27 Monday Aug 2012
Posted in Uncategorized
As if blogging, teaching a workshop, writing a book on craft, and of course writing my screenplay and new pilot weren’t enough, I am now writing articles on character.
Here is the first one in today’s WriteOnOnline newsletter, please share it and feel free to contact me for info on the workshops or individual services.
http://writeononline.com/2012/08/27/characters-and-dialogue/
24 Friday Aug 2012
Posted in Uncategorized
Tags
Did everyone catch last night’s summer finale of Suits? Man I love that show. I didn’t think that I would but it has quickly made its way up the ladder into my top 5. Honestly, this show is GREAT.
I am going to blog about Louis, Harvey and Mike on my other blog page because they are phenomenal characters who really need to be examined more closely, but over all I can say that this show delivers in every sense of the words.
Story: Strong running storyline in every episode with smaller stories also present.
Characters: Great character development and great dialogue.
This show brings it every week. If you haven’t watched it, you need to. It’s fantastic.
Here is the best review of the last episode that I have seen today. I can’t really say it any better, so here you are. Written by C. Charles.
C. Charles is a TV Fanatic Staff Writer. Follow her on Twitter
http://www.tvfanatic.com/2012/08/suits-review-your-team/
Simply put, Suits delivered what will go down as one of its very best episodes in “High Noon.”
If there was any question that the battle between Jessica Pearson and Daniel Hardman would end on anything other than a decisive note, you clearly haven’t been watching closely.
It would have done a complete injustice to the season to have Jessica simply walk away victorious. While I was pleased that Hardman took control for the purposes of the advancing the plot and characters, that didn’t make the transition any easier to watch.
And that transition took place almost immediately, with Harvey and Donna being demoted to the 46th floor. The only good thing about it was how the move only seemed to strengthen the relationship between the two, which Donna was quick to point out to a detrimentally smug Louis midway through the hour.
Not only was the move immediate, but so was Hardman’s decision to get Harvey fired. And who better to sick on Harvey than his greatest nemesis, Louis? Who’s the attack dog now?!? He sought to remove Harvey and made it almost impossible to do his job by making sure no associate was available to him.
One thing is for sure: now that Jessica is back on top, I’m sure Louis will be paying ten-fold for the indiscretion. Like Donna said, he betrayed his team. No matter how much they hassled Louis, there’s no question that Donna, Harvey, Mike and even Jessica respected him and valued him in their own way. Louis may not have felt it, and it certainly could have been expressed more, but he let his anger rule the day. He’ll be lucky if the team ever adds him back to the roster.
On the flip-side, the stress of the regime change was far more than Mike could handle in the wake of Grammie’s death. He blew up at Harvey and relapsed into his drug habit.
The best part about this whole tragedy was the simple fact that Rachel was there to stand beside him the entire time, through the rage that caused him to go off on her at the episodes beginning, to her attempts to get him ready for the funeral the day of, she was everything he needed – and didn’t have – in that moment.
I will never forget that she didn’t freak out on him when she found the weed. She just asked him if it was a good idea, which convicted him enough to demonstrate a false attempt to get rid of the weed. I think it was important that he didn’t get rid of it completely because clearly a person doesn’t change overnight, and it was necessary for the shenanigans that took place with Harvey later.
But focusing on the Mike and Rachel relationship, they have come a very long way overall from the encounter that seemingly destroyed any chance they had at being together in the future.
The only detraction from this path was the non-ring-wearing married childhood friend, Tess, who magically appeared at Grammie’s service. Granted, Rachel cautioned Mike that they not continue their file room makeout session because people don’t make the best decisions when they’re reeling from grief – but that didn’t mean he ought to booty call a married woman.
Really, really dumb move, Mike!
Another relationship that went to the next level was that of Mike and Harvey. One thing I have never seen, but hope very much to see again, is a stoned Harvey. That’s the Harvey Specter that should come out to play more often!
From his munchies to his confession that he peed in Louis’ office, he was a bag of unexpected fun at a particularly dark time. More shocking was his sudden realization that Hardman planted the CM Motors document.
Props to all you out there who predicted this way back. I know I was patting myself on the back for speculating this possibility on Twitter and in previous Round Tables.
Even better was their instantaneous pursuit to prove it, even as Louis tried to pin Harvey for failure to take a drug test.
What a position of power it was for Jessica, Harvey and Mike to mount a case against Hardman quickly enough to blindside him, just in time for the hearing. Well played, team, well played.
For all of Hardman’s efforts to break them, he only proved they can’t be broken.
My only complaint is that we didn’t see them suffer a little longer. We waited all this time to see whether or not Hardman would take control and then he does so… only to have it ripped away again within effectively two days, which only played out to us in the course of 42 minutes cumulatively.
Like I mentioned before, I hated seeing him so smugly take over, but I think for the sake of growth of everyone overall, we could have stood to suffer a little longer.
And we may still. Notice that Hardman effectively told Jessica that this was not the last page of the story. Expect him to come back in some capacity – and in a big way – the next time we see him.
Lucky for us, the show has six more episodes and will return with in early 2013. With the cliffhanger of Rachel finding Mike with Tess, we don’t have to wonder what her reaction might be, only how it will play out when the show comes back.
Other Hhghlights from the mid-season finale:
Did you see it coming that Hardman really had planted that document, or that Jessica would take control again so quickly? Sound off now on this tremendous Suits finale.
Read more tv spoilers at: http://www.tvfanatic.com/2012/08/suits-review-your-team/#ixzz24V4HZtX5
22 Wednesday Aug 2012
Posted in Uncategorized
Hey everyone! I did start a blog to go specifically with my class and Script Concierge, http://scriptconcierge.wordpress.com/ but know that I still have more people here, so here is the info for my dialogue workshops coming up in Sept. 🙂
Swing by my website to pay, or for more info, or email me at stepholivieri@stephanieolivieri.com for specials, discounts, consulting and more info.
|
“Remember that you should be able to identify each character by what he or she says. Each one must sound different from the others. And they should not all sound like you.” ~ Anne Lamott Who Said That?
Online writing workshop focusing on character and dialogue.
Starts Sept 10th and runs 10 weeks.
Who Said That? Is a unique online workshop where writers of all levels can improve their dialogue. In the 10 weeks you will going over TV, film and stageplay examples and doing short exercises to help you make your characters stand out as individuals. This workshop is for screenlays, stageplays and teleplays, there will be one for fiction writing in the near future as well.
WORKSHOP overview
WEEK 1: Characters
WEEK 2: The First Five Pages
WEEK 3: Things to Consider
WEEK 4: Breaking it Down Part One Films
WEEK 5: Breaking it Down Part Two TV Shows
WEEK 6: Breaking it Down Part Three Stageplays
WEEK 7: Importance of Voice
WEEK 8: Dialogue Everywhere
WEEK 9: Creating Unique Ways of Speaking
WEEK 10: Dialogue on Existing Characters *
* (week 10 will vary depending on who is in the class, for those writing current television show specs you will do exercises on existing characters-if no one is writing a tv spec, then the class will be about matching another writer’s voice in their characters for rewrites and collaborations)
Who Said That? Part Two
Online writing workshop focusing on character and dialogue for novelists and fiction writers.
Starts Sept 17th and runs 5 weeks.
Who Said That? Is a unique online workshop where writers of all levels can improve their dialogue. This mini course is for novelists and fiction writers of all levels.
WORKSHOP overview
WEEK 1: Characters
WEEK 2: The First Chapter
WEEK 3: Things to Consider
WEEK 4: Breaking it Down Novels
WEEK 5: Finding Great Dialogue in Everyday Life
|
22 Wednesday Aug 2012
Posted in Uncategorized
Question: Why should I get professional feedback?
Honesty or flattery? Tell me what you want baby, what you really, really want.
We all want, need, crave validation. But when it comes to script coverage or a professional consult, expect some criticism. Be eager for it. In fact, be grateful. That’s where you’ll learn.
The fastest way to convince me you’re a novice is by refusing to accept that your screenplay could be imperfect. Professional writers are eager for input. That doesn’t mean they don’t want and need kudos. Trust me, they do. But they are every bit as hungry to learn what doesn’t work. Beginners tune out all but the compliments. If all you want is to hear, “Oh baby, you’re the best I’ve ever read,” spend your money on a call girl, not me.
Criticism leaves a bitter taste in everyone’s mouth, but professional writers learn to love feedback. They have enough experience to know that a script is a way of communicating and a fresh pair of eyes is invaluable. It forces them to answer tough questions, defend an idea or discover a solution. They welcome the challenge because it strengthens the story. In this relentlessly collaborative medium, if you can’t take input, you’re out. No working writer ever screamed at me, “You mean if I don’t change this one line my script isn’t going to sell?!”
My job as a producer and my approach to a consult is to give writers a fresh perspective and constructive feedback. What’s on target, what’s missing the mark and how to make every aspect work together. My goal is to make your script the best possible version of the story you’ve set out to tell. So how can you convince me that you’re a “serious amateur” hungry for feedback that will make your work better?
Don’t React Right Away
Back in the day, story notes at Disney were known for two things. First, being staggeringly lengthy and second, an aura of profound politeness while telling a writer what to do. The phrase, “Perhaps we should consider discussing” was invented to be the spoonful of sugar that made the medicine go down.
Convoluted as it may be, there’s something to be learned here. Spend some time mulling over notes. Sure, you know your script inside out, have rewritten it countless times, but could there be some truth here? You don’t have to agree with everything someone has to say, just know that somewhere in there is something for you as a storyteller to learn.
Perhaps you should consider thinking about that.
Scratch the Itch
I had the great fortune of beginning my career in development working for the writing/producing team of Raynold Gideon and Bruce Evans. They wrote STARMAN, STAND BY ME, MR. BROOKS and tons of assignments. They’d been in countless notes meetings with producers and studios. And they’d worked both sides of the desk, giving and receiving notes. Their words of wisdom? “Scratch the itch.” Simple yet profound.
Don’t do what we say, do what we mean. Get at what’s really bothering the note giver, not merely what they’re complaining about on the surface. What’s the underlying problem? “The second act lags.” Should you slash and burn or are we yearning for more action?
Scratch the itch, baby.
Take a Walk in My Shoes
I’ve put in my 10,000 hours and read pretty close to 10,000 scripts by my latest calculation.
I read like an industry professional. That means I’m built for speed and efficiency. I read fast, and I have a staggeringly high reading comprehension. What got me in trouble in 3rd grade reading circles for being so far ahead that I’d lost the place of the group ensured my survival as a development exec.
We stop reading slug lines within the first 15 pages. If you want us to know where we are, describe it in the description.
We quit reading character names by the end of Act One. So yes, each character should sound distinctive.
If these are your only methods of conveying where we are and who’s who, you’re sunk.
This is how professionals read. Period.
“It’s not me, it’s you.”
Please believe me when I say the problem lies not in my reading but in your writing.
I’ve helped launch a few writers’ careers. I remember one very quiet writer whose first project I set up. It was a wonderfully wacky offbeat comedy with a fresh spin on a familiar paradigm. This guy was beginning to develop a voice. We were pretty excited about working with him and even tried to get him an open assignment on another project of ours. But he was a soft-spoken fellow, as I said, and didn’t exactly set the room on fire in a pitch.
We were meeting in our offices, going over our producers’ notes on the draft before turning it into the studio. I was pushing pretty hard on one point in particular – something I insisted didn’t make sense. The writer was adamant. It worked. I insisted some more. And then something astonishing happened. He yelled at me! Right there, he unleashed all his frustration and yelled. Didn’t I understand that the entire point of this scene was based on a minor reference earlier, symbolized thus and such and all added up to his big point?
I was shocked.
I was thrilled.
I sat there for a moment. And then I said quietly, “No I didn’t get that.” Not until he explained it. And I’d read the script many times. “This is great!” I exclaimed. “So now, my challenge as a producer is to figure out how to get you in front of every audience at each screening of the movie so you can explain it to them.”
It went a lot more smoothly from there on. And the writer went on to have a pretty big career.
If you’re ever explaining, know for certain that you’re in trouble because means it may be in your head, but it’s not on the page.
Writers vs. Readers
Don’t expect us to agree with your writers group. Nothing personal, but what do they know? They may have spent four days with McKee, but how many scripts have they read? How many projects have they taken into studios? How many breakfasts, lunches and drinks have they spent learning what other people in the industry are looking for?
Chances are, they’re your friends; they’d rather not tell you that you look like a hippo, or they’re busy admiring their own ass. Meaning writers’ feedback for other writers is all too often laden with iffy or irrelevant ideas. They’re imagining the story as if they were telling it. Or they’re trying to make themselves feel superior. My job is to help you get the best possible version of your story.
The Courage of your Convictions
Yes, I may have just claimed that industry professionals are more infallible than the Pope, but now I’m going to play Devil’s Advocate. While for the most part, most of us do know better most of the time, when it comes to your story, well, it’s YOUR story. If you’re positive about what you want to say with it, then you must have the courage of your convictions.
Professional writers might not always agree with every morsel of wisdom that tumbles out of my mouth, and honestly, I don’t want them to. I’m happy to debate, discuss, spitball and play out alternatives. That’s where the very best work comes from.
Stand up for what you believe in. Just remember, it’s your job to make it work.
Don’t Sweat the Small Stuff, Sweat the Small Stuff
Back in the olden days, when scripts existed on paper, aspiring writers wasted an incalculable amount of time on how many brads a script should have. It was fodder for heated debate on internet sites. What a waste of time and energy. As if it would get your script read any sooner or taken any more seriously. For the record, as someone who sustained more than one brad injury toting around stacks of scripts: a) two and b) not the cheap ones.
Page count. Yes, this is everyone’s current obsession. Granted, if I see a script that’s 133 pages, I know there’s a problem. If a screenplay is 83 pages, I know there’s a problem. But honestly, if I’m reading 133 pages of a great script, it’s well worth my time. And odds are, I’m more likely to find a terrific story in 133 pages that need to be tightened than in 83 pages where the writer hasn’t dug deep enough.
If you’ve cut out all the adjectives and articles to make your script a “fast read,” you don’t have a clue as to what a fast read is. And you’ve made my reading experience miserable. I’ve read the same screenplay both with and sans the “little” words. One version had charmingly quirky characters and a unique setting that gave it an off-beat appeal. Other painful. Lack sentences. Not flow.
Words count.
Deep down can say you’re truly looking to make your work better with coverage or a consult? Or are you spending $$$ to get encouragement? Everyone eats up compliments, but can you be equally hungry for the bite of criticism? I get queries all the time from writers boasting that someone read their script and said “excellent writing” or “this is a rich story.” Unless they said “Great idea for a movie. I wanna nearly kill myself to get this puppy made!” it doesn’t mean a thing.
You look positively anorexic.
Can I get you a doughnut?
A producer who’s sold to all the majors, Barri Evins created BIG IDEAS to give aspiring screenwriters what it takes to break into the business, teaching techniques she uses with professional writers. The Big Ideas Screenwriting Seminar gives you an insider’s perspective, shows you how to create stories that ignite interest and develop screenplays faster than ever before. Includes Barri’s mentorship for a year. Barri will be a panelist at theScreenwriters World Conference.
21 Tuesday Aug 2012
Posted in My journey into Hollywood writing :0)
I was happy to wake up and hear that I am a semi finalist in the SPEC SCRIPTACULAR put on by TV Writer.com
It’s always nice to hear that you advanced. Writing is subjective and I take rejection well, but this was nicer.
I am not bragging, but just happy to hear it, well see it-my name on that list.
I wrote an episode of Happy Endings for the fellowships and contests. I love the show, always talk in pop culture references so it just made sense.
I am one of those writers who loves writing specs. I also love writing originals, but specs are always especially fun because you are writing about characters you already know and love because they are in your life.
I would love to be a showrunner, but I also love working on other’s shows. I am happy as long as I am writing and that’s the truth.
So here is my segway-I was hired today to write short children’s stories for a mobile app-they are really awesome stories and I was so excited to be contacted and hired. Today was a good day. 🙂
Hope you are all having a great day as well and are writing. Write write write!
20 Monday Aug 2012
Posted in Uncategorized
REST IN PEACE TONY!
I am beyond saddened by this news today. Tony Scott was one of my favorite directors and I am 100% sure that he didn’t do one film that I didn’t like.
I worked as an extra on Days of Thunder and he was so nice and generous, he even talked to us extras. I remember his smile like it was yesterday. (I did the extra circuit around that time and rarely got to speak to a director ~ as extras usually don’t.)
This is a really sad day for the entertainment world, and the rest of the world as well.
Suicide is always a tragedy because it is so final. As some of you know I am donating a book-my novel-Four Seconds (formerly Slanted Houses, 4 Seconds) to the Bridge Rail Foundation in San Francisco to help raise money for a barrier on the Golden Gate Bridge-the number one suicide place in the states. Everyone knows about the GGB, but people forget we also have a suicide bridge in our own backyard. The Thomas Vincent Bridge is also the home to suicides.
I don’t know what was going on in Mr. Scott’s life, but something was, and something made him decide it was enough. I hope his pain is gone and I hope that his family, friends and colleagues know that they couldn’t have known and not to blame themselves but to honor his memory somehow.
I am going to have a Tony Scott marathon this week. Here’s to you Tony! Thank you for entertaining us all.
Farewell. Rest in peace.
Some of my favorites that he directed are:
Some of the ones he produced in film and television:
Numb3rs (TV series) (executive producer – 115 episodes)
Into the Storm (TV movie) (executive producer)
In Her Shoes (executive producer)
19 Sunday Aug 2012
Posted in Uncategorized
Pretty in Pink is on cable right now and even though I own the DVD I am watching it while I work. I love this film and ALL of John Hughes’ films. One of my FB friends posted on my post of the film poster that after it came out all regular guys thought they were a Duckie (Phil Dale) and it got me thinking.
Even though in the ’80s I was always compared to Alley Sheedy-especially when The Breakfast Club and St. Elmo’s Fire and Short Circuit came out, I wouldn’t say I was anything like Allison Reynolds. I was more of a Amanda Jones, and she is the one I related to the most, and or maybe Andie Walsh because we didn’t have any money. But who I wanted to be or would have loved to be is someone totally different.
Who is your favorite John Hughes character?
Who would you be if you could be one of them for a day?
For me it’s the same answer.
Ferris literally changed my life. I was in high school and I was very worried all the time about everything and then one summer I went to see Ferris Bueller’s Day Off and it changed the way I looked at life and my whole attitude changed-for the better!When I was in the theater I realized I was living my life like a Jeanie Bueller when I should have been enjoying life like a Ferris
I love all John’s characters, but Ferris is the one I love the most to this day.
What about you? Bueller? Bueller? Anyone?
17 Friday Aug 2012
Posted in Writing (film & television)
Happy Friday! Today I am going to be doing some work at the game studio for a bit, then I have two exciting meetings about upcoming writing projects.
Then I am going to work on a sample chapter and an outline for my new book on character dialogue, Who Said That? Yes it’s the same name as my online workshop starting Sept 10th.
In the meantime I have posted a list of great resources on my Script Concierge blog, so stop by and have a look, share it with other writers.
http://scriptconcierge.wordpress.com/2012/08/17/great-resources-for-creating-characters/
Have a great Friday!
16 Thursday Aug 2012
Posted in Uncategorized
Hey writers only two more in this awesome series put on but On The Page
http://www.onthepage.tv/2012/?wpsc-product=camp-on-the-page-week-1
Week 6: “The Business of Film and TV”
Instructors: Carole Kirschner / Doug Chamberlin
Advice on navigating Hollywood, making connections, and marketing yourself for film and tv.
Sunday, August 19 1:00 – 4:00
Price: $65.00
Week 7: “Comedy with Steve Kaplan”
Instructors: Steve Kaplan
Dig into the rules and structure of comedy writing.
Sunday, August 26 1:00 – 4:00
Price: $65.00
15 Wednesday Aug 2012
Posted in Uncategorized
I was up for a rewrite screenplay job-just found out I was number two-that’s like the 4th time that has happened to me this year-feeling like ‘Gulden’s Mustard’ .
Yes that’s a film reference-everything in my life can be be summed up by something in a film or television show and or a stageplay.
It’s okay, I’m okay. I am more sad about missing the huge payment than the rewrite-the film wasn’t great and even when submitting my proposal I changed it a lot to make it better. I thought it was a long shot, but then I kept getting emails saying I was closer and closer and asking me questions about this character and that, so my hopes were up.
I hope to get more chances to submit for rewrite jobs. I know I am good at it. Sure I love my own stuff, but I am happy to work on other projects, would seriously love being a script doctor for the studios.
P.S. If you have to Google that quote to know what it is from, that’s okay, not everyone watches as many films as I do. 
Here is a hint.
Steph Olivieri Bourbon ~ Writing Coach 