Screenwriting ‘gurus’ [cont’d]
The Screenwriting 101 I posted the other day was a quote from writer-director Frank Darabont:
“The whole industry of ‘we can make you a screenwriter.’ I have ambivalent feelings because, ultimately, even though there is some benefit to be gained by those things — I stress the word ‘some’ benefit, minimal benefit — ultimately you know what it all boils down to? You’re sitting at your desk, all by yourself for years, trying to figure out your craft and applying the effort necessary. And that’s what nobody wants to hear. Everybody wants to hear, ‘I can teach you a three-act structure, I can give you a formula, and you’ll be selling screenplays within six months.’ Bullshit. And what’s really funny is, these guys in the business of being screenwriting gurus, they don’t ever write screenplays. I have never seen one of these guys’ names on a screen credit in a movie. I do think there is some benefit to these classes, but I don’t think people should be misled into thinking it’s the be-all and end-all, and they’re going to walk out a screenwriter. Everything is self-applied effort in life. Everything. You don’t learn anything easily.”
That post elicited some interesting comments and a pingback from NoFilmSchool. So I chimed in with this:
I thank everyone who weighed in with their comments and opinions. Echoing Jeff’s comment above — there’s no right way to write [one of my common refrains] — I don’t think there’s any point to saying a writer can or can not benefit from so-called screenwriting ‘gurus.’ I for one benefited from reading Syd Field’s “Screenplay: The Foundations of Screenwriting” back in 1986 as it opened my eyes to the concept that stories [at least those intended as movies] do have a structure.
But the fact is story is so much more than structure, and that pertains to screenplays, too, even though they are in effect a blueprint to produce a movie. I have never read McKee, Truby, Snyder or most of the other ‘gurus,’ but I have worked with hundreds of students who have. And the net effect of what I experience on the front lines of interfacing with many aspiring screenwriters is too much of an emphasis on structure — and by that they almost always mean plot — causing scripts to suffer: formulaic stories, thin characters, and narrative largely devoid of significant emotional resonance.
As to the point raised in this thread about the preponderance of ‘guru’ content floating around conveying, either directly or through subtext, that there is some program or paradigm that is key to writing a successful script, using terms like ‘blockbuster script’ or ‘million dollar spec script,’ I think that has contributed to a common belief among aspiring writers: I can write this one script and end up in Hollywood tomorrow.
In point of fact, that is true in extremely rare cases such as Michael Arndt and Diablo Cody. But in my view, that attitude is wrongheaded, not only because the odds against immediate success are astronomically against the writer, it is putting the focus on the wrong spot: It’s not just about writing a script, it’s about becoming a screenwriter.
Per the latter, it takes time, it takes work, it takes immersing oneself in the world of cinema, it takes reading hundreds of scripts, watching thousands of movies, it takes learning principles and practices used by professional screenwriters.
In other words, is your goal to sell one script or have a screenwriting career?
I still contend that it’s possible for writers to break into Hollywood and become successful at the craft of screenwriting just by doing three things: Read scripts. Watch movies. Write pages. In theory, it is possible to never take a course, never read a screenwriting book, never work with a guru or mentor. And that belief is just one reason why I will never qualify as a ‘guru.’
For most writers, however, they would benefit from some sort of guided learning, at the very least expediting and focusing their process. As to who you choose to work or study with, do due diligence by seeking out information about this or that supposed expert.
Ultimately it comes down to you finding your own writer’s voice. And that pretty much comes through time, effort and persistence.
Then screenwriter Scott Frazier added this:
I think there are many similarities between becoming a great screenwriter, and becoming a great athlete.
1) Inherent talent / skill is not necessary, but it absolutely helps.
2) When we first start out, we play/write as much as we can. We teach ourselves rhythm and pace and taste as much as a baseball player teaches him how to hold his bat so it feels comfortable, how to throw the ball for maximum efficiency, etc.
3) We must be constantly working at the skill, to improve by making mistakes and correcting bad habits. The less we work, the slower we get better.
4) Coaches / gurus can be a fundamental aspect of becoming great, but I guarantee no baseball ever walked up to working in Sport Chalet and said: I can make you a Major League Baseball player.
5) Coaches / gurus (the good ones anyways) only help us improve, they bring out the latent talent, they provide perspective and insight.
6) Not every great player needs a coach to become great, but most can be improved by one.
7) A coach without a player isn’t really a coach at all. A player without a coach is still a player.
Add it all up, I figured this is a subject area worth revisiting in a proper GITS post.
What’s your opinion about screenwriting ‘gurus’? How have you learned the craft of screenwriting? What platforms [e.g., books, DVDs, seminars, classes, workshops, private consultations] have you found to be the most helpful to you? Or have you concluded the best way to learn the craft is just do it on your own?
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