Aspiring to be a screenwriter can sometimes feel like chasing a dream that everyone else has a better chance of achieving. Most emerging writers will admit that if it’s not the writing itself that drives them crazy, it’s the grueling hunt for stakeholders following the finished piece. So, why commit to something so wild and nonsensical as a career? Well, why does the chicken cross the road?

Our August Back to Film School series rounds out with the Reading on Writing book of the month, Why Does the Screenwriter Cross the Road? by Joe Gilford. This screenwriting guidebook speaks to every level of writer, ranging from first-timers to seasoned industry professionals. Gilford serves up cheeky writing wisdom and delivers classic writing concepts in layman’s lingo. For those looking for screenwriting guidance with a punch, this NYU educator has got you covered. 

Why I Liked It:

One thing I admire about this book is Gilford’s audacity. He isn’t afraid to expose myths or call out classic writing rules that he believes are moot. He completely removes the dazzle factor of screenwriting and forces the reader to think logically about their approach to the craft. One of my favorite quotes is when he talks about fitting writing into our human life schedule.

Gilford writes, “You don’t have to earn money in it for it to be real. You simply have to treat it with respect.”

The root of writing success isn’t the status of the writer; it’s the respect of the craft. (Is anyone else tearing up right now?)

Gilford also manages to answer some unanswered film school inquiries of mine that I believe make him somewhat of a psychic. For instance, I’ve always had an issue understanding the proper use of montage. How do I write a good one? What should it look like on the page? In his chapter “Toolbag: Some of the Gadgets You’ll Need,” he dedicates an entire section on the proper (and hopefully sparing) use of montage in screenplays. 

He suggests approaching this tool with a three-act structure to ensure it builds story energy and thinking of it as a mini-movie transitioning viewers from one scene to the next. He makes a point to call out the in-script structure mistake of writing a montage as a succession of placeholder sentences. As a writer who has employed this is the past, it was embarrassing in retrospect. However, Gilford has a real knack for calling writers out on their mistakes without making them feel inept. 

A main takeaway that resonated with me was his willingness to admit that most industry experts usually don’t know what they’re talking about. A “no” from them could have nothing to do with the actual merit of a young writer’s work and everything to do with their fear of producing a flop. Is it fair? No. Can we persevere? We must. 

Constructive Criticism:

I loved this book. So much so that I didn’t want it to end. Consequently, my only constructive criticism is that the final chapter felt a little rushed. In the aptly titled, “Now What?”, Gilford provides parting words of wisdom, leaving readers with the final push they might need to pursue their projects with confidence. This is where we get answers to those “Does anyone else ever feel this way?” questions that most new writers lament over. 

I wanted more from this section. There are a lot of potential roadblocks that could stand in the way of the emerging writer and this section glossed over some of the major concerns. I feel like there is still much to expound upon. 

Famous Last Words: 

This book is an absolute gem for writers at every level. Gilford’s real talk approach helps to make the craft appear less daunting. If you’re a writer looking for authentic guidance without the fancy finery or hardcore structure rules, read this book. It might just be the boost you’ve been looking for. More than anything, you’ll gain the confidence to finally write your script and not chicken out. 

For more work from this author: http://www.joegilford.com/

    http://storyrescue.com/

About the Author

Mercedes K. Milner is a Co-Founder and Administrator of the Write or Die Chicks and the Writer’s Group Coordinator. She is a staff writer for the WODC Blog and she heads the Reading on Writing column.