I know you won’t learn a lot from me in the process, other than to observe my mistakes (and hopefully a few successes along the way). That’s why I’m not going it alone. My updates will be accompanied by an ongoing interview series with produced screenwriter Xandy Sussan.

You might remember Xandy from her past interview here on getting started in screenwriting or the recent announcement about her (and Merrel Davis‘) Double Feature Story Analysis service. She’ll be answering one or two interview questions for each update I post here about my progress with the screenplay — on idea generation, screenwriting research, outlining, drafting, etc.

Let’s get to it!

From Scaredy-cat to Screenwriter?

This isn’t the first time I’ve wanted to pursue a screenplay. I outlined my first novel back in 2004. I shelved it because when I finished those 70+ pages of outline material, I really felt the story would be better suited for a screenplay (after trimming some of the fat). Then when I was doing the other two novel outlines for readers to follow along with, I had more ideas for pursuing that outline as a novel again. So it’s still shelved until I decide what to do with it format-wise.

Fortunately that wasn’t the only screenplay idea that I had, and I really didn’t have to look far for one. Back in 2008 a friend renewed my passion for the horror genre. I loved it in my younger years, and then became the biggest coward about watching and reading horror for some reason (says the girl who was reading Stephen King by 10 — don’t ask me what my mother was thinking, or if she even knew, but I’m still terrified of clowns thanks to both the print and film versions of IT).

So I knew immediately that I wanted to write a screenplay in the horror genre. The idea seemed so obvious. There was this local legend in my college town. My ex-fiance told me about it (he grew up there). I got tired of hearing about the bullshit stories pretty quickly. You know the type — juvenile males daring each other to do stupid things and thinking it’s going to impress a girl. Yeah. Not so much.

Then a few months back I was reading a book with some area legends and lore, and that story was in it — with more detail than the ex’s version. The story suddenly became fascinating, not because I believed the essence of the tale, but because it turns out there’s possibly some factual back story that led to the legend. That’s what caught my interest.

I wish I could tell you about the specific idea, but I’m not going to. I’ve come across quite a lot of people online openly itching for this story to be turned into a movie, and sharing the overall idea as well as my fictional take on it would defeat the purpose of writing it myself. Besides, I can be pretty damn slow with these types of projects due to other commitments, so the last thing I’d want to do is hand over the idea to others to have them pursue it first.

What’s even better is that I’m reasonably close with a professor at my old college who I worked for at the time. He’ll be able to shed light on one aspect of the town like no other, and when we get to the in-depth research portion of the project and I’m ready to make a trip out there, I’m hoping to get him on a road trip to check out some elements of the story and educate me along the way. We’ll see.

So anyway, that’s the gist of what my screenplay is about — it’s a horror story based on a local legend. I’ll tell you a little bit more when we get to the research phase so you can understand what I’m actually out there doing.

In the meantime here’s some information from Xandy Sussan on screenplay ideas!

Xandy Sussan on Screenwriting Ideas

Where do you get most of your screenplay ideas, and how do your organize them?

I mostly get them from real life. I’m a professional eavesdropper and all-around-nosey-body. I love people and their stories and I always want to know everything about everybody ever. With that comes the unprecedented access to the best stories around. Strangers love to hijack me and confess their darkest sins to me in between the Sharpies and the Uniballs in Staples, in the grocery store, at the doctor’s office. I listen, I remember and I mull over for later.

If you had to choose 2-3 story elements / factors that tell you an idea is appropriate for a screenplay (as opposed to another medium like a book), what would they be?

What tells you that a story is ready for the screen? If a client came to me with a script filled with pages and pages of novelized text and internal thought, you probably have a novel not a screenplay. Novels allow for a deeper exploration of feelings, ideas and inner monologue that has absolutely no room in screenwriting. Screenwriting is a utilitarian pursuit. A script is a literal step-by-step of what to do to make art. Also, novels and most film are finite stories. They take place during a specific time period (even if it spans 100 years) and they have a beginning, middle and end. A television series is open ended. It requires something producers refer to as “legs;” basically meaning, can the show, under certain parameters, maintain it’s exciting adventures week after week with little forward movement? So, those are the things I immediately look for. Otherwise, the difference between a novel and a movie is really the visual component.

I don’t have an exact frequency set for this series. I’ll update as I move from one area to the next. The next post will cover research, and that will depend on when I can schedule in a research trip.

I know not everyone here is interested in screenplays, or novels, or other writing formats. But I hope you’ll bear with us and enjoy this series as it progresses. While we specialize in freelance writing here, we want to encourage writers to pursue their own projects as well — as additional revenue streams, or even just to flex your creative muscles once in a while.

In that spirit, I’ll again put myself on display whether that means succeeding in the project or making a complete fool of myself. We’re all new at something at one time or another, and these kinds of experiments are precisely why I never forget what that newness feels like. And that’s why I’m able to push you to do more and be better in your career — because I’m willing to do it right alongside you.

If I fail, that’s okay too. We’re not all cut out for everything. And worst case? Maybe you’ll get a laugh out of it — and any excuse for a laugh is a good one. :)

During one of our email exchanges she mentioned a special “Double Feature” service she would be offering with fellow screenwriter Merrel Davis. Merrel sent over all of the details and he and Xandy took some time to answer my questions. Today I want to share information about this service with you — a story analysis service for both screenwriters and novelists. (Note: I’m not an affiliate or compensated in any way since I know some people worry about that — this just a solid recommendation from me to you.)

Background on the Story Analysis Service

There are actually four services available where you can hire Xandy and Merrel as a team: coverage, development, rewriting, and ghostwriting. The latter two would be more applicable for clients who aren’t professional writers in their own right — which you are — so we’ll focus on the first two.

Coverage / Story Analysis — This service gets you two simultaneous reads of your manuscript, with two coverage reports and a “head to head” report (to give you “a clear apple to apples comparison of both readers’ comments,” as Merrel put it).  You also get a 1 hour phone consultation with both Xandy and Merrel. Between now and May 15th this service is just $300 ($450 after that).

Development Package — The development package is tailored to writers who want a little more help and feedback along the way. This package includes a first read from each reader, a second read and set of notes on your work from both of them, and a third read with notes before the final two coverage reports. You also get five hours of phone (or Skype) consultations to help you develop your story. This Double Feature service is $2000 until May 15th (and $2700 after that).

Check out Xandy’s sample coverage reports for a better idea of what the final cover reports will look like.

Why Hire Professionals for Story Analysis?

Look. Many writers don’t like criticism, but constructive critiques can be vital to a creative professional’s success. The longer the work, the more important I think this becomes (it’s much easier to lose consistency in a novel than a 300 word blog post for example). I asked Xandy and Merrel to share their own thoughts on constructive criticism and why it’s worth hiring people to provide it.

Merrel: It’s important to get an unbiased perspective on your work. When I first started writing, I relied on close family members and non-writer friends to provide me what turned out to be some pretty bunk advice. Family and friends are well meaning; they may offer you platitudes about how “good” your work is. And while it can be helpful for motivation, it is essential to get unbiased notes from someone who hasn’t diapered you.

Xandy: Story analysts are like personal trainers. We’re here to help you achieve your goals for yourself. It’s really the only way to assess where you are and figure out a plan to get you there. Think of it a bit like weight watchers.

Why Hire Two Professionals for Story Analysis (at the Same Time)?

Why you should consider professional story analysis seems simple enough — unbiased feedback could make your final project suck significantly less because it helps you catch potential problems early. But why hire two readers at once? I put it to the pros again:

Xandy: How many times will you get to have two professional, produced screenwriters and story analysts battling it out over your story? That’s the best way to get that big idea. Think of it like your own mini writer’s room. It’s a little smokey, pencils are stuck to the ceiling, but it’s the essence of hashing out a story delivered to you. It becomes organic. You have more than one person to bounce jokes off of; to spark ideas, develop plot lines, and keep track of the details. The better the ideas are, the better your project turns out. Often times, our clients will reconcile our differing opinions – finding a happy medium between us both.

Merrel: We are most valuable to you as a team, so we pass that value onto you. It’s cheaper to book us together than separately. Think of it like going to a doctor and getting a second opinion on the spot, but you didn’t have to make another visit. When we piloted this program last month, our guinea pig writer was super surprised how intimate the entire process was. They were able to reconcile and decide, from both of our notes, what worked for them.

Which Service is Right for a First-Time Novelist?

I could be way off base, but I’d guess we have more aspiring novelists than screenwriters as regular readers here. So I wanted to know what the dynamic duo would suggest for someone in those shoes:

Merrel: First time novelists should do the development package for sure. A first time novelist will most likely have NO outline, and 200 pages of written material that’s unusable. It’s a common problem among first timers to charge into battle with no gear on. The development package allows us to begin our “Rocky training montage” where we whip writers into shape, in fast cuts, to Eye of the Tiger. For me, the development stage is so important, because a lot of first timers have great ideas but aren’t totally clear on how to best present them. They have a notion, and often make the mistake of going too big, and trying to jam in too much. The development option allows them to organize their thoughts, and get an outline done, early so they are on track for the first revision.

Xandy: All levels of writers come to us. For those more accustomed to the novel or script writing process, coverage is the way to go. It’s a good way to get a story checkup, figure out your strengths and weakness and get some concrete ways to fix or elevate your already completed story. Some clients like to book us for coverage to assess where they are, and then book us again for development services if their story is in dire need.

Who Are These People Anyway?

It’s not enough to know that this is a good service. You should know a bit about the people behind it. So here are their mini-bios to tell you why Xandy and Merrel are qualified to provide these story analysis services for writers.

“Xandy is a working, produced screenwriter. In the past, she worked as lead Story analyst for WB & WB Animation, and read for many production companies and studios including Miramax and Jennifer Lopez Entertainment. She has written for WB Animation, Cartoon Network and Disney et al.

Merrel is a produced screenwriter, story analyst and the organizer of Screenwriter Karaoke; a fun and successful writers/screenwriters networking event. He read for clients and production companies around the world. He staffed on series for NatGeo and works currently as a writer / editor for television, documentaries, and web series.”

Final Thoughts

I don’t think there’s any secret that I like honest opinions over coddling “yes you’re wonderful sweetie” comments. So any chance you have to get objective feedback on your work, I would consider a good thing. I have no idea how my own screenplay project will progress, or how long it will take me. I also have no idea when I’m going to make time to get back to the three novels I outlined from 2004-2008 (yeah Merrel, I’m one of the first-time novelists who did take the time to outline thoroughly to hash out problems early, so :P ). But whichever project I finish first, I can definitely say I’ll consider tossing it their way, especially if they’re still offering the Double Feature options.

If you have a project ready for story analysis from a couple of pros, I hope you’ll check out the services. You can order them online through Xandy’s site — CoverMyScript.com.

Xandy and Merrel wanted to share a few closing remarks:

Ultimately, we do this work because it’s important to us to help cultivate and grow craft. We are working writers as well, we feel your pain, but luckily have the tools to make you a better writer, so bring it!

Website: Coming soon!

Specialty: Creative Writing

Rates: 10 cents a word

I am a creative writer. I hold a degree in Film Studies and I have experience in writing, researching, proofreading and editing. I’m here to help you if you’re looking for someone who is dependable with excellent writing and creative thinking skills.

You can contact me at dylanwardwriter@yahoo.com.

Here’s what Sussan had to say:

On How She Started in Screenwriting / Writing for Television …

“I had a day job working for the story editor / producer on an animated series as his writer’s assistant. As soon as I found out there were freelance slots open, I went in with 10 premises and pitched to him. I sold three in the room, wrote them, and got into the Writer’s Guild. It seems so simple when I read how it happened to me, but those three sentences took 5 years of plugging away, working for pennies on the dollar, skimping and starving to achieve my goal. But, ultimately, I did and when I saw my name up there, when I held my WGA card in my hand, it was all totally worth it. “

On Needing Specialized Education or Experience Before Starting…

“I went to NYU’s Tisch School of the Arts’ Dramatic Writing Program, and I graduated with a dual BFA in Television and Screenwriting. When I first graduated from NYU, it seemed like that was enough. “Oh, she must be great, she went to NYU…” but it turned out that where I went to school was really of little relevance. NYU had me believing that “they” (the producers of the world) were handing out sit-coms at LAX to every New York transplant. That just wasn’t true.

While being an NYU grad helped people recognize I had some worth and an excellent education, the only thing that really mattered, as far as my screenwriting was concerned, was what was on the page. And if my samples weren’t impressive, the door was closed to me.

The only education that really helped me progress was doing. By producing an indie film in 1999, I learned I knew nothing. I didn’t know my ass from my elbow, but when you’re in charge of a 20 person crew and they’re all looking to you for the answers, you learn on the job. Screenwriting is the same. You don’t get to be a better writer by only doing it once. It takes years to develop a voice, a style, a concise and inventive way to tell a story that is both marketable and innovative. That comes with practice.”

On How Writers can get Started in Screenwriting & Writing for Television…

“How I started was a total accident and something that couldn’t be repeated again one in a thousand times in a lab. I moved to LA from NYC with $2500, a dog and two suitcases, and didn’t realize that my plan for Hollywood greatness was completely filled with flaws. I had no plan, which was the problem. I had three contacts, some basic street smarts and an NYU Screenwriting BFA. It didn’t occur to me I would need more, not being the progeny of a well-connected picture family. But I did.

I had many weird jobs; I sold shoes, was a phone psychic (I was actually pretty good), and then I got a production job as a receptionist on a television series. I met a writer’s assistant who told me that she temped when things were slow. She gave me the name of her temp lady. The show was cancelled two weeks later and three weeks after that I was temping at Saban Entertainment. I got my first “writing” job there, writing kids’ jokes for a game they were marketing. I was paid $500 for 1000 jokes, that plus my salary. I felt like a millionaire.

I went on to temp for a brief time at Universal in marketing, but they weren’t quite about me. I then went to Warner Bros. TV Animation to fill in because a writer’s assistant had become a writer and they needed someone who could “type under pressure.” My one week assignment turned into the start of my career. I got an agent while working at Warner Bros, I got a writing partner, I got many opportunities to pitch and be mentored, and when the time was right, I got my first job. But it was, what I like to call “a confluence of positivity;” a fancy way of saying “right place at the right time.”

But if I were to do it over again, I’d probably do it the same. I’m not a good planner. I’m sort of “It’ll work out” kind of gal, a fly by the seat of her pants life adventurer. If you are looking to not live every moment on the edge and want something more stable, then I would think things through. You have to make a living to support your writing habit. It’s going to take a while for you to break in and start making money, if you ever even get to. So, figure out what you can do and do it, all while plugging away to make sure you achieve your dream. Tenacity is the biggest hurdle for the new LA screenwriter. If you can keep going, even through the lean times, and still have to tell stories just to scratch that burning itch to communicate, then you’ll make it.”

On Things Prospective Screenwriters & TV Writers Should Know…

“You are you and you’re not anyone else. I know that sounds like “high talk” but it’s serious. Wanting to be a Hollywood screenwriter means that you no longer can measure your life based on someone else’s yardstick. I don’t care about your mother’s friend’s daughter Susie who is a lawyer now, with 2.5 kids, a house with a yard and is making $150 K a year. Susie isn’t a screenwriter. Her life’s achievements are ticked off differently than ours. My parents can’t understand why it’s still so hard for me to get work, when I’ve already been produced. I explain to them, it’s not for lack of effort. I do something everyone in the world wants to do and thinks they can do better. If I had put this much effort into being a NASA scientist, I’d have colonized Mars by now. But there’s only so many shows, and there are so many writers, writers better than me, writers worse than me, writers better connected than me. You’re most likely not always going to get the job. When you get the job it’s great. You need to decide what matters to you, find your own path and get it done. It’s not a lifestyle for everyone, but if it’s for you, then you can’t care what other people think. Just do your best writing every day, strive to improve, never give up and you’ve already succeeded.

Also, I did learn that all the best networking in the world isn’t going to make money come through the door, if your script isn’t spectacular. I feel the work is the most important thing. Do no write checks your ass can’t cash. You can’t talk yourself up as the greatest screenwriting talent in the world and not have a single sample to show someone. You should have a sample in every genre, because people are weird and they might need to see something specific. For example, my portfolio has some multi-purpose specs, but I wrote one for almost every hit show (Entourage, Two and a Half Men, My Name is Earl, Drawn Together, The Office) my first sample was a Mad About You. I found it recently when I moved. I cringed fearing it was terrible, but it was typo free and showed promise! I was pleased. It read like them and that felt good. So, just keep in mind that while you might love Entourage and your Entourage spec, someone needing a sample might hate Entourage, but love Drawn Together, so best to be prepared. Oh, a little tip, a 22-minute adult animated spec can count for two, both a half hour sample and an animation sample. Getting double out of your spec buck, is a good thing. You only get one chance to make a good first impression, do that by actually having a script ready, better yet a library, so whomever you deal with knows you’re serious and have the capacity to churn out the pages. Make sure it’s not only excellent, but it’s polished, professional and as typo free as humanly possible.”

On Xandy Sussan…

Xandy Sussan is a professional, produced screenwriter with a 10-year long track record of success. Xandy also runs a full service story analysis company. She provides services for screenwriters and novelists including standard coverage, editing, formatting, development services, ghostwriting, rewriting, novel adaptations, and basic consultations. She has read over 1500 scripts and 750 novels since opening her doors in 1999 and continues to be the most trusted voice in script development with a client list including Warner Bros., Miramax, Handprint Entertainment, and Jennifer Lopez, along with many independent writers who have gone on to win contests and sell their scripts successfully. You can learn more about Xandy at http://CoverMyScript.com or follow her on Twitter @CoverMyScript.

I have several other interviews confirmed, so I’d like to announce those interviewees so you have an idea of what’s coming up:

• Freelance Blogging – The corporate blogging authority, Debbie Weil
• Copywriting – The always-awesome Angela Booth
• Magazine Writing – Coming back for her second AFW interview, Linda Formichelli
• Playwriting – The not-so-one-and-only Jennifer Mattern (What can I say? If you want to be a writer, apparently it’s a good name to have!)
• Fiction / Novel Writing – The Marshall Plan creator Evan Marshall (soon to release his 10th novel!)
• Screenwriting / Writing for Television - Xandy Sussan, who has written for television shows for Disney, the WB, and Cartoon Network, stops by to talk about writing for the big (or small) screen
• Trade Publication Writing - Christa Miller will be sharing some thoughts on getting started writing for trade publications

I also have feelers out to folks for interviews covering Web content writing and technical writing. I’ll update this list (rather than posting another) as confirmations come in. I’m still looking for a freelance medical writer to chat with. If you know someone, please ask them to shoot me an email at jenn@allfreelancewriting.com.

If there are other types of writing you’d like to see covered in this series (they don’t have to be specifically freelance-related), leave a comment and let me know. I’ll do my best to track down a writer in the field to come and share some of their thoughts for you. :)

I know we probably don’t have a lot of screenwriting folks visiting this blog, but considering that I encourage you to pursue your own writing projects like blogs, e-books, and books, I felt this was fitting for those looking at other writing models. I haven’t played with it yet personally, but probably will over the weekend. It’s currently in beta, although I’m not sure when exactly it launched.

You can even write collaboratively with other writers – social media meets screenwriting. Kind of cool.

If anyone’s more familiar with the basics of screenwriting, I’d love to hear what you have to say about it.

Use Plotbot now.