The Official Home of Mediocre Screenwriter Geoff LaTulippe

(EDITOR’S NOTE: I posted this a little earlier today as a series of Twitters, and it got such a nice response that I thought I’d collect it here in a more coherent form.)

Quick story: I can count on probably four hands the number of times friends or family have stumbled into my place a little tripped out. Always the same look on their face, and they always start their explanation the same:

“Uh, I just ran into one of your neighbors, I think…”

And I’m always able to finish the story. “…and he was like a thousand years old and he showed you his tattoo.”

“Uh, yeah.”

“That’s Charlie.”

Charlie is 97 years old, about four and a half feet tall, and still in possession of a thick Germanic accent. His tattoo is a faded line of crude numbers, an identification given to him at Auschwitz.

At some point, he shows everyone. And if he gets the sense you’re a visitor to our building, he shows you immediately. Talks about it. Obviously, this is a little jarring for most. One second your in an elevator with this ancient, smiling little guy, the next it’s Nazis and death. But he’s so kind and so sprightly, and it’s impossible not to engage him about it. Especially because he just wants you to know he survived. And to make sure you know that, because he survived – the only member of his family to do so – he’s more or less determined to be immortal. And it’s not as if he’s just hanging around idly. Half the day, he walks the neighborhood. Every Monday, he volunteers at Cedars. The guy is ACTIVE.

Anyway, I ran into Charlie today on my way to the corner store this morning. As always, I ask how he’s doing. As always, he answers the same:

“Can’t complain! God has seen fit to keep me around for another day, and hopefully tomorrow I’ll find he’s kept me around for one more!” Big smile. So we chatted for a second, and he talked about spending a few hours at the synagogue this week. “Because I’m Jewish, you know.” I do, and I giggle at the adorable but unnecessary reminder. But then he got somewhat melancholy. Told me he spent most of the time thinking about his family.

He talks about his family a lot. When he does, he usually talks about his kids, who come over in various shifts to hang out with him, shuffle him from place to place, take him to dinner. But today, for the first time, he talked about the family he lost in the Holocaust. His parents, grandparents, aunts and uncles, cousins.

“Over one hundred of us. One hundred! And I’m the only one who survived. I can’t explain it to people. Can you imagine?”

I can’t, Charlie.

He goes on to tell me that when he comes across people he doesn’t know, if they’ll stop to talk to him, he shows them his tattoo. And he’ll talk about his mother, an uncle, a cousin. All lost to time, he says, but not to him. Because he talks to people. And remembers.

And if the people he talks to remember their conversation…maybe they’re not lost to time after all.

On 1 November, Charlie turns 98. He’s going to go out to dinner with his kids. Volunteer an extra day at Cedars. Y’know, 98 year-old stuff. So maybe, on that day, take a second to think about Charlie and his family.

I have a feeling he’d like that.

Earlier today on Twitter I began soliciting screenwriting questions for THE BROKEN PROJECTOR’s new and blithely awesome Vomit Draft podcast companion (enjoy the utter subliminality of that shameless plug). And in doing so it occurred to me that, while I’ve been as clear as possible that I believe that There Are No Rules When It Comes To Screenwriting, I haven’t been entirely clear about the scope and parameters of what “there are no Rules when it comes to screenwriting” means.

Let’s back up for a second, define it a little better, and then examine why there are, indeed, some “Rules” that matter.

When we (professional/experienced screenwriters like myself and others who taught and/or agree with me) talk about there being No Rules in screenwriting, this is more of a philosophical statement that applies to how you should think about storytelling in the screenwriting medium. It’s a testament to the freedom you should feel to tell the tales you want to tell in exactly the way you want to tell them. To not feel as though you should have to compromise your art because of what you might believe The Rules are. It’s easy to track script sales and see three movies a weekend and read the screenplays that wind up on The Black List and talk yourself into the notion that there is a set of standards you should follow and a certain way you should compose your own work. And while that might be comforting in some ways, it’s also very dangerous in other ways. And at the end of the day, it’s total bullshit.

Wait! No, I’m doing it again. It’s not total bullshit. I mean, it is! Almost always. But in one way. And not in another way. For the most part.

Fuck me, this is complicated.

OK. Here’s exactly what I mean when I say the idea of The Rules is bullshit:

I mean that you do NOT have to write in cookie-cutter Three Act Structure – and, in fact, I mean that it almost never makes sense to do so. I mean that you DON’T have to have a certain thing happen on page three, on page ten, on page fifteen, on page thirty. I mean that you DON’T have to save the cat. I mean that yes, if you’re passionate about your Antebellum-period alien invasion Dogme 95 musical, then you should write the absolute shit out of it and foist it upon the world. I mean that you should write a zombie movie even if you think the Whole Zombie Thing is played out if you think your zombie movie kicks the ass of every zombie movie written or to be written. I mean that you shouldn’t write a superhero movie if you don’t want to write a superhero movie but you’re convinced that’s what studios want to write.

I mean that if you write what you love and care about and put your entire heart into it and make sure that it’s interesting and compelling and that it forces the reader to turn the page and keeps them entertained in one way or another to the very end, then it almost literally doesn’t matter how the hell you manage to do it. Just do it. Because that will be the best you can possibly write.

Notice that “almost” though? Well…here’s where we get into the idea that there ARE some Rules. And yes, those Rules are often a matter of degrees rather than anything that’s fixed and nailed down eternally, but they exist nonetheless. To illustrate, I’m going to answer two questions I got on Twitter today. They’re both good questions, and both worth asking. And there are a billion questions like them that exist under the same umbrella, and that means they’re covered by the same answer I’m going to give you today. Actually, we answered one of these questions for the upcoming Episode of THE BROKEN PROJECTOR. And I felt that answer both complete and not quite enough, hence this entire blog entry.

I’m a man of multitudinous wonder.

Question #1:

And the quick answer is:

First of all, I’m not convinced there’s a “trend” towards this. I think it’s a stylistic choice that a few writers are using, most to their own unintended detriment. Second of all…I wouldn’t eschew sluglines. I can’t speak intelligently about GREAT FALLS, but in the case of NIGHTCRAWLER it’s pretty simple: Dan Gilroy is one of the best screenwriters to ever walk by a computer, and he’s established and respected and at the very top of his craft, so he can do whatever the fuck he wants. You (and I’m using the royal “You”, not singling out Clint here) are not, and therefore you probably shouldn’t. But if you do, your script had better be SO FUCKING GOOD that the reader is willing to ignore the odd choice that you’ve made. Tough bar to clear when you’re still trying to get sold and/or noticed.

Question #2:

And the quick answer is:

Not in any way I can think of. This might sound familiar, but Tarantino is an established, respected writer who’s at the very top of his craft, so he can do whatever the fuck he wants. You (still on the royal usage here) are not, and therefore you probably shouldn’t. But if you do, your script had better be SO FUCKING GOOD that the reader is willing to ignore the odd choice that you’ve made. Tough bar to clear when you’re still trying to get sold and/or noticed.

Now: notice that “quick”, though? Now we’re back into the idea that there ARE some Rules. But these are different Rules than the ones to (almost never) consider when it comes to the focus and deployment of your story. For lack of a better term, we’re at this very moment going to split Screenwriting Rules, now and forever, into two different categories: Storytelling and Mechanical/Technical.

Storytelling Rules – forcing your story into a strict structure, writing for trends, Saving the Cat, etc. – are almost totally nonexistent and disappear completely the more varied those stories are in terms of tone, scope, genre and other considerations.

Mechanical/Technical Rules aren’t what I would call “rigid”, but should more often than not be followed because they give you the best chance of presenting your story in a way that is going to appeal to the people who are in a position to pay you money to acquire it.

With that in mind, an analogy I’ve just now become confident in:

Think of your script like a gift you’re going to give to someone on Xmas. You want the box and the wrapping to reflect something about your personality – you might use brightly colored wrapping paper, or maybe newspaper, or a small bow and a bit of ribbon, of a gigantic ribbon and no bow – but you want your intent to be obvious: this is a gift. And a box, wrapping paper and some kind of flourish represents that. It’s clear, it’s understandable, and it’s universal iconography. It makes it easy for the recipient to recognize it as exactly what it is.

The box, the wrapping and the flourish are your Mechanical/Technical Rules.

The gift inside the box? That’s your Storytelling Rules.

IT CAN BE LITERALLY ANYTHING YOU WANT TO GIVE THEM. It can be TOTAL CHAOS. You want to give them a new sweater? Awesome! It could be a wool sweater. It could be a sweater branded with the logo of their favorite sports team. It could be a cardigan or a mock turtleneck. Fuck, it could be a shitload of yarn and some needles and a book that’ll teach them how to knit their own goddamned sweater! THERE ARE SO MANY OPTIONS. Now, whether or not they actually *like* their present in the form you chose is not something that you have much control over. But if you really put a lot of thought into it and worked to find something you believed in and have presented it in a way that shows you really, really care, you’ve given yourself the best shot possible that they’re going to love it.

Of course, there are some decisions you could make that could change the outcome here.

Like, let’s say you didn’t give a shit about the gift and just threw some old beat-up, secondhand sweater from your closet into the box. Or maybe you picked out the most expensive sweater in the store, but you know deep down it’s not what you wanted to give them, and you know they’re going to hate it, and you kind of hate it yourself. Well, I’ve got news for you – no matter how expertly and beautifully you wrap up that box, the gift itself sucks, so you’re just rearranging deck chairs on the Titanic.

On the other hand, maybe you got them the most perfect ass-kicking sweater ever. If that’s the case, you probably don’t want to wrap it in tin foil, dip it in kerosene and hold a lighter to it before you present it to them alongside a fire extinguisher. Sure, you’ve…you know, “done something different” and “made a statement”, but who the fuck wants to have to put out a blaze just to get to a sweater, no matter how awesome it is? Even if they manage to, they’re probably going to be pissed you made them do it, and even if they end up extracting the sweater, it’s probably charred and useless now.

(Listen, I’m sure you can poke all kinds of holes in this analogy, but just fuck off. See it for what it is and don’t complain. I didn’t charge you anything to read this. It was your choice.)

When I’m giving script advice, I’m almost always offering it to those of you who love screenwriting and want to at least take a shot at selling your first script. And that usually means selling a script to a studio or an independent producer or, at the very least, having something you can stake your burgeoning reputation on as a representation of your ability as a writer. And in the pursuit of that, my advice often comes down to this: without compromising your artistic principles – and hell, even sometimes DEFINITELY compromising your artistic principles – you have GOT to be willing to give yourself every chance to succeed, and far more often than not that means you have to PUT YOURSELF in the very best POSITION to succeed.

If that’s not why you’re interested in screenwriting or that’s not the road you want to go down with your work? I say this with no snark, no sarcasm, and zero ill will: no problem. Do whatever you want to do, however you want to do it, and vaya con dios.

For the rest of you: there are hundreds and thousands and (probably, I don’t have the exact numbers right here in front of me) millions of you try to accomplish the exact same thing you’re trying to accomplish right now. They all want to sell a script. The way to do that is ALWAYS by telling a great story full of great characters in an entertaining way that holds the reader’s attention.

What almost never works? Changing a screenplay, on a technical level, into something that the reader isn’t used to. It’s not going to make you stand out. It’s going to make you unreadable. Which is the one thing you can never, ever, ever, ever, ever be.

Sure, write novelistic scene descriptions that go deep into character psychology and that tells us things that go layer and layers beyond what we can see on the screen, and do it for PAGES. Totally fucking ignore sluglines. Write right to left instead of left to right. Give all your characters the same name and don’t even bother to explain it. Because maybe, tucked into the corner of a studio mailroom, there’s an intern who just absolutely loves that kind of thing, and his uncle just happens to be Brian Grazer, and Uncle Brian has told him, “Listen, I’m looking for these four off the wall formatting quirks in a script. They have NOTHING to do with the story, but I need them now, and I have a million dollars waiting for the first person who gets them on paper.”

But if you think that might be too narrow a mark to aim for? Everything else being equal, do whatever you can to make the basic technical elements of your script the same as every other script out there. That doesn’t mean you can’t tweak something here or there to give it a unique touch, but less is more. Less is WAY more. Follow the rules, because doing so will give you the best chance of keeping a reader focused on your plot and your characters as opposed to that weird fucking formatting thing you did on page 34.

And then, as you’re crafting your story, remember that there are no rules, so there’s no need to follow any. And that’ll keep your focus on what matters – your plot and your characters. As opposed to that weird formatting thing you did on page 34, which you really should fix when you’re finished, but don’t worry, it’s not a big deal right now.

Wow, has it really been over six months since I wrote something in this space? I hadn’t even realized. Apparently, neither had you, since not a damn person mentioned it to me. I’m aloof and you don’t give a shit, so I’ll now write thousands of words into a vacuum. The Internet!

We badly need to discuss what it means to write “strong” characters that are female or POC [or LGBTQ or disabled or basically the rest of humanity (and beyond!), but let’s hold our focus here for now] that aren’t straight white dudes. Because some of you are just getting it the all fuck wrong, and it’s leading to some REALLY shitty writing and some even worse ideas about what our entertainment should be.

“But Geoff,” you might be inclined to ask if you can’t or won’t just take a couple minutes to read what I’m about to spend my time writing,”aren’t YOU just a straight white dude? What could you possibly have to add to this discussion that would even matter?” Great question! And here’s the simple answer: I’m a writer, and though I have many weaknesses in that regard, I’m pretty fucking good with character. And while I’m not personally inclined to tell women or POC or anyone who’s not me how to feel, process or write about their personal/unique experiences, I can, in fact, be of help in understanding what DOESN’T work when constructing a character and a philosophy that MAY help you avoid some pitfalls of crap writing.

Good? Good.

First of all, let me link to a piece of comically bad writing. Bite the bullet here for a minute and read just this very first section about all that’s wrong with KINGSMAN: http://www.pajiba.com/seriously_random_lists/5-perfectly-enjoyable-movies-almost-ruined-by-wtf-elements.php#.VmHG9VcxquU.twitter

On the surface it might seem ridiculous to do a breakdown of what can be learned from a person who wrote a wrongheaded takedown piece about a movie she hadn’t seen. But what I’m getting at is this: it’s *exactly* this kind of empty-headedness that underscores the problem we have with writing nonwhite and non-male characters. And that problem is this: we don’t understand what “strong” means when it comes to these characters in screenplays.

Look, if you didn’t like KINGSMAN, that’s fine; it also doesn’t remotely matter for the purposes of this dissection. I loved it; that doesn’t matter either. This isn’t a discussion about reviewing the movie critically. Hell, it’s not even about the Pajiba article linked above. But we are going to use it to illustrate a point. Because in this piece, the author claimed the following:

“So the secretly old-moneyed white kid gets to become a good guy because of nepotism, and the self-made minority billionaire who wants to end global warming and employs a handicapped woman of color is the bad guy?”

In case you haven’t seen KINGSMAN, here are the four characters the author is talking about:

–Eggsy: A teenager who’s gotten into some legal trouble for some slightly-more-than-petty crimes and is recruited by a secret spy agency; played by a white British actor.

–Gazelle: The athletic and deadly right-hand henchwoman of the main villain; played by an Algerian-French actress.

–Valentine: A mulitbillionaire entrepreneur and the main villain; played by a Black American actor.

And if you still haven’t seen KINGSMAN, continue at your own peril because I’m going to discuss specific details and the end of the movie. If you do have to skip, here’s a non-spoiler summary: pretty much everything the writer said about the movie in that sentence is wrong.

First of all, Eggsy isn’t “secretly old-moneyed” or “old-moneyed” in any way in any sense of the word. When we meet him, he’s a toddler, and his secret spy father has just been killed on a mission. It looks like he’s growing up in a pleasant enough middle-class setting, but it’s just him and his mom in a small apartment. Fast forward to his teenage existence: he’s poor as shit and living under the dilapidated roof provided by his tortured mother at the hands of his physically abusive gangster stepfather. He’s committing petty crimes, and eventually he commits a felony by stealing a police car and crashing it. The first time he sees any money at all is when he’s recruited into The Kingsmen, the secret organization his father was a part of. But it’s not, at any point, HIS money…though he does have access to the gadgets it provides in the course of doing his job. And the only reason he’s getting a shot at said job is because his father’s former coworker/friend feels this might be Eggsy’s last shot at turning his life around, and it might be this guy’s last shot to pay Eggsy’s father back for saving his life. Which isn’t quite “nepotism”.

Second, Gazelle kicks all kinds of ass and is basically the reason that Valentine gets to implement his plan at all. She’s his bodyguard, enforcer, strategist and assassin. Oh, she’s also a double-amputee who has blades for legs. Like, actual blades that split people in actual half. So we’re talking about a brilliant woman who has not only overcome adversity and has elite talent in myriad skills but is also ultimately the key to a global takeover AND she gets all of the best action beats in the whole movie.

Third…yeah, Valentine is a minority billionaire who wants to end global warming. And he wants to end it by killing pretty much everyone in the world except himself and his rich white millionaire/billionaire, entertainment and politician friends. That’s why he’s the villain. He gives everyone in the world free phones with secret SIM cards in them that cause them to brutally murder each other. He’s not some fucking Al Gore-ish peacerider who’s trying to save humanity. He’s actually (almost, because his plan ultimately fails) history’s most prolific mass-murderer.

So what’s the point of me explaining all of this? Well, the smaller point is: don’t try to analytically write about a movie you haven’t fucking seen. And DEFINITELY don’t try to be the smarmy savior of all nonwhites and females in the course of being uninformed. Goddamn, I hate my fellow Liberals sometimes.

(I’d also like to take a moment here to tell you that everyone – LITERALLY everyone – who bought into Valentine’s scheme and came along for the ride is depicted as a complete bastard and ends up getting their head blown to smithereens in one hilariously satisfying sequence. The vast majority of these people are, as mentioned before, white.)

But the much, much, much bigger point here is this: THE BLACK GUY AND THE DISABLED WOMAN ARE THE MOST INTERESTING AND COMPLEX CHARACTERS IN THE MOVIE. And THAT’S what we should strive for when we write minority characters: complexity and interest. That’s what the “strong” in “strong characters” means.

Valentine – aside from being entertaining and often very funny – is a layered guy. I’m not sure that we learn anything about his life pre-billions, but it is made pretty clear that he built himself up and developed a real concern for the rest of the world. There’s a scene where he explains that he became VERY worried about the environment in general and climate change specifically. Despite all his money and influence and connections, however, no one seemed to give a damn, and no progress was ever made to reverse course. And it’s intimated that *this* is where he went from mogul to supervillain – he realized that humans are a virus, and climate change was the Earth’s way of expelling us. And he simply figured that he’s going to speed up the process.

So this isn’t just a faceless Bond antagonist who’s a challenge just because Roger Moore needed a challenge. This is a character with purpose and depth and a point of view that you can appreciate, if not wholly support. THOSE ARE QUALITIES OF A STRONG CHARACTER. And yes, there is a separate discussion to be had about Hollywood’s historical problem with villains who are also POC, but I challenge you to watch this movie and explain to me how Valentine is an example of such. In fact, I challenge you to convince me that he’s not the exact opposite of this problem.

But what I’m getting down to is this: we’re missing the message about writing stronger female and POC characters if we’re going to start knocking people for writing strong female and POC characters. And it’s not just in writing ABOUT film that this has become depressingly apparent – it’s happening in screenwriting too.

A lot of writers – especially well-intentioned white writers who simply want to do their small part to help the film industry creep towards inclusion and equality – get confused with the concept of “strong” characters. They hear the word but incorrectly believe it to mean “perfect” or “better than everyone else”. And that’s EXACTLY the place from whence we end up with the Manic Pixie Dream Girl and the Super Cool Girlfriendwife and the Magical Negro.

These writers think that when actresses lament the lack of strong roles for women, they’re asking for roles in which women are infallible heroes who do everything right and save the day and teach the menfolk a valuable lesson. When in actuality they’re asking for better than the Cardboard Cutout Lady relegated to Nagging Wife or Crazy Bitch or Golddigger. They’re asking for roles that exist in age brackets other than Precocious Child, Hot Young Love Interest and Quippy Grandmother.

These writers think that when actors and actresses lament the lack of strong roles for POC, they’re asking for roles in which they’re inordinately wise for no reason or seen as incapable of prejudice or malice. When in actuality they’re asking for better than to be The Diversity Hire relegated to First Horror Movie Death or The Token Sixth Friend or Gang Member or A Rich Person’s Clever Gardener. They’re asking for roles that allow them to portray interesting individuals that aren’t necessarily in service of their white counterparts.

Then these writers go and write scripts thinking that they have to be Racial and Gender Harmony’s White Knight, and we end up with scripts that are full of stock, one-dimensional characters with no personality and a shallow story that’s a boring testament to vanilla regression. And these scripts fucking suuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuck. They’re trite and try-hard and everyone can see the put-on angst in every line: “I am so desperate to solve all the inequality in the world and here is how I’m going to prove that.”

Stop. Stop that. Fucking stop. Do not do that.

So how do we solve this problem? Well, part of this answer is simple, and it’s a whole ‘nother conversation, but it boils down to this: we need to include in the production process and produce more creative works from women and POC. They’re going to work from their point of view and they’re going to create the worlds they’ve experienced and populate them with the characters they know. And it’s fucking embarrassing not only that it still needs to be said, but that it’s almost 2016 and we’re still doing a shit job of it.

But what if you’re not a woman or a POC?

Look, I don’t have all the answers here, but I am damn sure of two things you can start doing right now that will help to combat the eventuality of having zero diversity or “diversity” that only exists in the academic sense and is insulting.

1) Avoid writing women and POC as though they’re fragile antiques that need to be protected at all costs. These characters – LIKE ALL CHARACTERS, FOR CHRIST’S SAKE – deserve to be written with respect and in the pursuit of the truth of the story you’re trying to tell. They don’t need to be (and almost always shouldn’t be) perfect or infallible. They absolutely need to be dynamic and intriguing and you need to write them in such a way that the audience understands who they are, where they’re coming from and why they’re doing what they do. They need to be relatable or, at the very least, worth grasping psychologically.

As a writer, you should already be constantly thinking about subverting convention and expectation in your scripts, or you’re going to write boring, cookie-cutter, unoriginal worthlessness anyway. But REALLY apply that to your characters, and constantly be auditing your own motivations for where you take them. This doesn’t have to be a complicated thing. It only really has to be a measure of awareness that you’re not giving a character the short shrift nor are you overcompensating for them.

And it all comes down to what we talked about before: depth and complexity – the emotional, psychological and practical facets and actions that make up the people (and sometimes non-people) who populate your stories. Treat ALL of your characters – protagonist or antagonist, major, minor and micro – like they’re living, breathing beings who have hopes and fears and histories and futures and whole lifetimes of experiences. You do that and no matter who you’re writing, your chances of committing horrible or even casual acts of racism or misogyny drop to near zero.

2) Go into the script you’re writing now or a script that you’ve written before and ask yourself: what if I made half of these characters either a woman or a POC? If I simply changed a couple of small details and didn’t just assume they were white or a guy, does it make my script appreciably different?

The answer, you’ll find FAR more often than not, is “no”. And if that’s the case with your script, the question then becomes…why the fuck not? What’s it going to hurt to change things up?

It might seem like a pointless thing, but trust me, it’s not. Your script is designed to paint a picture for the reader that they can play out in their head, right? Why not give them an excuse to see the universe you’re working in as a diverse and varied one? Obviously, this isn’t going to work with every single script; you can’t write BIG LOVE with a swath of minorities, and if you’re writing an Einstein biopic, you’re not going to portray him as a Latino woman. But for the everyday story that’s not leaning on that kind of specificity, you have the option to build your world however you like. So take the opportunity to paint us a picture that’s less…monochromatic. And has some vaginas on it.

Might seem meaningless in comparison, but it’s not. It’s purposeful and considered and could lead to purposeful consideration on down the line from producers and agents and casting directors if and when your movie actually gets made.

—————————————————————–

As per usual, what I’m asking you to do is just think. There’s a comfortable middle ground here between not giving a shit about anyone different from you and giving so many shits that you try to delete injustice from the entertainment industry. The latter is impossible and the former is just lazy.

But take this seriously. There’s a reason there’s a dearth of strong minority characters in popular media, and there’s a way to help from your end, in a small but real way, if you’re not a goddamned idiot about it.