Together, Rona Edwards and Monika Skerbelis have taught Introduction to Feature Film Development at UCLA extension for the past seven years, Story Development Process at Riverside Community College's Distance Learning and Basic Screenwriting Fundamentals at the Dodge School of Film and TV at Chapman University. They recently formed Edwards Skerbelis Entertainment (ESE), a company dedicated to nurturing filmmakers and screenwriting talent. Via consultations, ESE assists talent in developing their screenplays and pitches with development notes and general career advice. In addition, ESE is actively seeking projects to produce. They have written a book, "I LIKED IT, DIDN'T LOVE IT (Screenplay Development From The Inside Out)" published by Lone Eagle Publishing and currently available at bookstores everywhere as well as online at http://www.hcdonline.com.
"I Liked It, Didn't Love It" is a must-read for anyone who aspires to be, or already is, making the rounds in any film studio, television network or production company. Edwards and Skerbelis, both teachers of feature film development at UCLA, tackle the questions of Hollywood hopefuls through writing exercises, techniques on working with producers/writers, and tips for developing and pitching new ideas.
SL: Regarding your book 'I Liked It, Didn't Love It (Screenplay Development from the Inside Out)' - there are many books that cover various aspects of screenwriting, but few focus on story development. Why is it important for screenwriters to know about this aspect of the business?
Rona: Development is a necessary part of the filmmaking system. It's a collaborative effort and there are many people involved.
Monika: Most writers spend so much time writing screenplays that when they are finished they are clueless what to do with their material and the many hands their script must go through before making it to the screen. We feel it's important to understand how a screenplay is evaluated so the writer can understand how executives make decisions on what works and doesn't work in the material.
Rona: We also feel it's invaluable to have as much information as possible of who the players are and what their function is - once you understand how everything fits together it will help a writer and/or a filmmaker navigate the waters a little better.
SL: What is the purpose of the Story Department?
Monika: The Story Department is the hub of the motion picture group and houses all screenplays that the company produced and are developing in addition to having a record of all material sent to the company for consideration. All coverage on material written by readers is either stored in file cabinets or in a database for easy retrieval.
Rona: We have an in depth chapter on the Story Department as well as the Studio Executive which explains what "coverage" is - simply put it is a 1 ½ to 2 page synopsis of your story along with a page of comments on whether the reader recommends it or not. It will also have the logline, genre and whether the reader recommends the writing as well. There's not a studio, network or production company in town that does not do coverage. Rest assured, if you submit material, your script will be covered.
SL: How much does the industry really want screenwriters to know about the development process?
Monika: The industry does not want to cover up the development process. Until a writer get a script optioned, the writer may not realize what is involved as far as the development process is concerned - coverage helps executives weed through the many submissions and prioritizing the material.
Rona: After a screenplay, book or idea is optioned the real development process kicks into gear - with rewrites, development notes and packaging elements (actors and directors) to the project. It can be a very long but necessary process. Movies don't just get made as is.
SL: Who are readers and what is their job?
Monika: Readers are the gate-keepers. They read the material submitted to the film company and write coverage, forucsing on the characterization, dialogue, storyline and premise. They read and write coverage on about 8 to 10 scripts a week. Each studio has about 6 to 12 readers and production companies might have one or two readers.
Rona: The Reader's job is to tell the story as succinctly as possible and give a fair accounting of whether the project is right for that particular company or not. Their job is to help the executives or producers by saving them time - they don't need to read a whole screenplay - they can read the coverage and recommendations and then decide whether they need to read the screenplay if the idea sounds interesting enough and if the writing received high marks.
SL: Are there qualities that readers look for in a script that are likely to lead to a recommendation?
Monika: Well-written characters, smart dialogue, unique storyline, marketable premise. A well-written screenplay will get attention if not as a sale, perhaps as a writing sample for the writer that could lead to doing rewrites on other material.
Rona: Every writer thinks they've written something that is a sure thing - that is commercial, marketable and brilliant. However, sometimes we get query letters from people with ideas that you know a studio will not even entertain - While the old advice of write something you feel passionate about, it may be more accurate to say - write something you feel passionate about that other people can be passionate about too.
SL: What are the most common markers that will send a screenplay to the rejection pile?
Monika: Bad format, bad dialogue, under-developed characters or characters that you cannot relate to, story in search of a story, set-up takes too long, no ending, no obstacles for the character.
Rona: I agree with Monika and would like to add typos, stories that don't grab you in the first 20 pages, not having a good understanding of the 3-act structure - everyone thinks they can write but a lot of people don't realize that it takes a craft and skill to do it.
SL: Would you recommend sending a treatment (longer than 2 pages) to prospective producers?
Monika: No. We do not recommend sending treatments. You can send a genre and logline to see if a producer is interested, otherwise, we suggest sending a full-length script so the producer can see how well the writers can write and develop a story.
Rona: And you can't send a full length script without permission and most times a production company, if they accept unsolicited material at all, requires you sign a release form before they will read anything.
SL: Is contacting producers and studios through e-queries as effective as a query sent by land mail?
Monika: We encourage email because it's easier to respond. However, if you send a query via mail it is important to send a self stamped envelope or postcard so the producer can respond immediately. Otherwise, the query may just go in the trash.
Rona: I never used to like email query letters for legal reasons but I'm getting better at reviewing them - it's quicker than having to write a letter and respond to snail mail - but I always felt that legally snail mail is better. The one thing you have to understand you are one of many, many letters that arrive at a production company - unless your idea really stands out - most of them will be passed on. However, that shouldn't discourage you from trying - just know you'll get more rejections than you will bites.
SL: Are a writer's chances of convincing someone to look at their screenplay better by physically visiting their offices with script in hand?
Monika: Getting a meeting at a production company or studio is tough unless you already have a relationship with the executive and/or you have written a screenplay they read from an agent or manager and appreciate the writing. The sale is about what's on the page.
Rona: You can't just visit someone's office - you need an agent or manager to set up that meeting and most likely by then, they've already read your material - so you're pitching them new ideas. I know one agent who says that general meetings are a waste of time - that you only go in on a meeting when there's a writing job that you're up for - I however, feel that it's always good to meet people. Networking is very important - because you never know what may happen in the future.
SL: What elements make the perfect pitch?
Monika: Short, engaging characters, story that can easily be followed and pitched, hitting on the inciting incident, turning points and climax and having and ending.
Rona: Keep it short and concise, but tell your story - if it's a comedy - better make sure you get the executive or producer to laugh, if it's a thriller - don't get bogged down with a lot of detail but give at least one good set piece - and keep them guessing. If you're lucky enough to have a meeting, don't let your pitch exceed 15 minutes - in fact less is more - get the people in the room to ask questions and have the answers.
SL: How common is it for a producer to suggest that a screenwriter hire someone else to rewrite their own script in order to make a sale?
Monika: The producer will not suggest a writer go out and hire a new screenwriter, but the producer will hire his/her own writer to go a rewrite if they option the material. The producer will most likely give the original writer notes and see if he/she can get the script closer to a sale before hiring another writer.
Rona: The Writers Guild of America requires that the original writer have first crack at the rewrite but after that a producer and/or studio can get someone else to rewrite the piece. But I've never heard of someone suggesting to a screenwriter to hire someone else to rewrite them - that's plain rude, I think.
SL: Once a script has been optioned, what chance does the project have of proceeding and being produced?
Monika: The script being optioned is half the battle. Most scripts that are optioned may take a few years of the script to develop before making its way to being produced. Certain areas of the scripts may need more work (development) and it may take a few writers to bring out the elements that will turn it into a success.
Rona: In some ways, a script being optioned is just the start up the mountain - there's no guarantee that it will be produced - in fact, most do not - Studios are cutting back, making less movies, which means that their ratio of projects in development to projects which get greenlit will be less and less. It's a sad truth that getting optioned (while great) does not mean you should quit your day job.
SL: Should workshops in film, specifically screenwriting, be undertaken in addition to film school, or do workshops have something to offer for those who've never had formal training in film or screenwriting?
Monika: Workshops can bring in a different point of view on the subject and can be useful to film school students and newbies. You should never stop learning.
Rona: Knowledge is king. Unfortunately, there are so many teachers and so many classes and some of them are contradictory - it's hard for someone who is not in the industry to know who is for real and who is not. I suggest researching the teachers, make sure they are people ACTIVELY working in the industry with bona fide credits or backgrounds. Like Monika has worked at 3 studios - I've produced 6 movies and have had countless others in development at both studios and networks - we teach courses because we believe in giving back - mainly because I, myself, didn't have courses like we teach available to me at the time. Now there are some people who are just great teachers and have not produced one piece of celluloid - you just have to weigh it and realize that we all have our own perspective - there are rules and then there are rules that can be broken. But you have to know your craft first before you can break those rules.
SL: You intend to launch your ESE Film Workshops Online this year. How effective are online workshops as opposed to live ones?
Monika: Student can read lectures and do assignments at their own pace during the allotted class time. Students have an opportunity to communicate on a web board with peers from around the world, Students who are more shy in a classroom setting can flourish online since no one can see them trembling and gasping for air as they answer a question from the instructor.
Rona: We enjoy teaching them because they're global - it offers an opportunity for anyone to learn without having to spend university fees. Our workshops in particular are highly intensive - you have to write coverage, development notes, talent lists - you have to know how to find new ideas and what to do with them once you find them - even teaching basic screenwriting - it's about writing - you write, we read and critique them and you go back and rewrite them. So for writing courses, online is a great way to learn without having to leave your house.
SL: What should screenwriters look for in a worthwhile workshop?
Monika: Instructors who have viable film industry experience. Instructors who are professionals and currently developing material, in touch with the industry trends and above all present for the students via e-mail answering questions to make sure a student understands a process or assignment.
Rona: Like I said earlier - you have to research the instructors - hopefully they are people in the know - who are currently working in the industry - who have a background that's more than just teaching, they are doers. So the students gain experience first hand from someone who is hands on. The second thing I would look at is what does the student expect out of the class and will this particular class give it to them. For example, in one of our classes we teach the development process, if you are expecting to write a script or learn how to write a script - that particular class is not for you - it's what happens after you've written the script. However, if you take our Basic Screenwriting class or Format Class, you will learn either correct formatting or the basics of writing a short script -so that workshop would be the right course for you. Ultimately, it's what makes the student feel comfortable whether online or in person - you can get a sense of what you expect to get and what you will get out of a course. Remember you can get the most out of anything if you put in a hundred percent!
Rona Edwards runs Rona Edwards Productions (REP), a production company that produces and develops projects for feature film and television. She Co-Produced and/or Executive Produced OUT OF SYNC (VH1), ONE SPECIAL VICTORY (NBC), THE COMPANION (USA/SCI-FI CHANNEL) which marked the long-form debut of director Gary Fleder, I KNOW WHAT YOU DID (ABC) and for German television DER MURDER MEINER MUTTER (SAT.1). She served as Executive Producer on the documentary, HOPE IN HEAVEN and is currently co-producing and co-directing JOHNNY GOT HIS GUN: THE PASSION OF DALTON TRUMBO, a documentary with Barbara Multer-Wellin. She has a feature set up at Warner Bros. tentatively titled MATCHMAKERS based upon an article she found in People Magazine, a screenplay, CREATIVE DIFFERENCES set up with Andrew Lauren Productions and a TV movie, BLIND TRUST, set up at Lifetime. Ms. Edwards was Vice President of Creative Affairs for John Larroquette's Port Street Films, Michael Phillips Productions and Brookfield Productions. Edwards has had projects made and/or in development with many at ABC, movies at CBS, ABC, NBC, Hearst Entertainment, VH1, HBO, Phoenix Television, Edward R. Pressman, Motor City Films, Warner Bros., and Wilshire Court, to name a few. She developed a television series entitled ZOMBIE SQUAD for USA Network with producer Judy Cairo. She has been on panels, guest lectured and presented workshops all over the world. A contributing writer to THE BEACHWOOD VOICE, Edwards is also the newspaper's restaurant reviewer and freelances for PRODUCED BY, the official magazine of the Producers Guild of America. She is a member of the Producers Guild of America, Film Independent (FIND), the Nine O'Clock Players and The Academy of Television Arts and Sciences.
MONIKA SKERBELIS is going on her sixth year as the artistic and programming director the Big Bear Lake International Film Festival. She is currently writing and developing screenplays and developing a documentary titled WOMEN AHEAD OF THEIR TIME. For the past seven years, Ms. Skerbelis has partnered with Rona Edwards teaching a very successful course, "Introduction to Feature Film Development," at UCLA Extension. Prior to that, she taught Story Analysis for film and television with CBS Story Analyst, Harrison Reiner. A former Vice President of Creative and Executive Story Editor for Universal Pictures' story department where she spent ten years overseeing the story department and developing a number of screenplays including BLACK DOG starring Patrick Swayze. Prior to that, Ms. Skerbelis was Story Editor for 20th Century Fox. She began her career as an assistant in the Story Department for Paramount Pictures. Recently, she co-produced the film, THE QUEST FOR THE YETI directed by Victoria Arch. She has served on the jury of numerous screenwriting competitions and guest lectures at film schools, film commissions, film festivals and film organizations. Ms. Skerbelis has made a name for herself fostering new filmmakers and encouraging up and coming screenwriters. Her extensive knowledge of the studio system has given students a greater understanding of the development process. Ms. Skerbelis is a member of Film Independent (FIND).
Edwards Skerbelis Enterainment (ESE)
264 S. La Cienega Blvd.,
Suite 1052
Beverly Hills, CA 90211
http://www.esentertainment.netinfo@esentertainment.net