after draft. We set high ideals for each project. Student scripts take time, thought, work. And I think it is important for writers to celebrate and reflect on their creative triumphs as they write. It should be an enjoyable, inspiring journey for each writer.
Envisioning a movie on paper is an amazing achievement. Our favorite movies are the result of a writer’s work plus a great deal of collaboration with filmmakers, executives, producers, actors, cinematographer and art director. In the writing workshops, each student has the opportunity to practice collaboration on all the projects under discussion. Amazing discoveries arise when the discussions are positive and alive with honest and appropriate critique.
Every script we write is a piece of ourselves. We may say we are writing a script because we want to position ourselves somewhere in the industry. But we also write because we have a need to express ourselves. It is important to savor the process. I support my students’ individual creative journeys. Some students are naturally adept at writing script pages, thinking visually, getting it on the page fluidly. Some are more gifted at the total story construction of a screenplay. I truly believe that screenwriting students can learn to improve their writing skills in areas where they may not initially shine by studying the great scripts and staying mindful of their strengths and growing edges as they write and rewrite. I look for opportunities to teach craft lessons with each set of student pages which pass through my workshops. I honor my students’ creative sensibilities and writing potential.
You are a co-founder of ScreenwritingMasterClass.com. In your view, what makes it a unique online writing resource?
Screenwriting Master Class is a logical extension of GoIntoTheStory.com and Scott’s ongoing journey with his blog. Scott has created amazing resources for screenwriters. He offers generous and inspiring wisdom on the art, craft and business of screenwriting. The flexibility of the web makes it a great place to learn to write scripts. Our hope is to extend the platform for the community of screenwriters who are online. We will be providing a structured curriculum as well as a number of one week classes dealing with special screenwriting topics.
I have always felt that writing is something that can be taught well online. Students actually read each others’ material more consistently then sometimes happens in the classroom and the sharing of ideas can be more complete among students in online forums. There are great possibilities for community discussion beyond each week’s main class focus or forum.
To enhance learning opportunities for students, we decided to build a curriculum which encompasses as many areas of screenwriting art and craft development as we could. We want students to learn how to write a script, starting from the ground up in the CORE classes; or to jump in and take a PREP or PAGES class to work in a specific phase of the writing process. Specifically, to take a PREP class to work on a screen story; a PAGES I CLASS to write a first draft; a PAGES II CLASS to rewrite a draft of a script. Students will also be able to go back and refresh their work on dialogue and theme by taking a CORE II class, even if they already have studied the fundamentals. (PLUG: I have a PAGES II rewrite class and a CORE II CLASS starting on January 3 and there is still room for a few more students in both sections!)
Finally as someone who broke into the business as an outsider and has worked in it successfully for so long, what words of advice do you have for aspiring screenwriters?
There is opportunity out there. The hunger for filmed entertainment is voracious. New delivery systems are just gearing up. Fluctuations at the studios and TV companies are cyclical. But the constant is that people love movies. They want to see good ones. A great script gets passed around. Many, many agents, managers, filmmakers, producers and studio executives are looking for great scripts. If you write one, it can get made or get you work or win you an Oscar or a trip to Sundance.
Keep writing. AND enjoy the process. Getting the pages done has to be its own reward. The result matters. But on-going writing has to create satisfactions. Each forward movement matters. Write that great script. Find ways to promote it using the protocols the system provides. Leave room for some flexibility. Have a good “elevator” pitch ready and remember that in the right place and at the right time, creative personnel are open to new projects and new talent.
I wrote ten spec scripts before I got a decent job. I kept trying to figure out how to do it better. I am still doing that. I look forward to writing even on the tough days. That is how I stay balanced. I write.
For the other Q&A posts with Tom:
To learn more about Screenwriting Master Class, go here.