Q&A: How Do You Live the Dream?

It's been almost a year since my last post. I've been doing more producing than writing these past few months, which has been wonderfully taxing! During a recent film shoot, a young actor approached me and asked if he could interview me for a school project. I'd like to share his questions and my answers, less out of vanity and more out of the fact that this young man's questions were exactly what I needed to say to myself.

You see, this year has been equally good and equally hard. At the point of this interview, I was in a very dark and stressed out place, wondering why on earth I didn't take the stable mall job my dad wanted me to.

Thank goodness for other people! It takes an army to make a movie, not only to get the thing made, but to get through it alive.

I'd like to thank this young man for reminding me to take my own advice and keep my chin up. I wonder what all of you would say to these questions? Feel free to respond and comment. Cos I genuinely want to know how everyone else does it.

1) Can you recall a dream for your future that you had as a child?

Answer: I remember everything I dreamed of as a child. I set my goals unrealistically high and never doubted that my dreams would come true. I knew when I was around six years old that I wanted to be a filmmaker. Or rather, I knew when I was six years old that I was going to be a filmmaker.

2) Was your dream fulfilled? Whether yes or no, did this affect your outlook on life?

Answer: Yes, I am now working in the film industry full time. It’s empowering, satisfying, terrifying, challenging, and a constant test of my mental, emotional, spiritual, creative, and physical durability.

3) What did you have to do to attain your dream? What were you willing to do?

Answer: Always remember the big picture. Everything I ever did was in the context of becoming a better filmmaker. I never took a job that would inhibit my creativity, or would lock me down so tightly that I couldn’t just pick up and go on a shoot if I needed to, even as a teenager. Every vacation I took was a potential filming location, or an adventure that would inspire a screenplay. Every class I took, I learned under the context of filmmaking, even though I did not study actual filmmaking. Every book I read was either knowledge about the industry, or a potential script adaptation.

The biggest risk I took was and is instability. You have to know going in that being a filmmaker will not make you rich. It’s just like any other job. Forget about the glamorous lifestyle –it’s hard work, staying in when your friends and family are going out, hours of studying books, blogs, websites, doing phone interviews, watching films, listening to commentaries.

You have to be willing to go it alone.

Your support system will be very small. You will meet the lowest of the low and the best of the best. You find out very quickly what you are made of. I was willing to be true to myself and stick to my ideals, confident that like-minded and like-valued people would eventually come my way.

I was willing to stick it out. Giving up was not an option. I was 21 years old when the reality dawned on me that I might not make my first movie until I was 40 years old! Was I really willing to stick it out and wait a lifetime to fulfill my childhood dream? I decided back then that, yes, I would commit to it.

The most important thing anybody can do to reach a goal is never give up. Commit to doing it. Do the time. Learn the ropes. Get a mentor. Make mistakes. Fail forward. Take the hits. The wins will be fewer and far between, but they are worth it.

4)What are some of the obstacles you had to overcome to reach your goals? What did you see as the most difficult obstacles for young people hoping to achieve a goal today?

Answer: The biggest obstacle you will ever face is yourself. You will doubt yourself, hate yourself, make mistakes and not forgive yourself, you will be afraid of failing, you will be afraid of success, you will sabotage your own progress and your own projects, you will forget your true spirit and settle for the easy things instead of the right things, you will feel guilty if you have a social life or fall in love or raise a family or take a break.

Your biggest obstacle will never go away. You will wake up with it, work with it, live with it, sleep with it. It’s unavoidable. It’s you.

It’s also a deception. These things are not really obstacles. Plan on the hurt, the struggle, the mistakes. Ultimately, you are defined by how you live, not by how you make a living. Dreams can change, goals can change, game plans can change. Some people are lucky enough early on in life to know what they want. Others can take a lifetime trying to figure it out.

If you know yourself, your path will become clear. The bad will always equal the good. The road to success should be hard. Movies exemplify that. The films that have the biggest struggles are also the films that have the greatest success. The characters that have it the roughest are usually the ones that are the most memorable.

The hero’s journey is supposed to suck. But the payoff is usually worth it. There’s a universal truth in that, it’s why we keep putting it in the movies. Live like that, and you won’t go wrong.

5) Do you have a dream right now? Are you willing to share it?

Answer: The day I stop dreaming will be the day I die. I have several passion projects in the works. One is a film that I know will cost tens of millions of dollars to make. I know I am not ready to make that one yet, but I am building my street cred, my industry reputation, my skill sets, and my team. Every project I take on is related to that film one way or another. Slowly, but surely, I am headed in the right direction. I knew that it would be one of those “this took ten years to get off the ground” kind of stories. I’ve been working on it for two years now, and I’m right on track.

6) What is considered success in our society today? How do you define success?

Answer: I think society defines success in terms of materialism, which is unfortunate. Popularity and wealth seem to always be a sign of success. A harsh reality, especially in the film business, is that you need money and fame in order to succeed.

I wrestled with that demon some time ago. I’ve always wanted to make art for art’s sake, I’ve always feared that money or fame would corrupt me if I wanted them. But what I realized is that those are goals, not THE goal. They are pieces on the chess board, nothing more.

To me, success is an ethereal thing. It’s intangible and almost unobtainable. Or rather, it’s such a fleeting thing that you have to keep obtaining it every minute of every day.

To me, success is not giving up. I don’t really know what success tastes like. I know what failure tastes like and it’s bitter. But I learned that the only way to really fail is to stop trying. Quitting while you’re ahead, quitting when you’re behind –you quit, you fail. But if you get knocked down and you get back up, then there’s something to that.

You have to get up every day. Like I say, fail forward. Mess up big. Do it again, but do it differently. Make different mistakes.

Keep going. Know that you deserve to win, to succeed. But no one is going to hand you your dream. You have to take it, and grab it, work for it, keep it in sight, protect it, nourish it, educate it, and feed it.

You have to do it. Every day. Make the Energizer Bunny look like a freaking couch potato. That’s what separates the men from the boys. The so-called winners from the so-called losers.

As Dory says in ‘Finding Nemo’, “Just keep swimming.” And when things break down, do what Jennifer Connelly says and maybe try again tomorrow.

The White Space

Screenplays are typically 90-120 pages long, but the trend lately is 105 pages. A year ago, the trend was 110 pages. Anything beyond that is starting to be described as “beefy”. Writers have so little room to write the actual story, it’s amazingly difficult to put in a viable plot with theme, emotion, and development into so few pages.

As a result, some writers will cram abundant amounts of extraneous information, description, or dialogue tangents in an effort to ensure that readers “get” their story. This is a mistake. Readers, executives, agents, actors, etc. for the most part are skim readers. Our time is valuable and we have a zillion scripts to read. More white space is an appealing feature on a script. It says “easy read”.

When I get a script, I will thumb through it, looking to see how much white space the writer has taken up. I can usually tell what genre a script is just by the layout. Short dialogue is usually a comedy or buddy film; longer dialogue is typically a drama (or a writer that thinks he’s the next Tarantino); Shorter action lines in greater numbers indicate a thriller or action.

This is not a rule of screenwriting or necessarily a typical habit of readers. But it’s still something that works. For me, at least.

If you’re writing a comedy and your characters go off on tangents all the time, it could probably be rewritten to be a tighter script. If you’re writing an action film, but your action lines run beyond 3 lines per paragraph, it can be rewritten and tightened up. If you’re writing a romcom but your two leads don’t have close to equal screen time/dialogue, then you might want to rewrite your script so that the two have more interaction.

You get the idea. White space on a script is like air conditioning in a car. It could be the coolest car ever, but if you don’t have AC, I’m not buying it. Comb your script for anything extraneous, explanatory (what we call exposition), and get rid of it! Rework your piece so that it looks appealing to a reader at first glance. Hopefully, when they take your script for a test run (aka a read), they won’t be distracted by the mechanics and they’ll fall in love with your story.

White space, people. Use it!

The Rumors

You are what you do. You are not what they say you are.

I have been told to my face that I’m a bitch, that I’m dishonest, that I’m manipulative, intimidating, that I have no soul and God will be my judge, that I’m a phony, I have no passion, no experience, no purpose, that as a woman I should do what I’m good at and stick to filing and saying yessir, and that I don’t know what I’m doing. To. My. Face.

If that’s what people are saying about me to my face then I can only imagine what the heck people are saying about me behind my back. Every word hurts. Not because it’s true, usually I can let those slide off of me without losing my cool, but because I’m human. No one likes to be treated with disrespect, and no one likes to feel unsupported or sabotaged.

But let’s give a little context for the kind of pain that can inflict upon me. Words like that are not bullets or knives in my back or my heart. It’s more like stepping on a sharp pebble or a piece of glass. Temporary. Hurts like a mother. But I can limp for a few steps until the pain eases and I usually forget about it when I hit my destination.

This blog is not about me today. It’s about you. Because I’d bet my soulless butt that you can relate to how that feels.

One of the easiest ways to test the mettle of any would-be filmmaker is to see how they handle The Rumors. If they ignore The Rumors entirely, they are fools. You should always be aware of how you are perceived, even if it’s by people you don’t care about. This is an industry where PR can make or break you. It’s not just about who you know. It’s about who knows you. On the flip side, if you completely crash and burn and have a meltdown every time you hear something bad about yourself, then you don’t have the skin for it.

The happy medium is where you learn from the attacks, and discern when to adjust, when to ignore, and when to set the record straight. For instance, in my earlier days, the word “bitch” followed me around like a lost puppy. I thought I was simply being assertive. But I took note of The Rumors because I don’t like being called a bitch. Since then, I’ve softened my approach and that word rarely comes up anymore. When I’m called dishonest (always by my competition, I might add), I don’t even bat an eye, because I make every single effort to be transparent, on the page, and professional; and I have the track record to back it up.

Despite The Rumors that float around the industry like fish poop in an aquarium, I still manage to find work. Good work with the competent, savvy, professional power players that I want to work with. I believe that you attract that which you are. And I am what I do. Not what they say I am.

If you are suffering from a case of The Rumors or any form of industry sabotage, take it like a pro. Don’t ignore them completely, because sometimes those rumors are there to help you in the long run. Learn from them. Pick yourself up, and as Jennifer Connelly says in A Beautiful Mind, “Maybe try again tomorrow.”

Prove the evil competition wrong. Keep going. Get better. It’s a rite of passage for becoming a pro. Remember that there is nothing you can’t overcome. Because you aren’t what you did. And you aren’t what they say you are.

You are what you do.

Lesson of the Day: Knowing When To Quit

I definitely have a newfound respect for writers today. I am in a writers group that is predominantly male, which I typically like. It is a great group of passionate, positive people, who don’t mind a good critique. They also do pretty convincing Wookie impressions. :)

This morning I was left in a puddle of my own tears and my story’s blood wondering what is probably the most important question a writer really means to ask when getting feedback: Yeah, but should I keep going?

The surface level answer is yes, of course you keep going. You’re a writer, aren’t you? You write, they hate it, you write some more, and that’s that. But I feel beaten up, sore, exposed, and unhelped from a group of guys that weren’t trying to do damage –they were trying to help.

In short, I wasn’t prepared to share my work, let alone have it put through the critical car wash with the top off and windows down. I got hosed in a big way. And at the end of the day, I was so preoccupied with how the feedback session didn’t go, that I wondered if I should even bother writing the new draft.

To be fair to the guys, they were working with what they had, which wasn’t much. Like I said, it’s my own fault. I gave them information and explanation, which they then analyzed, somewhat out of context. I didn’t give them a script, or a visual and emotional description that they could react to and analyze.

That is where I went wrong. How do you know you’re prepared to show your work? It’s when you have something that people can read and respond to and then analyze the sucker. If you’re writing a new poem, don’t present your concept and a list of words. Show them the poem. If you’re writing a novel, don’t just give them a synopsis. Give them a synopsis (for context) and a sample chapter. If you’re writing a screenplay, don’t give them a beat sheet, give them a script.

Now, I am used to being in charge. I am used to being the one that runs the meetings, directs the conversation, guides the writer and challenges him/her to create the story that I can sense is there. I’m also used to having a strong piece of writing to show off and back up my claims of being a good writer. I have a reputation to keep up. I am used to intimidating, either with my vast knowledge or with my writing. I guess I am a cocky son of a gun.

I think it is that reputation that I’ve worked so hard to build up that comes back to bite me. It seems that whenever I trade in my producer/script consultant hat for simply the writer hat, that the others in the room feel the need (at least from my perspective) to really see what I’m made of. So the gauntlet is thrown down and the hazing begins. And to be honest, this feeling of being hazed probably feels the same no matter how good you are or aren't.

Story beats are challenged, and before I can give the complete answer, the boys go off on tangents with other thoughts, and they come back to me saying “so you don’t have an answer then”. To which I bite back frustrated tears and say, “yes, the answer is in the second act. We’re not there yet.” And I think, so this is what it feels like to be a writer. And I swear I will be nicer in the future.

And I realize that the most important ingredient to anything you are going to show: Give them something that demonstrates your voice. You know, that voice you tend to lose during feedback sessions. The voice that makes them shut up and read.

As Proximo says in my favorite movie, Gladiator: (holding up a sword) “Thrust this into another man's flesh, and they will applaud and love you for that.”

I’m now trying to make sense of this rather rough and tumble feedback session. It was hard. Really, really hard on me. But it wasn’t malicious. And for that reason, I will absorb everything those guys told me. And in a few hours, I will open up my script and start writing.

Because the answer to my own question Yeah, but should I keep going? is a huge resounding DUH!

Lesson of the day: Don’t present your work too soon. Remember the story. Regardless of how people take or don’t take what you present, there is always something to be had even from the hardest feedback sessions.

And if, when you demand of them like Maximus does in Gladiator “Are you not entertained?” and the answer is No, not really, try to refrain from spitting on your peers and get back to your story.

Because the best time to not quit is when you want to.

What Is Coverage?

Coverage is a short write-up usually performed by a reader or executive's assistant. It consists of the screenplay's title, log line, a brief synopsis of the script, and an overview (usually no more than a few paragraphs) of what the reader feels were the strong points and weak points of the script. Basic coverage is usually between 3-5 pages long. Sometimes, as little as a single page.

Most coverage will include a "grade" of "pass", "recommend", or "highly recommend". In this case, "passing" means the reader does not recommend the studio or executive buy the script, or even read it. A "recommend" means the script is well-written but needs work and it's up to the exec to take the time to develop it. A "highly recommend" means the script is strong enough to get made, and will be worth the exec's time to develop it.

Basic coverage with a grade is the most common type of coverage there is, as it is the one employed by most agencies and studios. It's a time-saving technique so that an executive doesn't have to read an entire script (they get HUNDREDS a week!) in order to make a decision.

There are many companies and free-lancers that offer coverage as part of their services. This is very beneficial to the writer as he/she is getting professional feedback and insight into their work. Coverage can vary but it usually costs around $100 for basic. A lot of consultants and companies offer other services beyond that, usually with varying levels of feedback. Depending on who you get as a consultant and the depth of the feedback, it can cost anywhere from $200-$2000.

Free feedback can be found on Zoetrope and Done Deal, but be warned that not all of the feedback is from working professionals. Zoetrope has had consistently good feedback from what I've heard.

The trick is, despite the feedback, not many writers are sure HOW to fix the concerns of their readers. That's where an in-depth analysis from a professional consultant is worth looking into.

While I charge for my feedback, my information is free! So if you have any questions at all regarding the biz, I'll do what I can to help. Regardless of who you choose for coverage, make sure you do your homework about the company or person. It's a great way to build your network of associates at the very least!

Good luck with your writing, everyone! I hope this helps!

Best,
Sae Sae

Services and Prices

While my website is being designed, this blog post will have to suffice for information on the cost of my services.

All of my services come with a money back guarantee. If you think my notes are rubbish and unhelpful then I will give you your money back. I’m a strong believer of “you get what you pay for.”

Turnaround for feedback is typically 3-6 weeks. Rush jobs are negotiable if you have a deadline to meet, with an additional fee of $100.

The Basics

1. Basic Coverage – Basic script coverage including a brief synopsis and an overview of what works and what doesn’t work.

My Basic Coverage differs from studio coverage in the sense that I include the key plot points and their page numbers to give you a quick idea of how your story plays out.

I also leave out the typical “grade” seen on most coverage sheets. This is feedback, designed to help you submit a screenplay with the highest marks.

Basic Coverage: $50

2. Basic Analysis – Includes coverage and a 5-10 page basic analysis. I take the overview from my coverage and get a bit more specific to help work out the major kinks in the script.

Basic Analysis: $150

3. In-Depth Analysis – Includes a coverage sheet and a 15-20 page in-depth analysis of the script with page-by page notes. No word is left unturned. Includes a 30 minute phone consult.

See “The Nitty Gritty” for specifics on what my In-Depth entails.

In-Depth Analysis: $400

The Nitty-Gritty

These are more specific notes that really transform the script! A brutal and beautiful experience. Not for the faint of heart.

1. Character Breakdown – I take each character and break them down, examining their arcs, goals, and contributions to the overall story. I point out the strengths, flaws, similarities, and originalities of each character then help construct positive ways to maximize their potential.

2. The Stakes – My specialty! I help you squeeze out the highest, heart-stopping stakes possible, regardless of genre. I challenge you, the writer, along with your characters to make the hardest choices possible on every single page. The result well may be a disclaimer on your script saying no sissies will be able to read it.

3. Theme – Express it without saying it. I point out the recurrent themes in your script –the ones you may want to be expressing, and the ones you actually are expressing, how they work and don’t work, and suggestions on how to weave them into your script without detracting from the story.

4. Story – Not to be confused with plot, my notes on your Story will examine the rules and details of your world. How they work, don’t work, and ways to better incorporate them to the max. Understanding the ins and outs of your story will tighten and smarten your script in ways like no other.

5. Plot – I will expound on the basic structural breakdown done in the Basic Coverage, explaining the set-ups, pay-offs, and distractions of your script.

Polishes –Add-on services or stand-alone; any of these exercises will help chisel your screenplay into the sculpture you want.

1. Structure Breakdown – A beat outline of the major plot points of the story. Breaks the script down to its barest, disregarding character and dialogue. Helps identify plot holes and strengths, set-ups and pay-offs, as well as helps you establish theme, motif and the overall message of the script.

Hint: This is great prep for a treatment, pitch, or even just a big rewrite! It saves a lot of time! $100

2. Directing – Learn how to utilize camera angles, lighting, and emotional asides without directing the camera or the actors. $50

3. Copy Edit – Focuses on typos, indents, and proper screenplay format only. $150

4. Treatment – A 10-20 page detailed synopsis of your story polished and ready to submit to agents, buyers, producers and directors. $250

5. Log Line/Pitch – I’ll help you write your log line and pitch so you can confidently hook potential readers. $50

Ghost Writing

If you are so inclined, I can rewrite your script for you, turning our one-on-ones on their heads and getting your feedback as the rewrite goes.

Fees and co-credits are negotiable, pending on the type of rewrite it is.

1. Format Rewrite – We leave the script the way it is with regards to structure and dialogue. I rewrite it so it has the correct screenwriting format –sluglines, proper description, dialogue, indentation, sound effects, etc. $400

2. The Co-Write – I take into consideration my own feedback, and rewrite the script according to the changes I suggest and that you want. This requires more of a team effort. $1000

Continuing Motivation

I offer complimentary follow-up emails to encourage your rewrite.

6. Phone Consultations – from thirty minutes to one hour of one-on-one feedback. $50/hour

7. Email Correspondence –In addition to, or instead of phone consultations. Includes research tips and advice on activities and exercises that will help unlock your inner Muse.

These are free but note that I usually only reply to emails once a day.

8. One-on-one Meetings – 1-3 hours, limited upon physical availability. $100/hour

Sae Sae Says

This is an online forum where you can post questions about the craft. Since many people have the same questions, I post my replies for all to see. If I don’t know the answer to something, I’ll find out who does!

Topics include (but aren’t limited to) screenwriting, format, submitting scripts, competitions, treatments, writer’s resources, and various topics on filmmaking in general.

Note: My website is currently under construction, so feel free to email me any questions you have at sarahmnorris@hotmail.com. You can also friend me on facebook post your questions on my wall.

Payback

At the end of each consultation, I offer you the opportunity to evaluate the experience you had with my feedback. I am always looking to improve myself and am open to your feedback!

Thank You for your consideration! I am truly confident that we can build a good professional rapport whilst helping you gain control over your voice and screenplay. Your stories are my pleasure!

Best,
Sae Sae

Letter From Sae Sae

My gift is helping others recognize the stories they really want to tell and maximize their expression to the fullest. I offer very thorough feedback that goes above and beyond typical coverage and analysis.

I kindly challenge you to shed the unnecessary and focus on the juice of your screenplay. I will draw and quarter your scripts until they bleed from every pore and scream out authenticity and originality with every syllable.

Your individual voice is important to me. My feedback is custom-made to really identify what you want to express and what it is you are actually expressing. You won’t lose your voice in the rewrites! Your DNA will be all over the script.

My experience as a filmmaker offers a fresh perspective. Not only do I look at your screenplay from a writer’s POV, but I see the blueprint from a director and producer’s POV as well. If the producer is the brakes and the director is the gas, then the writer is the car! Practical meets artistic in my feedback and subsequently lends an edge to your rewrites.

To me, working and playing is the same. I am at your beck and call, ready to work your screenplay to the hilt.

The result will be a seamless, glowing, colorful bundle of joy that will allow potential readers the opportunity to really experience your screenplay.

Your voice. Your stories. Your inspiration is my pleasure.
–Sae Sae