An excerpt from my script review for Obsession which will be available 07/07/26:
1.) Marketability of the Idea
Be careful who you wish for…
That’s a great logline, tagline, however you want to pitch it. As long as someone knows it’s horror, that simple sentence might be enough to lead to a read all by itself.
Reals (the self-proclaimed KING of loglines) might disagree, but for me, less is more.
And this project in particular is why he, I, the Cap’n, 3way, etc. are always arguing about writing in the horror genre.
I’m glad this project is doing well, because there’s nothing really revolutionary about the plot. When you think about it, it’s really just a modern day retelling of The Monkey’s Paw, where instead wishing a loved one back to life and it going terribly wrong, it’s a guy wishing a friend was more into him…and going terribly wrong.
But…you want to be break into screenwriting? Write a low to mid budget horror.
It’s right there for you.
During my summer gig this weekend, I was speaking with a friend of mine…
I forget exactly how we got on the topic, but he mentioned he has a couple he’s friends with, and they have a son who wants to go into screenwriting.
He knows I have this site, but I listened patiently as he told me the story, mainly how the son wants to do it, but as a high school senior, isn’t sure where he wants to go to do it.
The main notion seems to be that he wants to work in the production industry, and the only way to do that is to attend film school.
He named two schools that were the “best” in the country, but I had never heard of them. Not to say they aren’t the best, just that we focus more on the craft here than any institutions that teach it.
My follow up questions were simple…Does he want to be a screenwriting or work in production?
He said screenwriting.
Next question…What scripts is he reading?
This is the follow up that’s very important! You can read Save the Cat, The Hero with a Thousand Faces, etc. but sooner or later you gotta start reading professional scripts, understanding what works and what doesn’t.
I believe my buddy answered that he bought a copy of Pulp Fiction to give him as a gift.
In the words of the great Lee Corse, “Not so fast, my friend!”
Remember the W2R motto…“You ain’t Quentin Tarantino.”
Here is where I’ll just share with you, what I shared with him. There was some good natured back and forth, but I’m not sure how much actually got through given the location of the discussion.
If you’re truly focused on being a professional screenwriter, your first step should be reading scripts of films you like.
Mull that over again…your first step is to read scripts.
Watching films is fine. Reading a screenwriting book or two is okay.
Sooner or later though, you’ll have to invest time in the actual craft you claim to want to participate in…even before you type a single word.
And why start with scripts for films you enjoy?
For starters, you’ll be more interested in reading it, but more importantly you’ll better understand how a visual on the page translated to the big screen.
(Not to mention you may discover some changes that didn’t make it for one reason or another.)
After that, choose screenplays that are standard “best” recommendations…
Here’s Gemini’s Top 5…
The Social Network.
Yes! Aaron Sorkin is the not self-proclaimed King of dialogue.
You want to learn how “enter late, leave early” is meant to go, this is the guy who can show you that path. I’d argue you can substitute in a few of his other film scripts here too, just don’t get bogged down in his teleplays…that’s a whole different ballgame.
Chinatown
This made a few lists, like the top 10 on Final Draft. I’ve never read the script, but I know I fell asleep several times on a plane trying to watch it. That might be sacrilege if you ask Hollywood, but isn’t it about a cover-up where a rich dad rapes and impregnates his daughter? If you’re looking for a good mystery that develops, there’s probably one that doesn’t involve incest.
Pulp Fiction
Again…you’re not Quentin Taratino, so trying to tackle non-linear storytelling in a way that breaks “normal” screenwriting format? I’d say skip this one. I’d even stick to the old Blake Snyder argument…Momento is beloved by critics and fans for its non-linear take, but it was a box office flop (by most standards) that sure, may or may not have opened the door to Chris Nolan’s career, but why stack the odds against yourself?
The Godfather
Another oldie that you could better spend your time elsewhere. If your goal is to adapt a book…maybe…but again there are probably more recent scripts to pull from like Project Hail Mary if that’s what you’re going for.
Yes. Out of the more recent Jordan Peele projects, this is the one I’d recommend. First it’s the more recent script of those mentioned above, but also it’s set in the horror genre which is your best bet for breaking into the industry.
(Remember, it is the most loyal and forgiving fan base!)
Another two to consider starting with is Sixth Sense and Rosemary’s Baby. I’d probably pick the former before the latter, only because it’s more recent.
Both are horror with a “surprise” twist at the end.
I optioned a script once that was compared to Rosemary’s Baby…Hell, I’ll take the compliment, but aside from the final reveal twist at the end, one was set in space, the other in 1960s NYC wear everyone dressed up and chain smoked.
After that, pick maybe one or two more scripts to read, but sooner or later you gotta start clacking away at the keyboard!
Yours truly shouldn’t need to tell you how much work it will be to write a script, but if you’re serious, you’ll need to commit to a first draft of your very first screenplay.
There’s a sense of accomplishment when you’re “done” so pat yourself on the back, but the writing journey is only beginning.
No story is perfect on the first try.
(Remember, George Lucas had at least six major drafts for Star Wars, which were all drastically different from what came before it. And that doesn’t count his detailed synopses.)
So…do you need to go to school for screenwriting? No.
You’ll be assuming a large chunk of debt to have just as little a shot as if you didn’t.
(Now if you want to work in film production, then yes, you probably need schooling, and being in LA hedges your bet paying the bills doing it, but not by much.)
If you’re absolutely dead set on going to college, go for something you’re interested in, but can make a living at. Once out, you’re free to pursue your dream, but more importantly, will have something concrete that pays the bills in the meantime.
Whichever path you choose, at the end of the day you can do it, because the author of this script, Curry Barker, did it.
It won’t be easy, and the odds will be stacked against you, but it’s not impossible.
(If you need inspiration just look at those numbers!)
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