(NOTE: Answers are solely my opinion and experiences.)
How much attention should I pay to industry trends/what’s deemed “commercially viable”?
Have at least a working or conversational knowledge of industry trends and projects recently green-lit or in-development. Do not chase trends though. If you see that a specific sub-genre (wilderness survival) is big now, you’re too late to write it.
Is it worth spending time writing something that might have little to no selling potential even if I love the subject matter? How do students walk the line of experimenting artistically while knowing the end goal is to actually sell a screenplay?
Absolutely write what you love. A heartless script is boring—even if it’s “marketable.” The best scripts have some universality (marketability) AND artistic merit. Use your background as a telemarketer, fast food employee, mountain climber, dog trainer, etc. to inform the audience on a world they don’t know about. Don’t try to write a script in these classes with the sole and express interest in selling it. You’re at UCLA to learn, not get rich (you can do that after graduating).
What are the most beneficial things you have learned/gained in your first year as a screenwriting student?
Nobody reading a script complains about it being too short. Keep action in the “active voice.” A script can read much, much better (or worse) than pitched. Try your hand at different genres. Alcohol can be used for brainstorming, but not editing. Caffeine intake should be varied (coffee, energy drinks, tea, pills, apples, etc.). Write the “bad version” of your script now and make it better later.
How can I best take advantage of my time at UCLA to strengthen my writing?
Write a lot. Write more than the minimum. Write the maximum. Write two scripts this quarter or do another draft—M. Night Shyamalan didn’t know Bruce Willis was dead the whole time until draft six; David Koepp says the key to success is 17 drafts.
One teacher and seven students will read your script, in your workshop class, but you should ask more people for feedback. Do script-exchanges (“I’ll read yours… you read mine”) with your friends.
What do you know now that you wish you knew when you started your first year?
Manage expectations. Be proud that you got into this program—it is exclusive, but know that you’ll doubt you own writing ability at some point. Your friends will be phenomenal writers who have other amazing skills and you’ll be embarrassed by your own writing a year (or a day) after you wrote it. Don't expect to sell the script you worked on for 10 weeks.
Fortunately, you will become a better writer right after acknowledging your weak points (wordiness, dialogue variety, characterization, Second Acts, spelling, etc.).
What is an average week like for a graduate student in the screenwriting?
Nobody in the program is “average.” Class-wise, you’ll be on campus 2 or 3 days a week. Most classes start at 10 am, 1 pm, 4 pm, or 7 pm. No two quarters are alike.
What’s the dating scene like in Los Angeles?
Okay, but I wish Emma Watson would stop calling me at odd hours. She needs to get over us.
What are the biggest things that students scramble, forget, or deal with in the first month of classes and throughout the school year?
On a technical basis, you’ll get so many reminder emails about adding/dropping classes, event invitations, and more that deadlines are hard to forget. However, I think people forget to have fun sometimes. Spend time on your writing, sure, but also go live a life. Nurture non-writing activities and relationships.
What is the biggest thing you would suggest to take advantage of (or just not miss out on) during the first year of this program?
Take advantage of the people. By that, I mean make friends, not “contacts.” Take advantage of the fact you have the chance to meet a hundred people who all want to be in your industry five, ten, and thirty years from now. You’re not competing against these people; you’re trying to raise all the boats in the harbor of UCLA. You may never have a chance to meet so many talented people in such a short time. Don’t be a hermit writer. I get that you may think socializing is exhausting and/or you have a S.O., X.O., or dog to get back home to, but make sure you’re not an unknown entity. So yeah, take advantage of the people.
Wanna get a beer?
Absolutely. Granted, there are students who don’t drink, but if you’re leaving a workshop class and say, “Anybody wanna get a drink?” you’ll usually get 2 to 5 companions.
What is pitching? What is auditioning?
For you, pitching (or Pitch Week) is Week 1 of the Winter and Spring quarters—meaning you will not be required/invited to do this in the fall, though you can watch the Second Year students do it.
Basically you have a logline/brief outline/1-minute summary of the script you want to write for the upcoming quarter. You go to several 434 classes and tell the teacher (and dozens of other students) what you want to write. I recommend going to at least 3 classes over the week. At the end of the week, you email your first, second, and third pick. That weekend, the teachers do what they do and everybody gets put into a workshop. You WILL get into a workshop class, but not necessarily your first choice.
Pitch Week is tangential to “auditioning”—which is generally emailing your pitch to a professor. Sometimes this is for 434s held off campus; sometimes for TV writing classes. If you’re on the listservs and/or Facebook group, you’ll get notices for these classes and their specific requirements—generally 5 sample pages, a logline, maybe notes on characters, etc.
Seriously, this whole earthquake thing is really overblown, right? Right?
Yeah. Most earthquakes are barely felt at all.
What are the classes I would be remiss to not take during my time at UCLA?
Take a directing, acting, or animation class. Have a class that gets you away from writing and into the other avenues of filmmaking. These classes often have other screenwriters, so you (probably) won't be alone.
For CMS classes, I highly recommend Rhonda Hammer's "Film and Society."
Who are the best/worst screenwriting teachers?
When you get the chance to audition for writing classes, consider what you want. UCLA brings in new screenwriting teachers every quarter and has a few that are staples of the program. Consider if you want somebody who is primarily a screenwriter, but teaching for a quarter (possibly teaching for the first time) or if you want somebody who is primarily a teacher, but not as actively involved in current productions.
Even students who didn’t like a particular teacher generally admit it was an issue of contrasting personalities—not a criticism of the teacher’s expertise. Similarly, even if a student loves a particular teacher, they may never take that teacher's class again because there are always so many good options. It's like going to The Wicked Spoon (the best buffet in Las Vegas), it's expensive, but most things are incredible; sometimes you get something you regretted, but you'll leave happy without having tried every single thing.
There are no teachers to avoid because universally disliked teachers have a way of disappearing after a quarter and the best teachers have too much fun teaching to ever leave us.
How are the other programs at UCLA?
The directors seem to keep to themselves—directing things they wrote. I can't tell you anything about the DPs, actors, or undergrads. The Producing Program, though, overlaps with us screenwriters a lot. The producers need scripts to do their projects (develop pitches, develop budgets, etc.). They’ll reach out when they’re ready.
I’m a Type-A personality who can’t believe we have to wait until September to start class. What can I do right now?
Get to know Los Angeles and get to know the other writers in the program. There are 40 writers in the class of 2017 and about 45 in the class of 2018. Including any “third-years” sticking around, that’s 90 people that you need to know. If you meet 20 writers before September orientation will be more fun.
Also, don’t wait on other people to schedule something “official.” Throw your own parties. Ask who wants to go hiking, go to a museum, the beach, a live-taping, get drinks, etc.
What happens in the first week of class?
People go to several classes, decide what they want to take, and get PTE numbers to actually enroll. There’ll be a few Meet ‘n Greets.
Oh! Free tip: if you’re asked to write something for your 431 class, be prepared to have it read out loud.
What days and times are you typically in class?
Monday to Friday. Many classes are in the afternoon or night, but it’s not unusual to have a 10 am class.
When should I take what courses?
Your first quarter (with the required, though relatively light 430/431 class) should be a time to take a CMS or at least a non-screenwriting class. You will have the chance to audition for TV spec classes (write an episode of a pre-existing show) and I'd recommend it. Many of us have done two writing courses at the same time. Hell, a few of us have taken 26 hours in a quarter and lived to tell about it. That's not a recommendation.
How do I be a TA?
You can’t be a TA in the film department your first year. To be a TA in another department (English, Engineering, History, etc.), contact that specific department.
How has the program improved your writing?
My writing has become leaner. Teachers like Linda Voorhees and Richard Walter don’t let writers use 10 words when 1 is enough. Of course, my writing (and the writing of my classmates) has improved in other ways, but the newfound brevity is most apparent. That's right, THIS is the "lean version" of my writing.
As stressful as things get, did you ever lose or question your desire of wanting to be a screenwriter?
If I wasn’t pursuing screenwriting professionally, it would still be a hobby. You should be committed to writing, though this program wouldn’t be a waste if you end up going in other directions. The world would improve if more people tried their hand at fiction writing.
Where are the archives of scripts I can read?
Digital archives like Simplyscripts and this place are solid and plentiful. However, I REALLY recommend you take a trip to the WGA and read the physical scripts there. Incredibly, many have notes scribbled or editing marks from the writer. You can see misspellings in “Chinatown,” lines crossed out in “Network,” and alternate jokes in “The Little Giants.”
Also, the Black List scripts from 2011 through 2015 (and 2007!) can be found here!
What’s the most difficult thing about this program?
A lot of writers and students struggle with self-confidence at some point during the year. This might be in the form of “I have no good ideas” or “I can’t focus” or “my idea is terrible” or “my scenes are terrible” or “this whole script is a dumpster fire.” For most people, this comes in waves—meaning it goes away at some point, one just needs to weather the low-points.
THAT SAID, do people a huge solid and don’t apologize for your work—not before your pitch, not when you’re passing out pages, not when you’re emailing a draft. You can/should thank people for reading your material, but don’t undercut yourself with your own pessimism.
Can you please help me get better at pitching?
Last winter, some of us in the ’17 class held a “practice pitch party” the weekend before actually pitching our ideas to the professors. We went around a living room pitching our ideas and getting feedback from others. It was casual (there was booze), but everybody there seemed to get something out of it.
Also, it’s a good idea to have a 1-sentence pitch and a separate 1-minute pitch. Your 1-sentence pitch should be a character wanting something, but getting stopped by something else. Or at least that’s a pretty standard logline format.
Why does my writing suck so bad?
Many writers use too many words. For example, “Why does my writing suck so bad?” could be shortened to “Why does my writing suck?” It’s quicker and your last word is “suck”—a stronger tag than “bad.”
What should I hope to achieve (in terms of my writing) in my first year of grad school?
At the very least, you’ll have a handful of completed scripts—features, specs, and pilots. UCLA, with the super-quick 10-week quarter system, is designed for students to have several first draft scripts after two years (at least 6, though probably closer to 8). It is not recommended that you bring in old ideas and try to do new drafts in the workshop classes. Do new drafts on your own time; do first drafts in school.
Best local eatery?
It’s Los Angeles. There are as many restaurants as movies starring Dwayne Johnson, but near UCLA, my person favorites include:
Best Burger=In-n-Out
Best Sushi=SugarFish
Best Tacos=Tacos Tu Madre
Best Pizza=Pieology
Best Bar=Sepi’s
Do you want to hang out Saturday? Will you read my script? Can I pay you for all this advice? Do you want to get a beer/coffee/dog with me?
Sure. Here’s my email: nickadamsworks@gmail.com
How much attention should I pay to industry trends/what’s deemed “commercially viable”?
Have at least a working or conversational knowledge of industry trends and projects recently green-lit or in-development. Do not chase trends though. If you see that a specific sub-genre (wilderness survival) is big now, you’re too late to write it.
Is it worth spending time writing something that might have little to no selling potential even if I love the subject matter? How do students walk the line of experimenting artistically while knowing the end goal is to actually sell a screenplay?
Absolutely write what you love. A heartless script is boring—even if it’s “marketable.” The best scripts have some universality (marketability) AND artistic merit. Use your background as a telemarketer, fast food employee, mountain climber, dog trainer, etc. to inform the audience on a world they don’t know about. Don’t try to write a script in these classes with the sole and express interest in selling it. You’re at UCLA to learn, not get rich (you can do that after graduating).
What are the most beneficial things you have learned/gained in your first year as a screenwriting student?
Nobody reading a script complains about it being too short. Keep action in the “active voice.” A script can read much, much better (or worse) than pitched. Try your hand at different genres. Alcohol can be used for brainstorming, but not editing. Caffeine intake should be varied (coffee, energy drinks, tea, pills, apples, etc.). Write the “bad version” of your script now and make it better later.
How can I best take advantage of my time at UCLA to strengthen my writing?
Write a lot. Write more than the minimum. Write the maximum. Write two scripts this quarter or do another draft—M. Night Shyamalan didn’t know Bruce Willis was dead the whole time until draft six; David Koepp says the key to success is 17 drafts.
One teacher and seven students will read your script, in your workshop class, but you should ask more people for feedback. Do script-exchanges (“I’ll read yours… you read mine”) with your friends.
What do you know now that you wish you knew when you started your first year?
Manage expectations. Be proud that you got into this program—it is exclusive, but know that you’ll doubt you own writing ability at some point. Your friends will be phenomenal writers who have other amazing skills and you’ll be embarrassed by your own writing a year (or a day) after you wrote it. Don't expect to sell the script you worked on for 10 weeks.
Fortunately, you will become a better writer right after acknowledging your weak points (wordiness, dialogue variety, characterization, Second Acts, spelling, etc.).
What is an average week like for a graduate student in the screenwriting?
Nobody in the program is “average.” Class-wise, you’ll be on campus 2 or 3 days a week. Most classes start at 10 am, 1 pm, 4 pm, or 7 pm. No two quarters are alike.
What’s the dating scene like in Los Angeles?
Okay, but I wish Emma Watson would stop calling me at odd hours. She needs to get over us.
What are the biggest things that students scramble, forget, or deal with in the first month of classes and throughout the school year?
On a technical basis, you’ll get so many reminder emails about adding/dropping classes, event invitations, and more that deadlines are hard to forget. However, I think people forget to have fun sometimes. Spend time on your writing, sure, but also go live a life. Nurture non-writing activities and relationships.
What is the biggest thing you would suggest to take advantage of (or just not miss out on) during the first year of this program?
Take advantage of the people. By that, I mean make friends, not “contacts.” Take advantage of the fact you have the chance to meet a hundred people who all want to be in your industry five, ten, and thirty years from now. You’re not competing against these people; you’re trying to raise all the boats in the harbor of UCLA. You may never have a chance to meet so many talented people in such a short time. Don’t be a hermit writer. I get that you may think socializing is exhausting and/or you have a S.O., X.O., or dog to get back home to, but make sure you’re not an unknown entity. So yeah, take advantage of the people.
Wanna get a beer?
Absolutely. Granted, there are students who don’t drink, but if you’re leaving a workshop class and say, “Anybody wanna get a drink?” you’ll usually get 2 to 5 companions.
What is pitching? What is auditioning?
For you, pitching (or Pitch Week) is Week 1 of the Winter and Spring quarters—meaning you will not be required/invited to do this in the fall, though you can watch the Second Year students do it.
Basically you have a logline/brief outline/1-minute summary of the script you want to write for the upcoming quarter. You go to several 434 classes and tell the teacher (and dozens of other students) what you want to write. I recommend going to at least 3 classes over the week. At the end of the week, you email your first, second, and third pick. That weekend, the teachers do what they do and everybody gets put into a workshop. You WILL get into a workshop class, but not necessarily your first choice.
Pitch Week is tangential to “auditioning”—which is generally emailing your pitch to a professor. Sometimes this is for 434s held off campus; sometimes for TV writing classes. If you’re on the listservs and/or Facebook group, you’ll get notices for these classes and their specific requirements—generally 5 sample pages, a logline, maybe notes on characters, etc.
Seriously, this whole earthquake thing is really overblown, right? Right?
Yeah. Most earthquakes are barely felt at all.
What are the classes I would be remiss to not take during my time at UCLA?
Take a directing, acting, or animation class. Have a class that gets you away from writing and into the other avenues of filmmaking. These classes often have other screenwriters, so you (probably) won't be alone.
For CMS classes, I highly recommend Rhonda Hammer's "Film and Society."
Who are the best/worst screenwriting teachers?
When you get the chance to audition for writing classes, consider what you want. UCLA brings in new screenwriting teachers every quarter and has a few that are staples of the program. Consider if you want somebody who is primarily a screenwriter, but teaching for a quarter (possibly teaching for the first time) or if you want somebody who is primarily a teacher, but not as actively involved in current productions.
Even students who didn’t like a particular teacher generally admit it was an issue of contrasting personalities—not a criticism of the teacher’s expertise. Similarly, even if a student loves a particular teacher, they may never take that teacher's class again because there are always so many good options. It's like going to The Wicked Spoon (the best buffet in Las Vegas), it's expensive, but most things are incredible; sometimes you get something you regretted, but you'll leave happy without having tried every single thing.
There are no teachers to avoid because universally disliked teachers have a way of disappearing after a quarter and the best teachers have too much fun teaching to ever leave us.
How are the other programs at UCLA?
The directors seem to keep to themselves—directing things they wrote. I can't tell you anything about the DPs, actors, or undergrads. The Producing Program, though, overlaps with us screenwriters a lot. The producers need scripts to do their projects (develop pitches, develop budgets, etc.). They’ll reach out when they’re ready.
I’m a Type-A personality who can’t believe we have to wait until September to start class. What can I do right now?
Get to know Los Angeles and get to know the other writers in the program. There are 40 writers in the class of 2017 and about 45 in the class of 2018. Including any “third-years” sticking around, that’s 90 people that you need to know. If you meet 20 writers before September orientation will be more fun.
Also, don’t wait on other people to schedule something “official.” Throw your own parties. Ask who wants to go hiking, go to a museum, the beach, a live-taping, get drinks, etc.
What happens in the first week of class?
People go to several classes, decide what they want to take, and get PTE numbers to actually enroll. There’ll be a few Meet ‘n Greets.
Oh! Free tip: if you’re asked to write something for your 431 class, be prepared to have it read out loud.
What days and times are you typically in class?
Monday to Friday. Many classes are in the afternoon or night, but it’s not unusual to have a 10 am class.
When should I take what courses?
Your first quarter (with the required, though relatively light 430/431 class) should be a time to take a CMS or at least a non-screenwriting class. You will have the chance to audition for TV spec classes (write an episode of a pre-existing show) and I'd recommend it. Many of us have done two writing courses at the same time. Hell, a few of us have taken 26 hours in a quarter and lived to tell about it. That's not a recommendation.
How do I be a TA?
You can’t be a TA in the film department your first year. To be a TA in another department (English, Engineering, History, etc.), contact that specific department.
How has the program improved your writing?
My writing has become leaner. Teachers like Linda Voorhees and Richard Walter don’t let writers use 10 words when 1 is enough. Of course, my writing (and the writing of my classmates) has improved in other ways, but the newfound brevity is most apparent. That's right, THIS is the "lean version" of my writing.
As stressful as things get, did you ever lose or question your desire of wanting to be a screenwriter?
If I wasn’t pursuing screenwriting professionally, it would still be a hobby. You should be committed to writing, though this program wouldn’t be a waste if you end up going in other directions. The world would improve if more people tried their hand at fiction writing.
Where are the archives of scripts I can read?
Digital archives like Simplyscripts and this place are solid and plentiful. However, I REALLY recommend you take a trip to the WGA and read the physical scripts there. Incredibly, many have notes scribbled or editing marks from the writer. You can see misspellings in “Chinatown,” lines crossed out in “Network,” and alternate jokes in “The Little Giants.”
Also, the Black List scripts from 2011 through 2015 (and 2007!) can be found here!
What’s the most difficult thing about this program?
A lot of writers and students struggle with self-confidence at some point during the year. This might be in the form of “I have no good ideas” or “I can’t focus” or “my idea is terrible” or “my scenes are terrible” or “this whole script is a dumpster fire.” For most people, this comes in waves—meaning it goes away at some point, one just needs to weather the low-points.
THAT SAID, do people a huge solid and don’t apologize for your work—not before your pitch, not when you’re passing out pages, not when you’re emailing a draft. You can/should thank people for reading your material, but don’t undercut yourself with your own pessimism.
Can you please help me get better at pitching?
Last winter, some of us in the ’17 class held a “practice pitch party” the weekend before actually pitching our ideas to the professors. We went around a living room pitching our ideas and getting feedback from others. It was casual (there was booze), but everybody there seemed to get something out of it.
Also, it’s a good idea to have a 1-sentence pitch and a separate 1-minute pitch. Your 1-sentence pitch should be a character wanting something, but getting stopped by something else. Or at least that’s a pretty standard logline format.
Why does my writing suck so bad?
Many writers use too many words. For example, “Why does my writing suck so bad?” could be shortened to “Why does my writing suck?” It’s quicker and your last word is “suck”—a stronger tag than “bad.”
What should I hope to achieve (in terms of my writing) in my first year of grad school?
At the very least, you’ll have a handful of completed scripts—features, specs, and pilots. UCLA, with the super-quick 10-week quarter system, is designed for students to have several first draft scripts after two years (at least 6, though probably closer to 8). It is not recommended that you bring in old ideas and try to do new drafts in the workshop classes. Do new drafts on your own time; do first drafts in school.
Best local eatery?
It’s Los Angeles. There are as many restaurants as movies starring Dwayne Johnson, but near UCLA, my person favorites include:
Best Burger=In-n-Out
Best Sushi=SugarFish
Best Tacos=Tacos Tu Madre
Best Pizza=Pieology
Best Bar=Sepi’s
Do you want to hang out Saturday? Will you read my script? Can I pay you for all this advice? Do you want to get a beer/coffee/dog with me?
Sure. Here’s my email: nickadamsworks@gmail.com