RICHARD AMICO
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RICHARD AMICO

What inspired you to write a script rather than a novel or short story?
The balance between the written word and the visual. Conversations, debates, and moments of reflection are imbued with tone and emotion, glances and settings. There are layers to each and every line. It heightens the senses in a way that’s not as easily achieved in novels or short stories.

Was there a specific film, TV show, or personal moment that first made you say, “I want to write like that”?
Certainly, “Mad Men,” for its use of language and militant obsession with detail. Every word is considered, perfectly calibrated to the times, and loaded with subtext. “Sopranos” for its authenticity. A world so totally and completely realized. Every character feels like someone—the flaws, ticks, the insecurities. There’s a beauty in its normalcy, creating something cinematic out of the ordinary. In film, Who’s Afraid of Virginia Woolf (Nichols’ adaptation of the play). Hannah and Her Sisters. More recently, The Social Network and Tár.

What’s your writing routine like? Do you follow a strict schedule, or are you more intuitive about when and how you write?
I try to accomplish something every day. Some days are more productive than others, of course. One day may lead to multiple scenes or mapping out an act. Other times, jotting down notes and ideas for the future. So long as I accomplish something, I feel like I’m progressing.

When you're starting a new script, how do you shape your ideas? Do you use outlines, beat sheets, or dive right into scenes? What inspires your scripts? Characters? Plot? Theme? Action?
I always write an outline. I think it’s important to have a roadmap even if the journey reroutes along the way. It provides structure. I struggle to write without a destination in mind. And by destination, I mean the story’s ultimate conclusion, but also the conclusion of each scene. Where do these characters need to be by the time I write my next scene heading? My inspiration for writing comes from films that I would want to see. If you write for everyone, you’re likely writing for no one. My hope is that there is someone else out there that appreciates the kinds of stories that I’ve come to appreciate.

How do you handle writer’s block or those inevitable moments of self-doubt?
Watch a movie or read a book; particularly one you haven’t seen or read yet. It typically serves as motivation or as a stimulant for new ideas.

What tools—software, methods, rituals—do you consider essential to your writing workflow?
Any old notebook, index cards, and Celtx. Also, David Mamet’s “Writing in Restaurants.”

Do you write with production realities in mind, or do you let the creative vision lead first and adjust later?
I try to limit the scale of my scenes in the event that someone with the power to produce my script decides to read it. I want to give that person the impression that the story is manageable and cost effective. What’s the return on investment? That’s how I feel in the earliest stages of my writing career at least.

When a scene isn’t working, what’s your go-to strategy for fixing it? Rewrite, workshop, walk away—or something else?
I won’t force it. Your mind is still “solving” the scene on a subconscious level even if you’re not actively thinking about it, so you’re never really walking away. I have faith that a solution will eventually emerge. Showers seem to help as well.

How many scripts have you completed? How many have you started and not completed (we all have those)...and why are they still unfinished?
I’ve completed two scripts. I haven’t walked away from unfinished work yet. I’m sure the day will come. Related, I was once told that we’re always tempted by some other muse. Your current script is never as interesting as the idea for the next one. While not always possible, I think it’s important to resist impulses and see through your current effort before moving on.
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Have you earned recognition in this or other competitions? What’s your strategy when submitting your scripts, and how has contest feedback shaped your work?
Not yet. I’m selective about where I submit based on my sense of the competition and the screenplays that appear to do well. For instance, I’ll likely pass on a competition that seems to prioritize action/adventure scripts when I’m working with a historical drama.

Have you done anything at this point to promote yourself or your writing (besides entering online contests)? If so, how would you gauge the effectiveness of those efforts?
My list script, “79 th and Park,” was promoted by the Black List over the summer due to its high scores. “79 th …” dramatizes an evening in which Leonard Bernstein hosted the Black Panthers and was rather infamously documented by Tom Wolfe in New York Magazine.

Have you pitched to producers or taken meetings yet? What have those experiences taught you about the business side of screenwriting?
I have not, though I look forward to the opportunity to discuss my work at some point in the future.

What do you see as your greatest strengths as a writer? Your greatest weaknesses?
Dialogue and character development are my greatest strengths. My greatest weaknesses: pacing and balancing tonal shifts from scene to scene.

How do you balance your writing with your “day job”?
I try to compartmentalize, but it’s admittedly difficult. Mostly, ideas set in throughout the day. I try to capture them in some form before they evaporate and then execute on them in the evening or during the weekend.

What message or emotional response do you hope audiences walk away with after experiencing your work?
That people are complicated and not so easily pegged as this or that. My favorite films, books, and television shows involve characters that invite debate and interpretation. Art that forces you to consider, then reconsider your viewpoints. It allows a reader or audience member to engage, rather than simply telling them what to think.

What are you working on right now the world needs to know about?
I’m working on a romantic comedy/drama at the moment. I wanted to go in a completely different direction after “79 th …” in terms of subject matter, dialogue, setting. It’s been fun to work in different genres—it helps to clarify my strengths and weaknesses. That said, I’m beginning to understand that there are certain themes that emerge across my work regardless of genre.

Where do you see yourself five years from now as a screenwriter—and how do you plan to get to that place?
First and foremost, to acquire representation—ideally someone that aligns with my sense of writing and interests. What’s important is the ability to submit my work for feedback and consideration as it materializes. Getting there requires continued dedication to the craft and self-advocacy as I navigate the professional writing networks here in the Los Angeles area. I realized in short order that no one will be a better advocate for my work than myself. Hoping to be discovered, while cinematic in nature, is not the most effective strategy.

What advice would you give to any aspiring writer hoping to follow in your footsteps?
The most challenging stage is the beginning because it feels like boiling the ocean. Once you start, however, you naturally find your way. Each new scene, new character, new idea provides incremental confidence and suddenly you’re doing it. More is lost by indecision as the saying goes.