James Cottle Scriptwriter

The Big Anti-Scriptwriting Q+A!

First off, thanks to everyone who submitted questions. There's a really nice range of topics to discuss, and it actually soon became apparent that some of them could yield enough material for an entire blog post. Nevertheless, I've tried to find a balance between concise and comprehensive answers for all of you.

Before we dive in though, I want to evaluate the efficacy of this "experiment". I've been fortunate enough to have quite a consistent audience for this blog, and so getting you guys involved seemed like the next logical step. And it worked... mostly. My "call to arms" post actually ended up having a lot of attention, with likes, retweets, etc., but funnily enough, I only got a very small handful of questions.

Perhaps my audience is simply that - an audience, willing to consume content but not quite ready to respond? Or maybe it's me, "putting on" quite a scary, unhinged persona, potentially frightening people away? Either way, I've spent much of this week greasing the wheels, calling for questions, and, I think we finally got there in the end. It's made me all the more grateful for those of you who came forward, so again, thank you. It's also made me question how effective Twitter polls actually are...

How do you go about writing a screenplay? What is your step-by-step process?

Cheeky double question to start off... I like it. I usually maintain that you should be dreaming up the idea in your head for at least a few months before you ever commit anything to paper / document. Get the idea nice and formulated so you're not starting from absolute scratch. From there, I'll usually work on character bios and the rough beats of the plot, before turning that into an outline.

Only when I'm 100% happy with that outline will I then move onto the script itself. If you've planned comprehensively, writing then just becomes a case of going through step by step, fleshing out each story beat with conflict and fun visual sequences. If, however, your outline was a bit of a rush job... Let's just say having some experience with improv comes in handy.
Once you're done, get it looked at by writer friends (usually in exchange for reading their work), and redraft it as much as possible before you send it to anyone important. We're talking many drafts.

How would you rewrite the Star Wars prequels to make them... good?

There are so many places to start with this that I almost feel a little shred of pity for George Lucas. Sure, cutting out Jar Jar is a start, but then what happens to the Jedi upon landing on Naboo? You could make Anakin a little older and less whiny, but then wouldn't he just tell Watto to go screw himself before leaving and starting a life out in the Dune Sea? I even *gasp* defended the use of Midichlorians as a narrative device in this old article

Personally, I'm a fan of the internet's theory that Darth Maul should have survived Episode 1. That way, Obi Wan is deeply conflicted about teaching Anakin the virtues of being a Jedi, whilst still lusting for revenge himself. Anakin becomes aware of his master's mission to kill Maul, which sends him down the path to the Dark Side. It's certainly more compelling than the "he was kind of evil all along so just run with it" idea.

Where do you source inspiration from?

In short, other media. In "long"... usually, depending on the project I'm currently looking to pursue, I'll do my best to consume films and TV shows of a similar ilk. Not quite identical, but perhaps an existing piece of media that links thematically or tonally to what I'm looking to achieve. As a writer, part of the skill is being able to turn that "inspiration" coming from an existing idea into a new approach that hasn't been done before.

Having said that, sometimes watching a film or TV show that is the absolute opposite can be a good source of inspiration too. Watch comedy if you're looking to inject some levity into your drama. Watch political thrillers if you feel your script is lacking authenticity or maturity. If it's a piece of media that you can mostly turn off your mind to, all the better, as you don't want to become too caught up in what you're watching, over what you're trying to produce.

What is the absolute worst thing you've ever seen/read in a script?

Ooo boy. This one's a doozy. Y'know, for all of the extremities of this blog, I try not to deal in "worst" or "best" when it comes to script reading, and judge a script on its own merits, or lack thereof. Naturally, as well, it'd be unfair of me to throw anyone under the bus after they may have put in just as much effort as someone who has put together a really great script. Similarly, many will argue that there are no right or wrong ways to tell a story.

Despite that, there are ways to tell a story that are redundant, moronic or simply non-sensical. I think I've made it known what my major pet peeves are in scripts - talking about camera directions, repetitive dialogue, a lack of visuals, poorly defined characters, "we see..." (*shudder*), etc. If you like, check out my article about the top ten errors (let's say in judgment, rather than script) to see which mistake made my number one pick right here.

The three act structure is obviously the most common structure for features, but how would you structure a short film or short story?

There's a lot to be said for the merits of the three act structure. It may be a little overused, but it still works in creating a satisfying narrative experience. In many ways, you could still very easily implement a three act structure into a short film, reducing the length of each act whilst still maintaining the balance. Short films obviously have a beginning, middle and end, so why not take advantage of the tried and tested act formula?

Taking you back to GCSE Media Studies, Todorov's equilibrium theory still tracks logically, no matter the length - characters are in one situation, that equilibrium becomes challenged, and by the end, they reach a new equilibrium. Nevertheless, short films permit more cause for narrative experimentation. You want to leave a lasting impression on the audience, so don't be afraid to go a little nuts. Make it non-linear, give us a three act structure within a single act, give the rhythm an almost poetic feel. It's all down to the story you're telling.

What is the most charismatic line of dialogue you have ever written?

It may shock you to learn that I'm not exactly swimming in charisma in real life. Charisma is all about having a certain presence and confidence in the moment, which only a few people are truly gifted with. But that's the joy of writing - you have time to craft the perfect response, the ultimate badass, that killer put-down that you would have never thought of in the moment. Even so, I try to keep my dialogue feeling fairly whimsical and off-the-cuff as much as possible.

So, when I decided to take on writing a Western film, faced with the prospect of having numerous gritty badass characters, it was definitely a little out of my comfort zone. In the end there are a load of lines I'm really proud of in that script, but I think the most inherently charismatic comes from the delightfully flamboyant, unhinged and excommunicated priest, Abner Windley...

"I see the real truth in your soul, my child. You are fearful. We will take you to a place beyond fear. But if your chosen course dictates you wish not to assist... I will end you."

How do you find your niche?

The idea of every writer having a niche has always been particularly interesting to me. As much as I love writing Science Fiction or Comedy, I also don't want to be bound to that definition of my writing style, as evidenced by the question above. People know what genres they like, so I think they would naturally gravitate to working within those parameters, but I personally prefer a different approach to finding my style.

Try everything. Even if only once. I don't have any particular desire to write a Horror script, but that doesn't mean I haven't had ideas for Horror films. People say Uni is the best time for experimentation, and they don't just mean in the sex, drugs and rock n' roll sense. Take advantage of any free writing time you have to push yourself into new areas - only then will you know what you're best at. Having scripts for every occasion is also super useful later on in your career.

What are your top tips for overcoming writer's block?

Thankfully, I've already put together an entire blog post on this topic, so you get an entire article as your answer. Congratulations! You can find it in this old cavern here...

How should I go about writing in the Sci-Fi / Fantasy genre?

I think the key to Sci-Fi and Fantasy writing is world building. Too often writers come up with a fun concept and just bung that into a typical drama format, without taking the time to take advantage of building a rich mythology. Even if there only ends up being hints of the bigger picture in your end product, crafting an entire world or timeline for your story can be an immensely satisfying experience and gives an audience more reasons to invest in the story.

Beyond that, tone is probably the most important factor to consider in these genres. A danger with the aforementioned world building is that the dialogue can devolve into techno-babble / mythical-babble exposition, like how the Great Jarl of Ironhold vanquished the blah blah of blah. The best Fantasy and Science Fiction establishes a "voice", like the moody Noir of Bladerunner or the fading innocence of The Lord of the Rings trilogy.

Is it better to work on the basis of what would be more potentially successful to modern audiences or just do what you like?

As I've said in the previous questions, going out there and writing whatever story or genre you want is a great way to learn the ropes of being a writer. It's only ever worth writing stories that you want to write, otherwise the end result is almost always something that feels half-baked. What I will say, however, is that it's also worth knowing when you need to set your dumb passion project full of stupid in-jokes to one side in favour of actually getting noticed.

Writing is a learning process, but once you can safely say you have a strong grip on the nature of the craft, your next step is learning how to make your ideas a commercial prospect. The sad fact is, no matter how excellent your ambitious superhero Sci-Fi action film script is, producers will inevitably shy away if you're a first time writer. Prove you can do more with less, and work your way up to those big ambitious projects.

Are there any movies that are generally considered to be great Shawshank-calibre films that you dislike the writing of or can find massive plot holes in?

This may be a controversial stance, but honestly, I'm not really bothered by plot holes at all. I am bothered by people calling them out in the middle of the movie, especially if it goes on to explain it moments later. In summary, I enjoy turning my brain off and losing myself in a film, no matter what it's perceived "quality" is. Writing style is a different story though, and this probably mostly speaks to my own preferences as a storyteller...

I've only ever truly "disliked" the writing style of comedies. Maybe they just doesn't appeal to my sense of humour, but a lot of the time, from an objective standpoint, I lament the inherent lack of wit in modern movie comedies (genuinely thought Pitch Perfect was dreadful, but everyone I know seemed to love it?). Big Classic Dramas, on the other hand, I'm less bothered by. I don't mind The Godfather, even if it's a little slow in places, but I still respect and appreciate the writing. So, ultimate cop out answer, there aren't really any classics that I dislike - just a few that I'm indifferent towards.

How do you go about writing antagonists?

Antagonists are absolutely the most fun to write, because, for the most part, you get to play out the darker reflection of your protagonist's journey. First off, consider how different you want them to be from your hero - perhaps they're similar in almost every way, save for the one crucial factor, or, on the other hand, the total polar opposite. Next up, you make them objectively better than your main character. Your antagonist has them beat on almost all fronts.

In balancing the scales in your villain's favour, you've now created a real conflict with palpable obstacles for your hero to overcome. Your story is about putting your hero through the ringer, so your villain needs to have the upper hand. Then you can start working out the finer details of their characterization - their voice, presence, how other characters perceive them, etc. Most importantly though, never forget their humanity, and what makes them "good" from their perspective. Here are some tips I threw together.

What's your view on the use of tropes? Should they be avoided or are they helpful for audiences to understand the setting and motives?

Tropes, for those who don't know, are recurring narrative conventions that crop up in numerous different mediums, whilst not being overplayed to the point of becoming cliché. TV Tropes remains one of my most visited websites on a daily basis - you can spend literally hours on there learning how your favourite stories are constructed, learning where tropes originated from, and what else is out there that's similar. Enjoy at your own peril.

I would absolutely say that tropes are useful for writers, not necessarily to base your story around (unless you're going to actively deconstruct tropes in a meta narrative), but to understand the core conventions of storytelling. As for audiences, I think most viewers know what tropes are on a subconscious level (we can all identify a "Big Bad", "Heel Face Turn" or "Batman Gambit" if we know what we're looking for), but they won't make or break a narrative for the common observer.

How do you maintain enthusiasm over an entire feature length script?

In terms of reading a feature... Usually barely. BUT, from a writing perspective, enthusiasm is entirely reliant on how what opportunities you've presented for yourself. If you've outlined your story to be punctuated by major turning points or action sequences, a lot of the time, your writing will be fuelled by the promise that those big moments are just around the corner. It's not about getting to the end, but the next awesome sequence that will blow the viewer away.

Really, this comes down to the most valuable question you can ask of your work - "Do I love every scene?". You don't have to be head over heels for everything you've written, but there needs to be something for you to latch on to within each individual scene that only you can 100% capitalise on. If a scene is set up, or establishing, or connecting action, FLUSH IT AWAY. If you can't find a reason to enjoy each moment in your script, an audience member will struggle even more.

How do you go about writing action sequences?

There's a scene in the script for Macbeth (Shakespeare's original, not the recent Fassbender film) where ol' Bill just writes "They fight". For some people, that works in film scripts - leave the choreography up to the professionals by leaving it open to interpretation. From my perspective though, given the visual nature of film over the prosaic stylings of the Bard, something this simple is a missed opportunity.

On the flip side, you don't want to write an entire 10 minute karate face-off, or an intricately paced gunfight, blow by blow, gunshot by gunshot. But there is a happy medium where you can punctuate the action with emotional beats. Maybe your protagonist gets flung against a wall and knocked out temporarily, or a bullet in the arm slows down the badass during his last stand? Keep the action authentic to the tone of your story, but break it up with moments where we feel something.

Why are you terrible at writing?

What a lovely (joke) question. Thank you, anonymous.

Perhaps the real question is, if I'm so terrible at writing, why are you still reading?