I studied theater arts a bit in college.  My first agent, Stephanie Rogers and her husband, producer Phil Rogers, offered excellent guidance.  Of course, I also watched and re-watched tons of movies, breaking them down to see how the components made each vehicle run.

Primarily, however, my acquaintance with the very specific craft of screenwriting came from books.  I read every tome I could find.  Some were illuminating; some perplexing; others useless.  There’s a danger of becoming bogged down in a sea of information.  Eventually, I stopped struggling with it and just decided whatever I naturally retained would suffice. The how-to books give you the foundation required, but you can really only learn by writing... and rewriting.  I’ve been at it for a number of years and I’m still learning.

You’ve used script analysts.  That can often be costly.  Has it been worth it for you?

Some have been worthwhile, some haven’t.  It’s a matter of finding the right one for your style and temperament.  When that happens, the analyst can be invaluable.  When I was a novice, these professionals benefited my work immensely.  After a few drafts, we need an objective eye,  backed by expertise that friends and relatives may not be able to supply. 

Three analysts in particular were helpful to me. Sally B. Merlin,  a scr(i)pt magazine editor,  is a wonderful, gifted woman who truly cares about writers. She guides them towards their individual voices. She’s tremendously nurturing.  Craig Kellem offers a terrific, intricately detailed, shoot-from-the-hip script breakdown.  He displays a brilliant ear for comedy.  Paul Young is remarkably astute.  Analysts such as these can not only help you bring out the best in your script, but also set you on a clearer path towards better future scripts.

You recently won the ACES Screenwriting Competition, and have achieved recognition in other contests.  Has this helped your career?

I found it much easier to get reads at production companies when I could tell them my script had won a significant contest.  It also helped with scripts that had achieved finalist or even semi-finalist status. It’s a trace of validation that separates your query letter from the mountains of others facing development people.  Sometimes companies would even approach me, asking if I would send a copy.  Contests, legitimate ones, can provide a small, but important step up the ladder to recognition.

You mention that you’ve had a few “option nightmares” in the past.  Care to expand on that?

I had a paid option that wound up being less satisfying than free option deals I’ve signed.  This involved an inexperienced producer making promises he simply could not keep.  He tied up the script for a lengthy period and essentially did nothing with it, which frustrated me.  But that’s all part of the game. I’ve always felt I had to be willing to take chances. But don’t count on a promised breakthrough, until you actually see it.

Four of your screenplays have been optioned recently. How did that come about?  Do you have an agent?

Last April, I placed a girl power script,  “Dancing In The Street,” on Writers Script Network.  The first day, I received a call from Craig Nicholls of Pendle View Productions.  He optioned the screenplay and helped me polish it.  We then developed a new family script together, “The Cottontail Kid.”  The former director of development for Blue Rider, Craig, has the keenest sense of story and characterization I’ve ever encountered.  He’s incredibly supportive.  His company is rising rapidly and I feel fortunate to be working with him. 

Almost simultaneously to the “Dancing” deal, I signed an option agreement with Lee and Jena Levinson’s Late Bloomer Company for the ACES winner, a romantic comedy called “Mismatch.”  I had contacted him after reading a notice in the Writers Script Network newsletter. Lee is an experienced, award-winning producer with impeccable integrity and great vision. 

Also through the newsletter, I secured an option (which recently expired) with Norm Sanders of Envision Entertainment for “Cupless,”  a comedy-drama about the first female goalie to play in the National Hockey League.  Norm and I continue to collaborate.  He has boundless enthusiasm and we share a desire to create material that is uplifting, as well as entertaining.

Recently, I signed agreements to have Carole Western of Montgomery-West Literary Agency represent several of my scripts-- “Lightning Strikes,” a romantic comedy about a psychic, “My Son, The Folksinger,” a warmedy about a forgotten folksinger who reluctantly becomes a children’s entertainer; the twist-and-turn-filled thriller “Sweet Vengeance;” and “Cupless.”  Carole, who’s highly respected in both the literary and film worlds, also found me through Writers Script Network

You’re also working on assignment with two producers, writing a romantic comedy and a rock biopic. What’s it like working on assignment, as opposed to developing your own specs?

I’m completing the romantic comedy “The Game of Love” with Norm.  It’s about a disenchanted married couple going to Vegas to gamble on their love one last time. I’m also finishing a biopic with Lee.  It’s the most amazing rock ‘n’ roll story you’ve never heard.  These are specs, too.  But working on them in conjunction with producers I know and trust provides a safety net. I’m not working in the dark.  They know step by step where the screenplay is going and offer their valuable input. 

You credit Jerrol LeBaron at Writers Script Network for helping you get exposure.  What do you think sets his service apart from other showcases for screenwriters?

Jerrol and company have earned the respect of both writers and producers.  An impressive number of production houses scour that site regularly for potential projects.  There’s no question that Jerrol truly cares about the writers.  He makes a great effort to give their work vital exposure.  I’ll continue to use this outlet.  Right now I’m featuring my thriller “Sweet Vengeance” on WSN. 

Tell me about your writing process.  How do you go from idea to final draft?

Once I’ve crystallized the concept and have a handle on the characters, I spend a lot of time on prep work. The whole research process can be very enjoyable-- library, Internet and, when appropriate, interviews. It can be difficult to know when to stop and begin the writing.  After sorting through all the material I’ve gathered, trying to organize it, I compose a simple outline.  From that, I fashion a beat sheet. Often, particularly when I’m working with a producer, I’ll follow this with a full-blown treatment. 

Armed with these tools, the first draft should be a lot of fun.  It tends to flow, because the blueprint is in place.  Inevitably, changes occur in terms of details or sometimes even basic structure.  When I’ve completed the draft, I’ll go back and polish it. Reading aloud always uncovers numerous missteps or awkward passages. 

At this point, I want input from an objective reader, the more industry savvy, the better.  Several rewrites ensue prior to any submissions to production companies or studios.   It’s essential to be open to notes from any reader whose opinion you value.  That doesn’t mean you must slavishly adhere to all suggestions.  But you can’t be married to your first draft.  It may seem perfect when you type FADE OUT.  In retrospect, however, you’ll  notice its flaws and realize that each subsequent pass brings significant improvement. 

If you could give new screenwriters a piece of advice, what would it be?

Don’t expect overnight success.  As a producer told me, you’ve got to be in this for the long haul.  Sure, a film school student might have a six-figure spec sale fall into his or her lap.  But that’s a fluke. You want to build a career.  And that’s a slow process that requires commitment, perseverance and a high tolerance to pain.  If you believe in your work, don’t let rejections knock you off course.  Let them spur growth and give you extra impetus.  Refuse to fall by the wayside and your passion for writing will eventually enable you to reach your goal.

Contact Paul at romper@sbcglobal.net.