Given that “Yellowstone” is technically in competition with the enduringly popular “Sunday Night Football” telecast, the fact that the show pulls in more than 7 million viewers in Nielsen’s time-adjusted Live + Same Day ratings — perhaps even appealing to many of the same viewers — is a tremendous feat.

This confirms the key points in Part 1 of this article. I noted that Sheridan is immensely prolific, his work is increasingly popular, and his scripts maintain a high professional standard.

Let’s now look at his power, politics and – potential – progress. With an ever-expanding universe of serial drama, Sheridan has established himself as one of the most powerful screenwriters in the States. Should he put this to good use, he may be in a unique position to help change the politics of a troubled people, and contribute to some badly needed progress.

POWER – Yellowstone going all Lord Of The Rings

In the late nineties, Peter Jackson signed his $180m LOTR deal with New Line. He leveraged part of it to build a massive film infrastructure hub in his hometown of Wellington. In this way, he didn’t just achieve economy of scale; he also escaped the prying eyes of Hollywood.

Now, Taylor Sheridan is taking a leaf out of Jackson’s book. Only, where Jackson bought buildings and SFX machines, Sheridan now owns almost every horse on the screen.

WARNING: spoilers for 1883 and Yellowstone.

Soon after moving back to his native Texas, Sheridan clinched a $150m+ deal with Paramount. Next, with a group of investors, he bought the legendary “6666” ranch. Why would a filmmaker buy a horse and cattle ranch covering an area twice the size of Chicago, at a cost of around $350m? Perhaps because he’s obsessed with horses, and now his toys are tax-deductible…

Or perhaps, 6666 will become Sheridan’s studio lot. Right now, it already serves up western-style EXT-DAY shots, but I could see soundstages added to the mix as Jackson did with Stone Street Studios. And who says 6666 can’t also become a creative hotspot modelled after Jackson’s Park Road Post (or even Lucas’ Skywalker Ranch)? Texas has enough local talent to benefit from such facilities.

In this scenario, Sheridan would become a big player, and consolidate his influence not only as a creative but also as a business mogul. The next question is what he wants to do with all that power.

POLITICS – Making America United Again.

The heroism in 1883 may conjure the image of a red hot banner reading Make America Great Again. But Sheridan was no fan of #45. Instead, he shows us the positive human values at stake then. His perspective is nobler than the unbridled capitalism, opportunism and antagonism that is the brand of modern Republicans.

If it sounds romantic, it is not naive. Character actions in the Yellowstone universe are earned. You make a mistake and you do penance, before carrying on more wisely. In season 4, Beth and Rip reject Carter before ultimately taking him in; Lloyd attacks Walker, but not without reconciling. The Texans in 1883 first antagonise the immigrants, but then make the compassionate choice to help them out.

And while John Dutton in an early Yellowstone episode says “This is America, we don’t share land here”, I suspect that his mindset won’t survive the show. Second chances, compassion for the underdog, compromise and reconciliation are big themes here.

Sheridan doesn’t want to tell you how to think, but his stories are crystal clear about where he stands. He shows us people, a world, and a way of living that many can relate to, regardless of who you vote for. In this universe, the central characters (Kayce in Yellowstone, Mike in Mayor Of Kingstown, Brennan and The Duttons in 1883) model dignified and moral actions, offering an alternative to the cynicism and hatred in many of the critically acclaimed shows full of rich a-holes.

Just don’t harm the family – or you’re off to the train station.

In the words of fellow Texan Mathew McConaughey, Sheridan is an aggressive centrist. His concern for the flyover states was just as clear in his first film Hell Or High Water, as it is today in 1883, Yellowstone or Mayor Of Kingstown. He’ll make sure his stories are palatable for the audience they’re about, and not just to the intellectual elite. This differentiates his work from the likes of e.g. David Simon.

Similar to his central characters, Sheridan tries to build bridges instead of burning them.

PROGRESS – Making a difference

And you know what? It’s about time we try this route. Audiences are sick and tired of being lectured to. I love watching Clooney’s work, but what has it achieved? Same for Sorkin: watched by the privileged, worshipped by intellectuals. When has Sorkin ever portrayed ordinary people? Never. Because he doesn’t understand them. And while I enjoyed Don’t Look Up as a piece of entertainment, we all know the amount of change it will bring: exactly nothing.

All these Hollywood hotshots preach to the choir, and along the way blame ordinary folk for their voting choices. It’s interesting that the critics are happy to criticise Don’t Look Up, while at the same time ignoring the alternative right before their eyes.

Sheridan believes he’s being overlooked by the awards and critics because he breaks storytelling rules. I doubt this explains it (although he does break rules – successfully). The real reason: his writing is not fashionable. It lacks the sophistication, the clever and the cool of the Successions of this world. Sheridan has opted for melodrama and heart. Try finding that in the world of Logan Roy.

Of course, another explanation for the snubs may be Sheridan’s decision to physically distance himself from the screen production hubs. Perhaps people rather vote for faces they see in the corridors and the street, and for those hanging at the same parties. Of course, it doesn’t matter anyway, because these little statuettes are all about perception. Audiences don’t care for awards or critics. They’ll decide for themselves what’s on the screen next season.

And rather than holding him back, his Texas outpost may well become Sheridan’s superpower.

2022 And On – The Next Decade

With names such as Clark Johnson (The Wire, now also Mayor of Kingstown), Terence Winter (Boardwalk Empire, now Kansas City) and Tom Hanks leaking into the Sheridan universe, my guess is that the detractor pundits will soon capitulate.

With more shows added to his line-up, and A-listers to his pantheon, Taylor Sheridan’s name will only become more ubiquitous. And once the Paramount deal runs out, expect to see his work and name everywhere.

I wanted to explore if Sheridan is the most important and influential screenwriter today. Admittedly, he may not be there quite yet, but in terms of output and popularity, he has no match. And as his first decade as a writer is coming to an end, his productivity is only just getting to cruise speed. And the Thoroughbred Sheridan seems to be, there is a lot of mileage left.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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Today, Taylor Sheridan is the most important screenwriter alive. What other writer is in equal measure popular, prolific, powerful, professional and political? I know none. Particularly that last element usually kills all the other qualities. Let’s look at the detail.

1. POPULARITY – Taylor Sheridan is crazy popular.

   Taylor Sheridan has connected with an ever-widening audience. Sicario’s box office nearly tripled its $30m budget, Hell Or High Water did even better, and Wind River quadrupled it. Then, Yellowstone hit it really big, with nearly fifteen million Americans tuning in for its Season 4 premiere. It beat NFL and any other season premiere of the past 4 years. 1883, the latest offering at the time of writing, last week broke all records for cable premieres since 2015.

   Sheridan’s stories appeal to broad demographics, from the farmer to the white-collar worker, from the high school student to the single mother. In the US, he’s found a big audience in the flyover states – which are finally seen on screen – and with city dwellers dreaming of a Yellowstone lifestyle.

   The stories are simple, and the emotions are big. The writing is lean and full of melodrama. Yellowstone is not just another dysfunctional family soap; it is rich in theme, brimming with metaphors, and delivered in a sweeping visual style. Easy viewing.

2. PROLIFICNESS – Yes, that’s a word. I looked it up.

   Taylor Sheridan is insanely prolific. Last Sunday, fans in the US saw no less than 4 fresh TV hours drop from his hand. He has 3 shows running concurrently: Yellowstone, The Mayor of Kingstown and 1883. Every single episode of these has Sheridan credited as the sole writer. This is unheard of.

   To achieve this, Sheridan says he didn’t sleep for 7 months in the lead-up to the premiere screening of 1883. No wonder.

   Over the past 4 years, Sheridan has single-handedly written more than 50 hours of serial material. Before that, he garnered sole credit on four produced features, while his shared credits – Without Remorse and Those Who Wish Me Dead – enjoyed somewhat less critical acclaim. Let him ride alone…

1. PROFESSIONALISM – Taylor Sheridan’s scripts show a high standard.

Sheridan’s scripts shine in clarity and concision, as apparent from his superb 2012 Blacklist topper Hell Or High Water. Today, he no longer needs to impress, and nobody will mind if he breaks a rule or two. Yet, unlike some other established writers, his scripts still offer solid models for anyone trying to break in. Even if they’re only first drafts, as Sheridan has claimed.

Taylor Sheridan was never formally trained, and so he tries to avoid the mistakes in all the bad scripts he read as an actor. He starts his stories with absurdly simple plots, and he is allergic to exposition. Both are pretty good principles if you want to write for a broad audience.

Under Paramount’s phenomenal time pressure, the quality of the writing may have suffered. Still, the material is pretty strong, given that Sheridan is not relying on a 5-10-strong writers room like about every top-rated show. So, instead of comparing Yellowstone to Breaking Bad (although both pilots have more than a few similarities in their opening shots), perhaps compare it to El Camino.

His material is close to his heart, his stories are simple, raw and direct, and his direction shows minimal cinematic frills. And so is his writing: economical and straightforward. While the material has a masculine bias – he is a cowboy after all – he has created admirable female characters over the years.

About his ability to create compelling scenes, ScriptShadow wrote: “Scripts live or die on their scenes. So if you can come up with an operating procedure that ensures all your scenes are entertaining, you’re set. And Sheridan seems to have figured that mystery out.“

And before anyone points it out, I know. He doesn’t outline.

Next week on Taylor Sheridan: 4) POWER and 5) POLITICS

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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I love teaching, I adore my students, and I’m fortunate enough to see some good results, as some of my students go on to build a writing career.

Yet, I am growing increasingly frustrated.

There is a missing component in the learning of these young people. Some take the initiative to fill in the blanks, but others aren’t even aware of what is missing.

By just taking courses, there is little chance you will survive the real world.

So what else do you need?

Let’s first look at the positive aspects of books, courses and gurus.

Book, Courses And Gurus

I have written about the merits of film school. You can learn a lot from the experts through books, courses and videos. I have the best memories of binge reading screenwriting books, and then attending lectures by the authors.

In some instances, you can speed up the process of understanding how screenplays work, what has worked in the past and what hasn’t.

You’ll also learn the systems and terminology used in our industry.

Courses give you a general overview, based on more material than you can process in a lifetime. You learn about genres and styles outside your taste, which will help you communicate with professionals.

Books and courses give you different perspectives. No matter how long you study a subject, you’ll still only see it through the lens of your own eyes.

Screenwriting courses may give you a wholly new, valuable point of view.

However, one of the biggest problems with courses, is that only little of what you learn specifically relates to the work that you (will) write.

Therefore it is essential that you get feedback to your own work. It will help improve your performance, and level up to the requirements of the market.

Talk, Don’t Write

One of the local film schools offers their students industry feedback. Professional script consultants come in to help the students improve their scripts from first to final draft. It’s great. Students love it.

Not only is this an introduction to how the industry works; it is an invaluable addition to the lectures. Lecturing is a transfer of knowledge in bulk. The consults provide bespoke feedback, different for each student. Even if two students struggle with the same issue, they may need different solutions.

Consults outclass written reports. In the studio system, notes are a standard form of communication with writers. But without produced credits, you will benefit far more from a direct two-way conversation.

In a live consultation, you are able to ask questions, and so can the consultant. This helps define your objectives, as well as the issues standing in the way of achieving them.

The Consult Is Your Inmost Cave

Most of us work better and faster when we can verbally discuss our work, rather than write or read about it in a snapshot report.

Many aspiring writers are not familiar with the lingo, and consultants should not have to explain or define every concept in a report.

A good script consultation is a mini-workshop, where client and consultant work together to determine the priorities for future work, and the way they could be addressed by the writer. The best consult is an intense, inspiring and rewarding experience for both sides.

A welcome side-effect of some consultations is that writers discover what they are actually writing about.

Often new writers are not aware of the themes they infuse their stories with.

As a consultant, you are in the privileged position of discovering these themes with the writer. What is their world view? What bugs them, and how do their stories comment on society?

A great consult creates an Inmost Cave, for writers to discover their own voice.

It allows them to develop their voice, and articulate their ideas in ways that the industry and the audience will understand. Sometimes it allows them to clarify, sharpen and refine their ideas.

Often these young writers are yet to find their path in life, and their writing provides a valuable introspection into their values, hopes and dreams. As a consultant, it is a humbling experience to be there, and witness this fascinating process.

And yet, no matter how inspiring, poetic and even mythical these experiences may be, they are no substitute for learning from the source.

Back To The Screenwriting Source

A few years back, a member of a screenwriting forum was eaten alive when he dared to ask for a method to learn screenwriting for free. Many of the readers had paid good money for their education, and they came down on the boy to annihilate him.

It turned out the boy didn’t know any better. He was new to screenwriting, and with a mental health disorder he didn’t know how to be diplomatic when asking his question.

It set me thinking.

Screenwriting books and gurus have only been around since the 1970’s, while some of the very best movies were written long before.

How did screenwriters learn the craft before there were any gurus around?

My guess? From reading great screenplays, stage plays, and novels.

It seems that we have collectively forgotten that the best learning lies in the best scripts. Yet, students these days seem to believe they can educate themselves without opening a single screenplay.

From reading lots of great scripts, you can learn style, structure and dialogue, virtually by osmosis.

One of my most dedicated students used to read a full-length feature screenplay every day, for months. This experience helped him so much, that he skyrocketed to the top of the best screenwriting contests, and was introduced to Hollywood agents. You can do this, too.

To be perfectly honest, though…

Just reading scripts is not going to cut it, either.

Enter Immersion

Thousands of screenplays are available online at any given time. They’re only a download away. So why don’t we all get to work, like, now?

It turns out to be a massive challenge to tell the wheat from the chaff.

Many are mere dialogue transcripts, which is utterly useless for the screenwriter who wants to learn how to use proper formatting and descriptive style.

Others are butchered versions, converted from one format to another, and ending up in a crappy TXT or – even worse – HTML format.

And only a few dozen scripts are available freely from their rights holders.

Fortunately, some sites publish a curated offering of these scripts, so you don’t have to make the selection for yourself.

In my view, once you are reading a rock solid selection of the best scripts, the only other mandatory daily action you need to take, is: write.

This is why after teaching screenwriting courses for nearly ten years, I decided to completely overhaul the philosophy behind my teaching.

I made a thorough review of what had worked in the past, and what didn’t.

I looked at which students had been successful, and who failed. Then I looked at the practices of working screenwriters, and built a system that helps writers build better habits, and prepare them for the writing of a professional screenplay draft. All without a tutor.

I named the course Immersion Screenwriting.

The results have been phenomenal.

The writing exercises I designed for this course emulate some of the brain processes of the seasoned screenwriter. Others are meant to create a steady writing habit, while building some sort of format muscle memory.

By performing these exercises on a daily basis, you adopt the practices of the professional screenwriter effortlessly. The basic version of the course runs for seven weeks (50 days), enough to change or create a new habit.

Take Action

If this all sounds like something you’d like to try, head over here.

If you have spent hundreds or thousands of dollars on screenwriting courses and consults, rest assured that none of that was a waste. You will have acquired a top level understanding of the screenwriting trade.

But to get in the successful habit of writing effective screenplays, you need to not only know but feel what a great script looks like. This takes some time, and a fair amount of reading.

You need to know your genre inside out, you need to know its flagship movies and writing conventions. In addition, you need to be able to apply a contemporary writing style.

Readers want to enjoy your screenplay not only for its story, but also for its reading experience.

So, what script are you reading next?

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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The question is not new to me. My answer is never the same.

But today I’m giving you the one, definitive answer.

First, a personal story.

Years ago I went through a difficult time, and had just moved to a place that was miserable compared to my previous home.

I was so lonely, broke and distracted, I couldn’t do my work. So I went outside, and sat on my balcony with my eyes closed, feeling miserable.

As I was sitting there, I felt how the sun was burning on my skin.

Then, I had a Ratatouille moment.

Remember when in that Pixar movie, Anton Ego tastes Remi’s ratatouille, and his life flashes back to his childhood?

Suddenly I remembered the happy holidays in the South of France with my parents, brother and sister, and our best friends. Putting my book down after reading by the pool, I would close my eyes, and just enjoy the sun burning on my skin.

Now, 35 years later I realised how most of my life I had been dreaming of living in a warm country, so I could have that experience every day.

At my all-is-lost moment, I realised that I had in fact achieved my number one life goal. I was living in Sydney, one of the most beautiful cities in the world.

And I could enjoy its wonderful climate every day of my life.

So I decided to enjoy it.

What does all this have to do with screenwriting?

It #1: Some Success At Some Point In Time

“Is it worth it?”

Did you notice the most important 2 words in the title of this article are it and it? Two placeholders.

Because no two people come to screenwriting from the same background, with the same aspirations, those two words mean different things to different people.

Before we can answer the question, we need to clarify it.

The first it refers to what you are hoping to achieve as a screenwriter. This could be a million different things.

Is your goal to pay off a debt, or improve your lifestyle in the short term from your earnings from creative writing? Quit now. Writing is a long game, with a low average income.

Is your goal to write exclusively for cinematic features? Quit now, unless you are extremely patient, and okay with the thought that this dream may never be fulfilled.

Do you want to earn a living from any kind of writing, be it for film, TV, webisodes, theatre, from copywriting, blogging, technical writing? Persist, and you will succeed. Many of my students are earning from writing for a range of platforms.

There is a fourth option, but I’ll get to that later.

It #2: Lots Of Sacrifices, Now And Forever

The second it is about the effort a screenwriter puts in to get ‘there’.

Again, the type and amount of effort you put in can be anything. Perhaps you read scripts, analyse movies, or network like crazy. Or you may be paying lots of money to screenwriting courses, script editors, and contests.

For some, the cost amounts to thousands of dollars every year. This may seem a lot, but the same people often happily spend even more on their hobbies. And once you start earning from your writing, the expenses become tax deductible.

Screenwriting is not the only area in life where it seems you need to put in an inordinate amount of time and effort to gain anything. But the problem for many is the lack of tangible progress.

Meanwhile, all we get is rejection emails.

The rejection that screenwriters experience is not too different from that of real estate agents making cold-calls or door-knocking. When a real estate agent hits pay dirt, it can be big. When a screenwriter is successful, he can pay last month’s rent.

Sometimes it seems the effort is somewhat out of proportion with the results.

And this brings us back to the original question.

So, Is It Worth It?

Literally, hundreds of thousands of people are writing scripts all over the world. Collectively, in one week they complete more scripts than you can watch movies in a lifetime.

If you do the maths, I think you’ll find that something like 0.0005 will ever be able to make a living as a screenwriter.

Now think about it, while you are not yet earning from it, you are writing. And isn’t this exactly what you wanted to be doing every day in the first place?

This is your fourth, and most important option for the first it.

The ultimate goal for most writers is to be able to write for a living. This means that most of your day will be filled with exactly that: writing.

By the way, if you have a decent paying job now, it is unlikely that you’ll be earning a whole lot more as a writer. You may well have to live (even) more frugally.

So, instead of focusing on the material side of screenwriting, be aware that the biggest change in your life will be that you’ll be writing more.

And when you look at all the so-called sacrifices you are making, how many of those are really procrastination? Perhaps you should just be writing more. Because that’s how you improve. By practising.

In which case, the sacrifice is the same as the goal.

In other words, what you are doing now, is what you’ll be doing when you get there.

You already have what you want.

Ain’t that ironic.

Now close your eyes, and have your Ratatouille-moment.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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In the next post, I will give you my reply.

Meanwhile, here is the letter.

Dear Karel Segers,

Hi, my name is Kryz Woodhouse, and I’m addicted to screenwriting.

Six years ago I was working as an assistant manager for a retail company and was feeling the pressure to move up into a store manager position. Keen to expand my horizons I began meeting with other companies looking for store managers and found quite a lot of interest.

I took some time to stop and think: What did I want to do?

The nagging answer: I wanted to write more.

I realised that when I get to the end of my life and look back, I’d rather have failed at something I wanted to do than succeed at something I didn’t.

I left my job, got a fairly easy part-time non-management position instead, and threw my spare time into writing.

At that time I had already written a few screenplays and undertaken a number of screenwriting courses and I was convinced that with one year of hard work and dedication I could come up with a seller.

As I said, that was six years ago.

A few weeks ago I submitted the first rough draft of a screenplay at the conclusion of your Immersion Screenwriting course. This would be the start of my tenth screenplay.

I am hungry for the next step of my career, but for all the information and courses out there, none of it seems to be progressing me any further.

Yes, I am motivated by the job of the craft and not the lure of the dollar. Yes, I have focused on developing and writing awesome stories rather than chasing agents and producers. Yes, I have been entering leading international screenplay contests, and have made it twice into the top 10 per cent of finalists, but do I keep writing and flogging this tired trail, hoping to one day beat the odds of one against many thousand?

Repeatedly I have been told the first step in selling a screenplay is to become a great writer first.

Well, I am a great writer. I say this not to be vain, but I honestly believe it. I also have great feedback from both friends and professional assessment services. I have done many courses, studied many books, and have written and written and rewritten and rewritten.

I’ve told myself it doesn’t matter that I live in Tasmania, away from most of the industry. It doesn’t matter than I have no connections. It doesn’t matter than year after year, I get older and older and more delusional. Story is king.

I’ve told myself I can overcome these barriers if I work hard enough, be committed enough. If I keep writing and writing and getting better and better… then finally… perhaps one day…

But here I am. Years later with a growing pile of projects underneath me, yet still no closer to finding the next doorway, never mind having a chance to open it.

And so. This year. I will again continue to write, and get assessed and do courses. I would like to send some of my more developed projects to your services for assessment, and I look toward the Get Your Script Read course that you are proposing to run later this year.

But, in all seriousness, is it worth it?

For me and all those in similar situations, or all those who are just starting out, is it worth it? Is the belief that if one works hard and is dedicated enough one might finally sell something – or, forget selling, just have somebody, anybody, willing to take a shot at making a film out of it – are there any grounds for this belief? Or are we doomed to keep writing, doing courses, rewriting, reading books, and more writing – forever?

And look, if that is the case, it’s okay. Even if I’m doomed – or perhaps it’s not within me to write well enough no matter what I do, ever – then I will be hurt. It will smart. But I will sooner or later return to the thrill of screenwriting like the addict I am. Because succeed or fail, this is what I love to do.

I am a writer, and I will keep writing.

But, still, I just thought I would ask.

Regards,

Kryz

I’m grateful that Kryz allowed me to publish his letter.

Here is my answer.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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I have worked in the creative industries for over 30 years now, and I can tell a wannabe from a pro, mostly. In some cases, the origin of their story ideas hints at what type you’re dealing with.

Let’s look at three ways of acquiring ideas; in a next post I’ll show you how to quickly assess them on their validity and merit.

The shower lightbulb

This is one of the most common, but at the same time most dangerous happenings to the creative: You come up with this amazing story idea in an instant, and know it must be made.

Whether it hits you in the shower, in your dream or in the car; in that single moment, you are super inspired. You see and feel the movie, right there projected against your mental screen.

The experience won’t go away easily, and you may chase the story idea for a long time… Sometimes even years.

This is also how amateurs work (or don’t work).

I like to argue that if you can come up with story ideas just like that, without effort, there is a fair chance that you find more and better ideas if you consciously create the circumstances for this to happen, frequently.

Here is where we dive into the Ideas Cave.

The Ideas Cave

This is the place you go to brainstorm; your private, creative space where everything is possible. With minimal effort, you generate tons of rough story ideas, for later review. It’s about allowing everything, and not criticising anything.

I’d trust a cave idea a million times over its shower sibling. We love the shower idea, because it is given to us unexpectedly, and we didn’t have to pay with our time. But because we didn’t have to spend time or effort doesn’t necessarily make it better.

You go into the cave with a mission. You’re after a million story ideas, not just one. And you’re not just after great ideas; any idea will do. Because right now you won’t know whether these story ideas are any good. That’s going to be your next step.

Now, how to unleash your inner creative in the cave?

Each writer finds their own best way of generating ideas. In essence, this is similar to overcoming writer’s block. Some people start from character, story actions, or story events. Others just write stuff down, and see what happens.

In any case, when you think you’ve brainstormed enough, you’ve probably only just scratched the surface.

Over the years, I have found that those students who are working on projects consistently, are also the ones who have a regimen of brainstorming ideas frequently.

Why don’t you resolve to make time for this, every day.

Even if you sit down for only 15 minutes per day, that’s 90 hours over the year.

Inherited Treasures

Perhaps you’re lucky enough that someone has given you a writing assignment. Or you’ve optioned that novel you read and loved so much.

You didn’t come up with the story idea, but you have the honour (or duty) of developing it into a successful script. You are taking the story off someone else’s hands, and you are making it yours.

If adaptation is your thing, perhaps you should make time every day to look for story ideas to adopt and adapt.

Looking at the high proportion of adapted screenplays that make it to the box office, this seems to be a great approach to look for your story treasures.

All that glitters is not gold, though.

Story Ideas That Suck

You wouldn’t be the first writer to find out, week, months, even years into development, that the treasure was a fake. The concept doesn’t work. The story idea is dead.

The key is to identify this as early as possible. Not during your brainstorming process, but soon after.

I can hear you ask “How can you tell what works and what doesn’t“?

The answer is: you don’t.

However, I know a very effective process to eliminate ideas that mostly likely won’t work, and improve the ones that are almost perfect.

This secret I will reveal to you in a next post.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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“You haven’t got to be better, you just have to work harder.” – Jimmy McGovern

The early days

Although having spent a fair share of time in the shallow world of TV soaps, Jimmy McGovern is far from trivial. Enlightened, frank, and funny, this writer tells it like it is. 

“We spend our life thinking that “when we’re 30, we’ll be mature”, and we’re not. And “when we’re 40, we’ll be mature”, and we’re not. And “when we’re 50, surely..?” I’m 66, and I’m still as stupid as ever.”

Even after decades of writing, Jimmy McGovern humbly expresses his immaturity, and speaks fondly of his inexperience during the early days of writing for Brookside.

“I would follow the storyline slavishly”…”It took me about nine months to realize that you’ve got to give of yourself to that storyline.”

There’s certainly value in learning from those more experienced, but don’t hide behind them. A truly interesting story can only be created by a truly interesting mind. Make sure that’s you.

It’s easy to doubt your talent before you’ve gained recognition. Even so, Jimmy McGovern confidently states that he quickly recognized himself worthy of his place.

“Even though my scripts were not good, I could generate story.”

Generating story

Jimmy McGovern underlines the importance of generating story “from the smallest of incidents”. Find drama in the things you usually overlook, and your stories will intensify.

If you’re writing on assignment, and don’t have the luxury of writing whatever you wish, you may even have to write a story with a seemingly uninteresting storyline. It’s your job to make it interesting.

Jimmy McGovern laughs, remembering having to write an episode on Brookside with the storyline “Tracy wins a hair-dressing competition”.

“You had to explore the magnitude. You had to dig as deep as you possibly could.”

Now, “Tracy wins a hair-dressing competition” does not sound all that interesting. So, as a writer, you need to find what could make it so. What about Tracy’s character is interesting? What aspects of a competition could be compelling? What other characters/circumstances could increase the drama of this situation?

On the surface, any story could seem meaningless. Likewise, any seemingly meaningless story could become fantastic.

Putting in the effort

“I got what I wanted, because I was so well prepared. And that taught me something; you haven’t got to be better, you just have to work harder.”

Dedication and persistence are essential elements of the writing profession, whether you like it or not.

If you’re not willing to put down the hours, not only to write – but to research, analyze and rewrite – then you’re going to bump into some trouble.

Jimmy McGovern used to walk five miles into Brookside to pick up the latest story, so he didn’t have to wait through the weekend to get it in the mail. Hence, he knew more about the story than anyone else and could demonstrate new ideas ahead of the other writers.

Now, that’s commitment.

Causing offense

Although known as a moral writer, Jimmy McGovern has written some rather controversial scripts. Sexuality and violence are things we’re used to seeing on TV today, but they were highly provocative in the 80’s.

“It’s my job to cause offense.”

Brilliantly cocky, Jimmy McGovern claims that Brookside simply told the truth, and questioned whether it’s the truth itself that was offensive, not the show.

“I do it for the story, not the principle. There’s no principle involved – I’m a writer!”

“A moral writer?”

Please, this guy is more interesting than that.

Although representing great values, Jimmy McGovern comes across – in no way negatively – as rather more indecent than his rumour has him pegged. One project in particular, Needle, seems to be sticking out in this category.

“It’s probably more ambiguous because it’s better than most of the stuff I’ve written. You just have to give the devil the best tunes, haven’t ya?”

There’s always risk of scandal if you choose to do the things nobody else will. There’s also risk of getting that acknowledgement you’ve been striving towards.

Maybe the risk zone is the best place to be at?

“We hired a writer who was a drug-dealer. And he hadn’t written a word. He’d never written a word in his life, but he had this story.” (The Street)

Again, it’s all about telling the truth. A drug-dealer could write more honestly about drugs than someone from the outside. There’s no question that commissioning this guy will have brought upon a more honest representation of the world they wished to show.

But what about the fact that this dealer wasn’t an experienced writer? Does that equal bad writing?

According to Jimmy McGovern, it seems quite the opposite. Although he’s personally learnt his craft through experience, he sees value in unfamiliarity. Before you’ve learnt anything, you also haven’t learned the clichés, and don’t as easily fall into the trap of writing without heart.

“You’ll know it’s personal. You’ll know the writer is writing it from somewhere in here (heart)”…”There won’t be any bullshit.”

Complexity of character

What it all comes down to is that drama is character-driven. A plot-driven story can certainly be interesting, but you need an emotional connection to your audience. That’s where your characters come in.

“At its best, we had simplicity of narrative and complexity of character.”

To strengthen the emotional drama, some writers just “add more” character. That’s not what Jimmy McGovern is talking about. He’s not saying more character, he’s saying complexity of character.

So what does that mean?

Human beings are complex beings with contradicting emotions and traits. A common mistake is to assign each character one major trait; one guy is compassionate, one is a lone wolf, and another has anger-management issues.

These, unless evolved, are simple characters.

But look what happens, if we compile all these traits inside one person? Suddenly, we have a compassionate loner with anger-management issues.

Suddenly, there’s complexity. The character becomes interesting. We don’t understand him at first glance, but become invested in figuring out who this person really is.

If you were to, as Jimmy McGovern claims ridiculous, turn things around and have simplicity of character and complexity of narrative, then what?

In short, you’d end up not caring very much. Instead, you’d find yourself trying to figure out what’s going on with the plot. These are the films where you have to pause and ask your partner; What just happened? Who was that guy?

As a screenwriter, that’s probably not what you’re looking for.

Disguising your effort

One thing that has, or will eventually, become painfully clear to any writer is that persistence is vital.

“When we got it really, truly, right, we’d end up with something approaching a final draft that was bloody good. And then, we wouldn’t leave it at that.”

Every time you write a screenplay, you learn something about writing a screenplay.

So never consider a “fine” script finished. If it’s fine, that means it’s not amazing. In writing it, you’ve learnt something, so chances are, the rewrite will be better.

Jimmy McGovern speaks of the seeming absence of the writer. That is, when your words flow so effortlessly that readers consider the story, rather than the writing itself.

“At its very best, it’s as if we found a story in the streets”.

If you really work out your story, and build beautiful characters into it, then they will tell the story for you.

“You cannot expect your character to laugh, unless you too laugh with the joke. And you certainly, certainly, cannot expect your characters to cry, unless you cry writing it.”

Grave news perhaps, but if you’ve created your characters, then they are, on some level, mirroring something within you. Find out what it is, and see if you can’t find it in your heart to understand them.

Feel with them, not for them.

The dreaded feedback

After having presented idea upon idea, and receiving zero response, Jimmy McGovern decided to switch tactics. Instead of waiting around for a great idea to hit him, he took one he already had, and changed it into something better.

“I actually went away and I made it a good idea. You can do that. It makes you attack your script from somewhere else.”

Good shit doesn’t always come and find you, so there’s really no point in waiting around for it. Nobody’s going to appear at your door with the idea for an award-winning script. Create the opportunities yourself, and you’ll gain control.

But what about when you already have a great script, and someone else comes in and tries to change stuff around? It’s your story after all, so who are they to poke around in it?

“No script editor is going to write your script. Everything’s gotta come from you anyway.”

Feedback, whether good or bad, is a fantastic opportunity. The rewrite will still be written with your words, so taking in the thoughts of someone who isn’t you, doesn’t make it any less yours.

Rejecting feedback is not only unnecessarily defensive, but plain stupid.

Jimmy McGovern’s Evolution

Having survived long in the industry, Jimmy McGovern has gone through different stages of his creative process.

“You start off life, and you have this creative angel on your shoulder”…“You’ve got energy and enthusiasm, and you write. Your creative angel is telling you it’s marvelous, and the critical devil can’t get a word in…”

There’s always that beginner-phase where you naively believe that what you’re doing is flawless. This is a great phase, and a necessary one, that should not be over-looked.

Whenever you start a new project, take the time memorize that excitement. And, when you reach the point where you want to give up, go back and remember it. Remember why this particular story is amazing and why you wanted to tell it in the first place.

“I think, as you get more and more experienced, the creative angel and the critical devil sort of equal each other.”

There’s always, in every project, a moment of doubt. The critical devil approaches. You should probably listen to it, to a certain extent, since it’s your common sense talking. Just don’t let it take over, or it may be your downfall.

“The bloody critical devil is bigger now, hence the paralysis of page one.”

At a third stage of his life, terrified by the idea of aging, Jimmy McGovern seems to be facing his inner demons.

Can it be that our common sense eventually starts making too much sense, taking away from our creativity?

As it seems, there are issues and perks with all phases of life. Give the creative angel too much room, and you may lose perspective of reality. Give the critical devil a lead role, and you may not produce at all. Whichever phase you’re at, make sure you find that balance.

Life as a writer is evidently not easy. To sit down alone and write word after word, day by day, is hard. To a lot of writers, however, the writing is actually not the worst part of being a writer.

Our screenplays may drive us to insanity, but it’s breaking away from the comfort of our keyboards to go out to sell our stories, that’s most troubling for the introverted writer.

As always, Jimmy McGovern speaks the truth:

“I think that’s why so many writers are fond of a drink. We’re solitary people, and yet we have to go out and meet people. And we don’t like it.”

 

-Camilla Beskow

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.

This film should not have been made. Even with its impressive cast, at the time of writing it only grossed about $40m, which is barely what you would expect the production budget to be.

Why Spotlight Should Not Have Been Mad

Let’s look at all the reasons you should not write a film like this:

1. The topic is a no-no.

   It deals with child abuse. Nobody wants to hear about this when they sit down at night to relax. Give me a story about a superhero (like Birdman!).

2. It’s been milked in the news

   We’ve heard enough about priests abusing children in the news. After all, that’s where it belongs. In cinemas, we need escapism.

3. It was a long time ago

   We have more pressing matters today, things we can do something about. Let’s not waste our time on the past.

4. It’s about journalists 

   Who is interested in journalists? They’re not cool. Bad hero material. All they do is talk and write. Totally un-cinematic.

5. There is no clear protagonist 

   Who is the main character in this movie? Good luck figuring that out. It’s easier to care about one character than a whole bunch of ’em.

6. There is no real jeopardy

   Unlike the victims of child abuse, the journalists are never in danger. They’ve got a tough time finding the truth, but hey, my job is tough, too!

7. Boston is not sexy 

   Boston? Really? Why not a photogenic city like New York or L.A.? And haven’t we seen enough of Boston’s darkness in the stories of Dennis Lehane?

Of course Spotlight won Best Picture.
And Best Original Screenplay.
So the arguments above are moot.

One of my writer contacts recently emailed me, saying

What has brought a middle-aged man like myself into the whole writing game is my disappointment  with the ideas presented in so many of the Hollywood or Australian films made films we often waste our time watching. Some of these are critically acclaimed and yet – what do we get at the end – an empty pop-corn bucket and  we are 2 hours older….

Spotlight proves that – yes – you can pick a topic you really care about, and pretty much break every ‘rule’ in the book.

(Except perhaps the one about active characters – with tremendous willpower…)

-Karel Segers

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Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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We live in the age of noise. Everyone is trying to get your attention. TV commercials, banners on your favourite website, YouTube ads, in-app advertising on your phone.

The same is happening in the writersphere. Screenwriters are spamming producers; service companies are spamming writers.

Getting someone’s genuine attention has become a tremendous challenge. My default mode is to keep the noise outside, and I suspect the same from you. In order to get access, you will need to come through a door of trust.

Back To Common Sense

If you’re desperate, and you want money from your writing now, you will be susceptible to scammers. They will promise you an agent, to get your script in front of this or that producer, etc. The sobering news is that nobody is going to open the gate of screenwriting heaven for you tomorrow, for money. Why not? Because there is no gate to screenwriting heaven. And if you still believe in it, you’ll have to die first.

To die, in this context means: doing the hard work.

Before answering the calls to adventure from unreliable mentors, think about it critically yourself, first. There are gatekeepers, alright, and you need to know who they are. Once you have identified them, you need to network your way through to them. You may do this in the real world, or online.

Online And Offline

Most will agree that the best networking is still done offline. Unfortunately, you may not have many opportunities to meet your target gatekeepers in the real world. If you don’t live in a metropolitan area – let alone Los Angeles – you are not going to casually bump into the Hollywood decision makers.

The great thing is that online, you can.

Years ago, when Toy Story 3 was about to be released, a friend texted me: “Do you know Lee Unkrich just tweeted you?”. Indeed, the director of the most highly anticipated movie at that time had responded to one of my tweets. It could have been the beginning of a conversation… (After all, if I had been an animator, I would have had a link to my portfolio website right on my twitter page.)

So let’s see what else is possible online.

The Google Truth

Say so-and-so has read your work, and they like it. Before they enter into a collaborative arrangement with you, They’ll want to know more.  What do people do when they want to know more about you? They google you. Depending on how many others share the same name, they will find a LinkedIn profile, YouTube video, or Amazon book. In the worst case scenario, the search may lead to some unflattering Facebook photos a friend tagged you in.

Not if you have a portfolio website.

In that case, almost certainly your site will be the first result (unless of course Justin Bieber is their namesake). Your website is the only place online where you fully control how you want to be seen. And if you are the right person to work with for people googling you, this will be clear from your site.

Your website is the first, and most important place to market yourself.

My two most exciting jobs of the past decade both came to me through the website (and it wasn’t even a portfolio website). One was the offer to work on a high-profile feature film. The other, to travel and lecture in Europe. How cool is that?? Both opportunities have opened up subsequent business that continues to this day.

Where Is Your Portfolio Website?

Today, when I google ‘screenwriter website’, on the first page I find the names of Caitlin McCarthy and William Nicholson. Neither I must admit I have ever heard of (although Nicholson co-wrote Gladiator).

But now I have.

If you look for a writer by googling “[their name] screenwriter website”, in 99% of the cases, the right person will be listed first.

Try “Emily Blake Screenwriter website”, and the first listing will be Bambookillers. That’s Emily’s blog. In fact, it’s also her portfolio website, as it lists the screenplays she completed, and those in development. Her last post dates back from 2014, but the website strategy is so powerful that it still lists her site first in Google.

Build Your Portfolio Website, And …

If you build it, they may not come.

If you don’t build it, they most certainly will not come, no matter how loud you scream.

For me, setting up WordPress sites is a hobby that got out of control. Out of the 55+ domain names I own, a few dozen are hosting sites that I built. It all started with this site, followed by Logline It, and The Story Series,  (which is moving from an offline course now online).

Over the past year, I helped a few writers build their portfolio website.

Leon is a lawyer retiree, who committed himself to screenwriting only a few years back. His site now lists eight screenplays, both original and adapted. If anything, it shows Leon is dedicated, and he works fast. If I were looking for a screenwriter today, these are critical qualities.

The other writer is Lachlan, who is an internationally celebrated playwright. He doesn’t really need the site, because right now he is busy enough as it is. But Lachlan knows that in our industry, things can change at the drop of a hat. At that point, he will have an impressive portfolio online, and Google will honour the seniority of his website, as well as his frequent blog updates, by giving him a prominent ranking.

A good quality website is a potential honeypot for writing gigs right now, while you are saving marketing collateral for the future. It is a no-brainer.

If you don’t already have that portfolio website, consider building it this week. It doesn’t require rocket science, and you can afford it.

In truth, you can’t afford not to have it.

-Karel Segers

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I am hosting a free webinar for writers who would like
to set up their own professional WordPress portfolio website:

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

“I don’t think writing is a choice. It’s not a career. It’s something that’s born of necessity.
If I didn’t write, I’d go bonkers.”

A question commonly thrown at screenwriters is the big and heavy why. Why does one write? Beau Willimon (House of Cards, Farragut North) responds passionately. An expressive speaker, Willimon doesn’t cower from telling the brutal truth about life within his profession.

“There’s a lot about writing that’s not very pretty. In fact, if you can do anything else, you probably should. It’s life that’s full with rejection and humiliation, self-loathing and self-doubt.”

Writing for the screen isn’t your typical nine-to-five work. It doesn’t ensure financial security, healthy routines or social acceptance. In spite of this, Beau Willimon has evidently “chosen” this profession, and agrees that some not only should, but must write.

“If you need to grab at the cosmic and without it you have no bearing, then it’s the life for you and those are the things you need to endure.”

What Willimon keeps coming back to is that writing is not a “want”, but rather a “have to”. Spectacular artists are invariably driven by a certain urge.

Those who need to express something through a particular art-form, whether it’s music or writing, painting or cooking, are the ones who’re born artists. Knowing that your art may kill you, but having to practice it anyway because if you don’t, you’re already gone.

“Why do you breath? Because the air is your sustenance, and without it, you die.”

Straying from your comfort zone

If you’ve entered the world of writing, and decided to put your feelings on a page for the world to see, you’re already brave. This might be enough to write a decent script or two.

But if you wish to further your development, consider challenging your courage. Enter the land of “what the fuck am I doing” and you might just have a chance of arriving at “holy shit, I did it!”

If you can discipline yourself to do this, you’re not just brave, you’re commendable. I applaud you.

“I felt like I needed to do something to make myself feel uncomfortable, to fail, to go into a zone of complete mystery and a place where I was completely ill-equipped”…”I’ll write a play, because I don’t know how to do that.”

Human beings, at their essence, are remarkable. We continuously aim higher and strive further than our predecessors. It’s in our nature to explore, challenge and cognitively learn from those who came before us.

Even so, lots of silent bystanders sheepishly allow themselves to be herded through life. If you wish to be one of them, by all means, carry on.

My guess is, you don’t.

Consider Beau Willimon’s words, and dare do something only because you don’t know how. It will be difficult, and you’ll probably fail. But you’ll certainly grow.

On the subject of hiring fellow writers for House of Cards, Willimon says:

“The only thing I was interested in when hiring my writers was not whether they knew anything about politics or not, but if I read something of theirs; a line, a scene, some image, that I never in a million years could have thought of or come up with myself.”

To develop, let yourself be judged by those who can give you the advice you could never give yourself. Showing your work only to fans, might give you what you want, but won’t tell you what you need to hear.

The confidence boost from positive feedback has value, but at its own, it can make you ignorant of your own issues. These may side-tackle you later on if you’re not aware of them.

Work alongside people who challenge you and whom you, in turn, challenge to be better.

Beau Willimon on writing politically

“I think all writing is political, because we all come to the table with a believe-system, and politics is infused in your writing whether you like it or not.”

How we portray (or don’t portray) certain things and people, even without political intent, reflect our personal view-point.

A film isn’t, say, racist, simply because it has an all white cast. But when the industry continuously chooses not to portray coloured people (at least not often or in a heroic context), it becomes an issue.

Take a moment to consider not only what you write, but what you continuously don’t write. Further reflect on whether this is a conscious decision or if you’re excluding something out of pure habit.

Avoid excessive dialogue

There’s this delusional idea that a screenwriter’s job is writing lines.

Constructing story, building worlds and developing character psychologies is our responsibility. Great dialogue is vital, but it’s equally important to convey what’s not being said.

“There’s so much storytelling you can do without dialogue. Because, if you get close on a person’s hands, that sometimes can say much more than the best monologue ever written.”

Talking represents a tiny percentage of human communication, leaving the remaining percent to body-language and other non-verbal expression. 

Consider a character is about to present a speech. He’s sweating, twisting his hands, pacing back and forth. There’s no need for this guy to say “I’m so nervous.” We get that.

Same rule applies when presenting the morals of a character. Never have a villain telling us he/she’s a badass. Show what the person does that makes him/her bad.

Writing for TV

Beau Willimon has the experience of having written for both film and television and explains some major differences between the two crafts.

”A movie is much more like a short story or a poem”…”It has to resolve itself within 90-120 minutes, and with a television show, it doesn’t.”…”If you really take your time with storytelling, you can dive into your characters in ways that are impossible to do in film, or even a stage play, because you have the time to do it.”

This is why television shows are so intriguing, for writers as well as audience. The characters develop alongside you, at a pace similar to yours. This allows you to connect with them on a personal level. 

Another capturing aspect of television, is the dreaded cliffhanger. Since there’s a continuation ahead, a TV episode doesn’t need to resolve all issues and reach a final goal.

”It can actually end in a place of total lack of resolution, but with the feeling that you’re heading somewhere.”

Haven’t you ever thought you’ve arrived at the end of an episode, when – BAM – an unexpected plot-twist? Your heart is racing, and then… end-credits.

So. Frustrating.

This creates an urge within you to watch another episode. You need to find out what happens. That urge is a brilliant tool for us writers, and a dangerous hook for our audiences. Make ’em sweat.

Beau Willimon on writing female characters

“I really am against the notion that a female writer should write the female characters and the male writers write the male characters. I mean, what is writing if not putting yourself in other people’s shoes?”

If we could only write characters similar to ourselves, every screenplay out there would be a dud. There would be no conflict, and nothing of interest. 

Whether your character is male or female, black or white, rich or poor, is such a small part of the actual character. That’s just the physical stuff. How does the character act under pressure? What does your character fear? These are the types of questions you need to ask.

“We are all limited by our own experiences. There are certain things I will never be able to access because of things that are genetic, things that are in my up-bringing, things that are cultural”…”But I think writing is an attempt to acknowledge those and sometimes get beyond them and find the universal in all our experiences.”

Now, this is crucial. Whether you’re writing a dark drama or an animated comedy, finding the universal in our experiences is key to creating emotion. 

People work differently, and that plays an important part in how you’re writing your characters. But there are certain emotions that we all experience, no matter who or where we are.

A white female lawyer in America can experience humiliation, loneliness or joy, just as well as a black male hunter in Africa. The fact that we are different does in no way eliminate our ability to understand each another.

Gender, ethnicity and status put aside, try to understand the inner workings of a human mind.

“I take a little bit of issue with strong female characters. Why do you have to put the word “strong” in front of it? There are strong male characters, and weak male characters. There are strong female characters, and weak female characters. There are strong and weak trans characters. I mean, they’re human characters.”

Finding story in everyday life

“You can see something on a sidewalk, like a man screaming. A homeless man screaming on a sidewalk; that’s research. If you absorb it.”

Being observant is a strong attribute for any writer. If you can see plot, character and conflict in everyday situations, your stories will find you.

Take every opportunity to absorb what’s already around you. Listen in on conversations on the subway. Notice how different people walk differently. What do people do when they think nobody’s watching?

It’s in your job description to be a little creepy and intrusive. Go right ahead.

Many writers, especially up-and-coming ones, have day jobs. This can take up a lot of precious writing time. So use it as best you can. Whatever you do, there are probably people around you. Observe them.

Even when you’re not writing, be a writer.

“Just think of what you do when you’re alone. Like, take an hour, in your house, when you’re alone, and just really objectively look at what you do. You do some really weird shit.”

You’re never as genuine as when you’re by yourself. Just like you, your characters will have things they do when nobody’s around. 

As a writer, you often try to find those special moments that define your characters. It’s just as important to find the ordinary moments. Or, should I say, the moments that are ordinary for that character, but may seem peculiar or interesting to us.

Any person, or character, can enter a house and proceed to the kitchen. But if someone, for example, has to stop by every mirror on the way to observe his/her own reflection, that says something about the character.

“I believe character is behaviour. That’s it.”…”Ultimately, all their character is, is what they do. Because that’s all we see.”

Finding you character’s needs

Just as Beau Willimon spoke of his own need to write, he similarly speaks of needs within his characters.

“If you know what they need, they don’t need to know necessarily, but if you know what they need, then all their behaviour will be dictated by that. And then their needs will conflict with other people’s needs, and that’s where you get the conflict of drama.”

One major difference between a need and a want is that people often are oblivious to their needs. Not knowing ones need is often a cause of being way too focused on the want (capitalism in a nutshell).

Even people who are aware of their needs can, out of laziness or fear, ignore to acknowledge them. It’s tough, because it means revealing your flaws, which is sensitive. However, doing so will most likely lead you to a more truthful existence.

When it comes down to your characters, try to separate the need from the want, and it will help you figure out which behaviour is suitable for which person in which situation.

“They’re not plot-driven. It’s not like, “this person needs to get a new job”- that’s plot. A need is, “this person needs respect”, “This person needs love”, “This person needs validation”, “this person needs warmth”.”

On getting shit done

“The only real advice I can give is to do the work.”

A seemingly obvious statement, which we must repeatedly remind ourselves of.

We all have heaps of un-finished work. No matter how great, nobody outside your private circle will consider reading it, unless you’ve actually reached “fade out”. 

“The only thing you can do, that is completely within your control and that will ultimately make you successful – at least financially or whatever – is having the pages and putting in the time.”

It’s not every day that you’re going to wake up and want to write. Inspiration seldom strikes when you wish it to. Beau Willimon has a rather original approach to self-motivation. 

“My first thought every day, like my mantra, as soon as I have a conscious thought, is “I will die”. Which sounds morbid, but it’s not. To me, it’s completely liberating, because it can’t get worse from there. You have that thought, and you go “Let’s get to work.””

What you do with your time is what will be remembered of you. If you don’t even take a shot at being extraordinary, how are you ever going to be brilliant? 

You have a limited time to show what you wish to be seen, and say what you long to tell. Better get crackin’.

So what’s next for Beau Willimon?

“I have some very concrete thoughts about that, and I have some really big and vague thoughts about that, and I’m not going to share those with you. That’s for me.”

A brave and wise response, from a brave and wise man. Willimon chooses not to stain his future stories with expectations until he’s ready to tell them and they’re ready to be told. All we can do, is wait impatiently.

Beau Willimon does, however, have one goal he’s willing to share with us. One we should all share with him if we ever want to reach places previously undiscovered.

“Ultimately, all I want to do, is figure out the secrets of the universe.”

-Camilla Beskow

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.