I’ve never been much of a “toe-dipper.” I dove head first into screenwriting about 2 years ago. I had the itch to write films my entire life, always a dream for later. Until one day it *was* later, and after that moment, I never looked back. I began soaking up every drop of screenwriting knowledge I could find. I attended seminars bi-coastally, took classes, both online and independently, and read screenwriting books and articles voraciously. In a moment of kismet, a friend from France emailed me a job listing from a Producer in Chicago that “made him think of me.” Among a sea of nearly 200 applicants, “I kept coming out on top of the pile.” The Producer’s words. And here I am, nearly one year later, working with a Director on my first feature film, which will begin filming late 2016.
#writingtips #amwriting #screenwriting pic.twitter.com/nkrHj157Cb
— Jennifer Cooney (@halfjacksnap) May 28, 2016
How would you describe your writing
Poetic. Purposeful. Universal. I’ve always viewed life and the world as a cosmically and beautifully interconnected experience. I believe that signature is on each one of my characters, and in the carefully plotted stories they tell.
When did you get into writing
I could never pinpoint that. It’s like asking me, “When did you decide you wanted to live?” It’s why I’m here.
Today’s #screenwriting tip: Characters must pay for what they do & be tortured with the consequences of their action pic.twitter.com/8AGLNy8wyi
— Darius Films (@DariusFilms) August 24, 2016
Did you study screenwriting
At length. In addition to what I mentioned above, I have a BA from Duquense University in Pittsburgh, which is where I could say my writing blossomed. In high school, writing and Literature were always at the forefront of my interests, but at Duquesne I learned to see, and think deeply, and to express myself through studies of English, Philosophy, and Psychology, three of my four majors and minors. Sitting on the bench outside of the mirrored building on campus uncovered some of my best poetry…watching people watch themselves. I’m endlessly fascinated by human behavior and motivation.
What is the difference between a screenplay and a play
To me, a play is written for the ear, with emphasis on dialogue to convey the bulk of the meaning. And a screenplay should be written for the eye, and dialogue only used sparingly to either a.) advance the story, or b.) reveal True Character (not to be confused with characterization, which is the lowercase “c” character.) I believe Robert McKee said it best, “The best advice for writing film dialogue is, ‘Don’t.'” I think of that before and after writing each scene and work accordingly.
How do you turn an idea into a screenplay
Working under the knowledge that Character IS Plot and Plot IS Character, it is a dance between the development of the two. I usually get the idea for a story first, so as I begin to sculpt the plot points, it’s always with the question in mind, “What character would BEST tell this story?” And the story builds as the character grows, and vice versa. Once the story is complete, the Theme becomes clear, and revisions of both plot and character ensue based on the Theme. It is important to me not to begin a story with a theme in mind. I feel that would skew the story and give it an inextricable bias, and an audience can smell a sermon a mile away.
What do you do to get an idea, that you can turn into a screenplay
Everything. As the brilliant Patti Smith would say, “You can find inspiration in everything. And if you can’t, look again.” I think a great jumping off point to being more inspired is to shut the f*ck up. Start listening, starting seeing. It’s everywhere.
Briefly describe a few wrong impressions screenwriters indulge in
I believe a big misconception is the value of concept as a stand alone. So many big budget films with interesting concepts get made, but inevitably fail to impress. I believe the reason is the reliance on concept. Give the characters depth. All of them. Especially the antagonist. And in the revelation of those characters’ depth through decision making under pressure, you have your plot points. People want to learn something without being *taught.” Therein lies the beauty of good storytelling.
Do you often take courses in writing to increase your craft
I learn as much as I can as often as I can. I read endless books and articles on the art of screenwriting and storytelling, and I take what makes sense to me, and forget what doesn’t. You have to follow your instincts. I’ve taken courses online, gone to seminars, listened to video interviews and podcasts, but most importantly, I listen to that “inner ding.” When I feel that excitement, I know I’m on to something, and I run with that.
What books do you read
More than anything I enjoy reading poetry. To me, it’s the most distilled literary expression of the human experience. I like to read poetry out loud to myself, and sometimes I can feel the fire in the words, the air inside the writer’s lungs as they felt whatever sparked that particular expression of life. It makes me think of a quote from Stanley Kunitz, “A poem has secrets that the poet knows nothing of.” It’s like the poet is dipping her fingers blindly into a stream, and just writing everything she feels, collapsing the physical and spiritual and emotional into carefully chosen words…and when someone reads the words, they too can feel not only the stream, but an emotion they’ve only ever felt in another lifetime. I try to infuse this timelessness in my scripts through universal themes and touchstones.
What do you do to keep in shape as a writer
I never stop observing. I allow myself to feel everything. And I carry a notebook with me, all the time, everywhere, no matter what.
When you are offered a screenplay to write what is your routine
I think a really important first step is to establish your role with whomever is offering you the job. Are they a producer? A director? Whatever. Talk to them frankly about your vision for the story, what types of characters you believe would be best to tell that story, and find out what they NEED from you. Get specifics. What do they expect from you, what do they NOT want. Once you lay down the ground rules, then you have the framework within to create your story–that’s where the fun starts
How do you develop a character in a script to be honest and believable person
I’m not sure where I read it, but I remember the phrase, “An extraordinary human inside an ordinary person.” Who is this character? Who are they really? Decide what True Character you want to reveal, and what circumstances they can come up against that will force them to make a decision under pressure to REVEAL that True Character inside. No audience wants to hear, “I am trustworthy,” from a character, unless later they SHOW themselves to be NOT trustworthy. If you want to TELL the audience your character is trustworthy, set up a situation where the stakes are high, and maybe your character would have more to gain by deception–but they choose to be truthful. Show that. And you’ve revealed True Character through showing a story to your audience. That’s how to engage an audience. Relate to them.
What is the most memorable character you have created
The characters I inevitably have the most fun creating are the Mentor characters. There is something intoxicating about wisdom–people who know who they are, and I like to add a layer, sometimes thick, sometimes thin, of an opposing characteristic to keep the character fun. One of my favorite introductory descriptions I’ve ever given a character is, “Wino Yoda.”
What do you want from a director during production
Trust. Respect. As a writer, I have a job. My job is to tell a riveting story through the vehicle of compelling characters. To develop a universal theme, and weave the thread through every scene and every character in a cohesive, fresh, and interesting way. All I want is the space and respect to do so. On the other side of that coin, they are the director. So if they want changes, I will happily make them, as long as she or he respects my role as a storyteller and my opinion as a professional. Respect in this highly collaborative business is key from all angles.
How do you prefer to work with a director during production
Closely. I get very invested in my stories and characters. I want them to reach people and move people and to succeed. I love to be involved. I think of Alfred Hitchcock who worked side by side with his writers throughout the entire process. They checked in with each other and took each other’s opinions seriously and with the utmost consideration. And I believe that level of trust is what made his films so consistently outstanding.
Do you get offers from Hollywood
Because I am fairly new to the scene, I say with a smile, “Not yet.”
What do you think a screenwriter can do to get into the industry.
Be yourself. Find your authentic voice and speak it with gusto. Stay positive, always.
Who is your favorite writer?
I love philosophers, poets, and existentialists the most. Rilke, Heidegger, Emerson, the list goes on.
Why
I find the highest level of Truth in their words.
What advice would you give to amateur screenwriters around the world.
Set a goal. “Once you make a decision, the Universe conspires to make it happen.” -Emerson. Be positive. Be yourself. “You are the Universe in ecstatic motion.” -Rumi
Briefly write about my career.
I began as I described above. But prior to that fateful meeting of the Chicago Producer, I was deep into revising a late draft of my first spec script. From then until now, I can feel a change within myself. I’ve grown so much over the past year, personally and as a writer, and I truly cannot wait to dive back into my spec scripts, and to see what lies in store for me next.
