Interview With Screenwriter Earl Blakesley Jr. by Brad Day

Brad: Who is Earl Blakesley Jr.?
Earl: I was born in Southwest Iowa, an only child to parents who had always been in some phase of show business. My father and his brother had an orchestra in the early 1940s and toured much of the midwest. My mother and her brother had been radio entertainers and had garnered quite a following in the late 1030s and early 1940s. She auditioned for the 'band singer' with my father and his brother and was hired on the spot. Two years later she and my father married. And as they say, the rest is history. When the orchestra disbanded because of WWII, my Dad, after his stint in service, became Program Director of the radio station and my mother his personal secretary. Shortly thereafter I came along and at a very early age recognized music and was always pounding around with spoons on the floor. Signs of an early drummer I guess. It seems like a long time from 'then' to September of 2002 when I was inducted into the new Iowa Walk of Fame and I'll get more detailed as to what brought me to that! point in time of my life a little later. Faith played a very strong role, I can give you that little hint now. But what an honor to be included as a member of the first 90 inductees into this prestigious situation. Being included with individuals such as John Wayne, Robert Schuller, singer Andy Williams, the Everly Brothers, Johnny Carson and President Ronald Reagan is overwhelming to me and something I'll remember always. Each noted individual has a plaque in the shape of the State of Iowa in the sidewalks of Shenandoah, Iowa with a Star designating either where that person was born or lived in the State, having had to have made a difference to the State after living here. I, of course, was a native Iowan.

Brad: Did the drumming develop into a career? When did you take an interest in writing scripts?
Earl: I started my musical career as a drummer when I was just out of high school and began playing in studios for various young performers of the 1960s. It just amazes me when I hear those hit records on the radio, on the Oldies Stations. I also toured with some groups from coast to coast. Today it sounds very tiring to me but at that time, being so young, it was classified as 'an adventure'. Then came the Vietnam War and that 'adventure' was interrupted with a more dramatic one. In the heard of it in DaNang, had I had had no faith, I don't think I would be here today. I followed the Lord's will. The war is something I don't like to talk about and something I hope no other young men and women have to endure in the manner we did back then. After my three year stint in the Army, reaching Sgt. 5, I got back into music but soon the acting bug bit and I found myself in the rock musical 'Hair', my stint lasting a year and a half. Other plays followed but I began to notice my interest in writing gett! ing stronger and stronger. Life as a professional drummer, working with the likes of Janis Joplin, Louis Armstrong, and so many others hadn't prepared me for the intensity of writing. As a drummer I did a lot of my work in a recording studio as an artist did a record, unless I was touring with the artist which only happened, usually, once a year. As I said, it was an adventure and the excitement and intensity of the screaming fans is something that is impossible to describe. However, the intensity of writing is a whole other ballgame. As a writer, I found my true niche.

Brad: I heard that you were once contacted by Jazz Legend Louis Armstrong. How did that impact you?
Earl: Jazz legend Louis Armstrong did call to invite me to play with him in New Orleans and that was something that still lives in my heart and mind. What a wonderful man. He was so inspiring to me, myself a young musician and was also someone who was steeped in his faith of the Lord. That man taught me more in a short period of time than has ever happened sense. When I realized who was on the other end of the phone conversation I was speechless. And for me that was no easy feat. I'm still inspired in so many, many ways as I think about it today.

Brad: That's truly inspiring. God is awesome. How important is it for new writers to follow the classic three act structure?
Earl: I quickly learned with my writing that the Three Act Structure is the classic writing tool of all writers, especially new writers. When a writer gets more established, such as Quentin Tarantino, you can begin to experiment as he has done. However his following isn't nearly as wide as those writers who do follow and stick to the classic Three Act Structure. His films are tools of thought, discussion, argument, as to 'what' they mean and 'the message', etc. The best advice I can give is to stick with the Three Act scenario. You can't go wrong.

Brad: The market is flooded with so many books on screenwriting and many writers feel that they can simply buy one book, read it, and know everything there is to know about screenwriting. What is really the best way to get started?
Earl: There are so many books on screenwriting 'out there' and when a person decides they want to learn to study screenwriting they head to the book store or check out ads in the back of magazines. I always encourage new writers to read books, etc. but in the beginning they can be lead terribly astray with some of them. The biggest mistake a writer can make is to follow a book written by somebody that has gotten no further in their career than the person reading the book and is basically what I can 'a wannabe writer'. In other words, they've never sold a thing in their life and here they are telling/teaching somebody else how to do it properly. Not good. Also most produced scripts for sale are not the Original Draft from the writer but are, instead, the Shooting Script from the director which is written entirely different.

Brad: How did you get started as a teacher/screenwriting coach with the Hollywood Scriptwriting Institute?
Earl: I had gotten established in writing with TV such as 'Love, American Style', 'Hardcastle & McKormick', etc. and received a call from Donna Lee at Hollywood Scriptwriting Institute. I was well-aware of her expertise in screenwriting and also knew of her school. She asked if I would be interested in teaching for her, but only after taking her course and studying her methods first, which would then be fair to the students. After some serious thought I decided to give it a try. It would be another new adventure for me. Her methods are the tops in screenwriting.

Brad: What separates HSI from the many other distance learning courses offered?
Earl: Hollywood Scriptwriting Institute is much different than other Distance Learning schools in that you have a 'one on one' relationship with your instructor/mentor and have full access with them at any time of the day or night, depending on where you live. Of course 'at night' it must be done via e-mail and can, naturally, be done that way during the day too for very quick responses. But, as I said, full access and very personalized attention to each and every student. HSI has been established for way over twenty years and that is testiment to its veracity and worth. We turn out writers, producers and some who even get into directing and other aspects of the film industry. A good testimonial to the closeness of the student/mentor is that I can, almost every time, tell you the name of a script if you tell me the name of the student or the other way around. There is no other school on the planet where this can happen when dealing with Distance Learning. It's all quite personalized with ! a 'one on one' working enviornment.

Brad: What is the difference between a secondary slugline and a primary slugline?
Earl: Master Scene Heading is to establish a such as a HOUSE, then as the characters move about it's IN THE KITCHEN as a slug line or IN THE BEDROOM, etc. as secondary slug lines in order to keep the interest of the reader.

Brad: Why is it necessary for writers to put dialogue on the first page?
Earl: And it's always important to try and have some sort of dialogue on the very first page to avoid the reader feeling that they're getting themselves into a novel. The dialogue will begin to develop one of the characters and set the tone of the script which is very, very important.

Brad: What are the most common mistakes that you see new writers make? How can they avoid these mistakes?
Earl: The biggest mistake new writers make is to just buy a book, read it, and write a script thinking they have the next best thing ever written. Not so. If there is no appropriate training, guided by a mentor for 'back and forth discussion' then all is lost. Not a good idea to go it alone if you're a serious writer.

Brad: How many scripts have you written/and of those how many have been sold?
Earl: I've written more scripts than I can count and have worked with TV shows such as 'Love, American Style', 'Hardcastle & McKormick', 'Monsters', 'The Munsters Today', 'The New Twilight Zone', 'China Beach' and 'Tales From The Crypt' as examples.

Brad: What are some diamond words to use when describing character movements in a screenplay?
Earl: Sashays, Struts, Uneven gait, Deliberate movements, Decisive or Unsure, and Hesitant, Staggering.

Brad: What is the difference between a Montage and a Series of Shots?
Earl: There is always confusion as to the difference between a MONTAGE and A SERIES OF SHOTS. The best way to explain is that a MONTAGE presents locations in 'one area' such as a park, an amusement park, a mall, etc. It doesn't really move the plot forward. But with A SERIES OF SHOTS it is written to move the storyline forward quickly so that the script doesn't get mired into meaningless and boring detail, even though it might be necessary. Example would be a high speed car chase. Instead of showing each step taken, it would take us to the end point quickly and do so with excitement and we would definitely not get bored in the process!

Brad: Is there a market for screenplays with strong Christian themes?
Earl: There is an ever widening market for Christian-related scripts and to me, that's wonderful. I have dealt with some such as CBN, and Trinity Broadcasting the last few years as well as many Independent Christian producers.

Brad: Can someone break into the business while not living in Los Angeles?
Earl: One thing that is particularly exciting to me is that with movies being made in almost every state as well as Canada, the writer can live wherever they want and not have to worry about moving to Hollywood. Unless they want to of course. But many, many writers are working all over the country and enjoying it. That's part of the luxury of Distance Learning with so many, many new Independent Production Companies springing up weekly.

Brad: What are some of the most common mistakes you see new writers make?
Earl: The most common mistake a new writer can make is not taking the time to learn how 'to do it right'. This goes back to what I mentioned earlier about buying books. All writers need a mentor/instructor if they're going to have a real chance of getting started. Many new writers read a book and then they think they 'know it all'. Not so. A very hard lesson to be learned if the writer has that attitude.

Brad: How important is it for new writers to be open to constructive criticism?
Earl: Constructive criticism is very, very important. Unfortunately a lot of individuals who work in this business can be very, very rude. It can ruin the genious of a new writer and I've seen this happen. In fact it almost happened to me when my very first script was rippped to shreds by an unfeeling evaluator. To me all scripts have worth and if the writer is going to make it any better and a little more marketable then the only thing that will help them do this is constructive and thoughtful criticism. Criticism is something that's very hard to take in life but, unfornutately, is a very big part of the picture. I pride myself in being one of the most caring, giving and positive teachers and evaluators in the business and I turn out a large number of excellent writers. It's not easy to become successful as a new writer, but not impossible at all if you have the proper instruction/mentoring.

Brad: Tell us about your latest script Joshua?
Earl: At the present I'm involved with quite a special project. I was asked to write a screenplay based on 'a real' gang in the Los Angeles area that carry Bibles. They shout and preach the verse to justify their anti-social and violent behavior. I had to study the Bible carefully to ensure my verse was accurate and I spent long hours, with my own faith, putting my heart and soul into this script that has one of the most uplifting endings and messages I've ever written. The script is titled 'Joshua'. I'm extremely proud to be the parent of this child. As to direct involvement in the film, beyong writing it, I'm working very closely with the producer who has asked me to act as Assistant Director. I want to learn more about the actual 'making of a film ' and he's going to give me that opportunity. He will be my mentor. I followed my faith and beliefs right into this project.

Earl: Brad, I really enjoyed this! I've done many interviews and it gives me an opportunity to express myself. However with most magazine interviews I'm not permitted to use the words 'faith' or 'beliefs' and definetly not 'Lord'. This was more refreshing to me that you know. All the best! -Earl

Brad: Thanks for your time Earl. God Bless.

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