Interview with Austin Teleplay Winner Steve Daniels

Script Alley:  Tell us a little about yourself as a writer.  Primarily TV or do you also write features?
Steve Daniels:  I write both tv and features.
Script Alley:  What prompted you to write a PUSHING DAISIES script?
Steve Daniels:  When I first decided to take on writing a new tv spec, “Pushing Daisies” was the furthest thing from my mind. I really loved the show but the thought of trying to put together a spec for it seemed really intimidating. Its such clever show and written so well, I wasn’t sure if I could pull it off. But then it occurred to me that the challenge would just make me a better writer no matter how the spec turned out.  When I realized that, “Pushing Daisies” seemed like the perfect spec to attempt and I decided to take the challenge head on and see what happens.
Script Alley:  What were the challenges of working with established characters?
Steve Daniels:  To me there are more advantages than disadvantages when working with established characters. If you watch the show enough, its easier to visualize the performances of your material. On the other hand, that can work against you, because while you may be able to visualize the character saying something, another fan of the show may not. I had a lot of different people that watched the show read my script to make sure I had the characters right but even with the finished draft, I had people that didn’t agree with everything that I had the characters saying and doing. I ultimately had to just trust myself and hope that I my instincts were right.
Script Alley:  How many drafts did you go through and when did you know it was ready?
Steve Daniels:  I know this is going to sound crazy, but actually, I did only one major draft of the script and then did minor tweaking after I had some people read it.  But keep in mind that I outline extensively. That means that my final outline even has most of the dialogue written so by the time that I go to script, the material is essentially written. I did tweak dialogue but structurally, the material was there by the time that I went to my first draft. After that, I made three minor revisions after having some people read it.
Script Alley:  Describe your day to day writing process.
Steve Daniels:  Outlining! Outlining! And more outlining! I find that the moment you go to writing the actual script can be intimidating. So instead I write a very freeform outline in Word and just keep building on it, adding as many details as I can with each pass until I find  the scenes so visualized, that the dialogue starts coming to me as well.  My outlines are so extensive, that by the time I go to script, the material is essentially written and it’s just a matter of transcribing to format.
Script Alley:  Can you tell us about a turning point in your development as a writer (particularly one where you felt like it was either give up or go forward)?
Steve Daniels:  I had received a rejection letter for a script that I was really proud of and I wasn’t sure what to do after that. At the time, I felt that it was the best I could do as a writer and if I could get a rejection letter for it, what was the point? I began to really question whether I was going to continue writing or not. Then I realized that the reason I write isn’t for financial success or glory (although both would be nice).  I write because I think it’s a fun thing to do and that was reason enough to stick with it.
Script Alley:  If you could give one bit of advice to a new writer, what would it be?
Steve Daniels:  Can I give two bits of advice instead? The first is that every time you write, you’re going to get better. That’s why you should always get excited when you start a new project because odds are it’s going to be better than the last.  The second is that I believe that people don’t make it as a writer based on talent alone, it’s also about persistence.  If you really want to do this, you’ll stick with it and success will eventually find you.
Script Alley:  What goals have you set for yourself?
Steve Daniels:  On the long term, I plan to stick with writing until I have found the success that I want. As I said, I believe persistence is the secret to that. Ultimately, I’d like to be staffed on a tv show, or eventually have one of my features optioned. On the short term, each year, I map out an agenda of projects that I want to write and I’m working on this year’s agenda.
Script Alley:  What’s next?
Steve Daniels:  The thing I am being told by everyone is that I need to write an original pilot. Apparently they are the new “hot” thing to have to be read so I’ve been working on that as well as a high-concept comedy horror feature script. I’m also hopeful that I will find representation in the near future.  Either way, I’m just going to keep writing and hope that success eventually finds me. I think it eventually will. One thing I have in spades is persistence!

Script Alley to Offer Classes

Script Alley now offers screenwriting development workshop classes for those who would like to receive notes as you write, rather than at the end of a draft.  Each course is 10-weeks long and costs only $250 ($25 per session), a fraction of the cost charged by other writing institutions.

In each class, you will receive:
* Ten individual 20-minute meetings with your Script Alley advisor, via IM or phone, from the comfort of your own home.
* Each 20-minute session will cover a major element of your script, beginning with concept and moving on to review of pages as your script comes together.
* Regular answers to your questions from your Script Alley mentor as you write.
* Schedule your sessions once a week, once a month, or however best fits your writing schedule.
* The convenience of a screenwriting course at just $25 per session, a fraction of what you would pay elsewhere.

The Classes:

Idea to Treatment (10 weeks)
If you are the type of writer who likes to outline, this is the class for you.  The Idea to Treatment course focuses on choosing a solid idea, then fully developing the story and the characters to create a cinematic and emotionally engaging script.

Treatment to First Draft (10 weeks)
This class is for those who have completed a detailed outline or for those who like to go straight to a draft.  Sessions will focus on script pages, a sequence at a time.  Writer will complete one draft of a feature length script.

The Rewrite (10 weeks)
Not quite happy with your current draft?  Then, this course is for you.  This class will take your script to the next level, helping you to find a tighter and engaging script.

Script Alley Client Steve Daniels Wins Austin Teleplay!

Congrats to Script Alley client Steve Daniels who won Austin Film Festival’s Teleplay competition with his PUSHING DAISIES: RUMPOLOGY spec!!

http://austinfilmfestival.blogspot.com/2008/10/film-jury-award-screenplayteleplay.html

Austin Film Fest

Script Alley co-founder Sharri Hefner at AFF with director Danny Boyle and writer Paul Clingan.

Okay, I'm drinking a beer, but so is Danny Boyle.

How to Get a Read

As screenwriters, we are constantly wondering how to get a read by someone who can actually take our stories to the screen. We at Script Alley believe that the answer is simple. It’s all about RELATIONSHIPS. Does this mean that you can only get ahead in this industry if your best friend is Naomi Watts? No. But neither does it mean that you can pick up the phone, give an elevator pitch and hope to have Big3 SuperAgent or PowerPlayer Producer send a messenger over to pick up your latest Blockbuster.

So, what is an unrepresented writer to do? How can you develop these relationships? Another simple answer: The Assistants, who believe it or not, read almost everything before their bosses do. Who are their bosses? The Agents, the Producers, and the Directors you want to have discover your script and get the ball rolling towards a deal, representation, production and ultimately — more work.

Script Alley insiders polled two well-positioned Assistants and a Development Director to find out how involved they really are in the process of screening material. Out of respect for their positions, we’re maintaining their anonymity.

Agency Assistant – Assistant to two high-powered TV and Feature Lit agents at one of the top three talent agencies.

Directors’ Assistant – Assistant to a famous directing team who work in Features, TV, and Commercials.

Development Head – Independent Producer with representation at a top agency, and former head of development for an Academy Award winning director.

Script Alley: Do you read every script submitted to your boss/es? Do you read it first?

Agency Assistant: I only read the scripts that are recommended to my bosses.

Directors’ Assistant: We get too many scripts for me to read everything. But I do read most scripts before they do, or at least at the same time. For example, if their agent calls and says, “Hey, the studio really wants you to read this, they’re excited about it, if you like it it’s probably yours…” then we’ll all read it that night and discuss it in the morning to let the agent know what they’ve decided.

Development Head: We read most scripts with viable financing and cast or producer attachments that we liked. Usually someone in the office read it. An intern, an assistant, then the director. If it was a producer, writer, or cast that we liked it was read very quickly. Because we weren’t looking for “commercial” movies, just good stories, I was able to choose many of the interesting projects to read versus having to read the genre movies first. Often, if it was high profile, many people in the office read it over the weekend and discussed the following week. If it made the cut, other people in the office, like other assistants or interns would read it too, and give more story notes, and we’d have a big discussion. This didn’t mean that young or new writers weren’t considered. But the story idea had to be really special, unique, and have some buzz before hand.

Script Alley: Do your bosses trust your opinion of material? Would they not read something if you said it wasn’t good?

Agency Assistant: My boss trusts my opinion on scripts and will generally not read the script if I say it’s bad.

Directors’ Assistant: Yes they trust my opinion greatly, and very often will simply not read something if I say it’s not good. They’ve reached a level where they don’t want to be bothered unless completely necessary, so they’d rather not read everything. Funny story though, I recently read a script for them and thought it was garbage, but the constant, and I mean constant barrage of calls from their agents, managers, other producers convinced them to read it, and one of them really liked it. The other didn’t, but it just shows that their trust is strong but not foolproof.

Development Head: They usually trust my taste, but not all the time. Everyone has his biases, but If it’s terrible, they won’t read it. The only time they would read what I deemed unreadable is when their agent kept hounding them to read it because a cast or producer was attached. Then they’d make everyone in the office read it because they were too. This was usually torture for everyone in the office. No one likes to be the one to pass on material.

Script Alley: Could you bring your bosses a project you found on your own? How receptive would they be? What would make a project worth that effort?

Agency Assistant: My boss would read something that I enthusiastically recommended. When you work in this business all the time, you can’t help but want to be the one to discover great material.

Directors’ Assistant: I could but it’d better be great, not just good. If it were a book they would want extensive coverage (4-5 pages) and the recommendation of someone else in town (their agent/mgrs) before reading. They’re always receptive to listen to an idea, but I still filter a lot of stuff. Bottom line, it’d have to be great or I wouldn’t risk the potential embarrassment/waste of time in showing something to them.

Development Head: They were often receptive if the story was good, unique, and well developed, but not if you were selling it because it was a friend’s. Often the hardest challenge is finding projects that are good, have enough juice to get financed, and are a good fit. There were often scripts that were good, but weren’t a good fit for the director.

Script Alley: Do you get unsolicited material? What’s the best and worst way unsolicited material comes to you?

Agency Assistant: All unsolicited material goes in the dumpster.

Directors’ Assistant: We don’t get unsolicited material other than pitches/ideas from people sometimes. The worst way is the way everyone seems to do it, which is awkwardly and obviously. People aren’t as smooth as they think, asking in stilted “casual” conversation about how much I read, where the submissions come from, etc and then slipping me the logline to their script. The best way is to be forward and up front without being pushy in the slightest, or to have established an actual conversational connection on a topic other than the biz.

Development Head: Unsolicited material came to me via these methods. The person submitted it to the agent and the agent decided it was worth sending it. I’m sure these scripts were filtered out at the agency and only the most compelling unsolicited ideas came through. If something is good, people usually can tell based on a pitch, a logline, or based on the ability of the writer to get a good agent, a good producer, etc. Other times, I would scout film fests, contests, etc. If I found a project, I would contact the writer. However, we had so many things coming into us that were viable it was hard to go after things that were questionable.

Script Alley: Any advice for screenwriters who are trying to get their material read?

Agency Assistant: Make friends with agents, assistants, managers, and then you have a better chance of getting read. Do something interesting in conjunction with writing so I can say, “Oh hey, he’s a tennis player and he writes comedy.”

Directors’ Assistant: Make sure it’s ready because people will only read a title once no matter what when you’re starting out… don’t be pushy, make sure it’s good, get lots of notes before you send something out, make sure it’s ready… know someone, meet people but don’t be a nerd about it or be awkward or stilted in conversation, as I think people can tell when someone’s about to pitch their idea while you’re ordering coffee. Know someone in the industry. In fact, know 30 people, because invariably 5 of 6 people in LA will flake, lie, vanish, or flip in some manner on you, so that leaves 5 people if you know 30. Maybe they can help. Always have a copy of whatever you’re talking about ready that minute to send or give someone. Keep copies in your trunk printed and bound if you wanna get crazy, but at least be ready to email right away. Don’t pitch stuff you’re working on or thinking of working on – you’re just giving away your ideas that way.

Development Head: Write something good and make sure it’s well written. Give it to your friends and people in the industry you trust. When it’s really good they’ll be super encouraging and that means other people you give it to will like it. Be careful when you give material to agents or people in the industry when it’s not ready. It’s good to write a screenplay that you can believe in and that is powerful. Once you’ve done that and established a couple writing samples, then go out and pitch ideas to friends. If people like your writing, when you pitch your new ideas to people, you’ll get a sense of what people like and what they don’t like. Which projects seem viable and which are maybe more difficult to produce. In this business, it isn’t about whether people will make the screenplay you send them. It’s about whether you can write a screenplay and whether they will remember you and want to work with you in the future or consider you as someone they can work with.

So the bottom line is this: Assistants are chosen because their taste registers with their boss’s and they are clearly people to impress and connect with. They don’t just answer the phones. They are direct lines to the inside and are going to be wary of anyone who they sense doesn’t respect their position and/or is just befriending them in hopes to get to their boss.

As a rule, your script needs to be excellent before you send it anywhere. The logline and pitch are critical to getting someone to crack open the first page of the script. But before you start cold calling or sending out queries, make sure you get thorough and honest feedback – on both your script and pitch. If you don’t have friends or colleagues you can turn to, there are many companies who provide such a service. Script Alley is one of them (and we believe we’re the best). We can help you with all of the preparation, from rewrites to loglines and cover letters.

Script Alley is committed to getting you the answers you need to be able to go forward with your work. Please send your questions for the next newsletter. Our team in the business will do everything possible to get the information. Select questions that apply to more than one individual will be favored for publication, but all questions will be answered.

Keep on writing!