Interview Jeanne Bowerman

 Jeanne Veillette Bowerman is the Co-Founder and moderator of the weekly Twitter screenwriters’ chat, Scriptchat, and a regular columnist for Script Magazine and Write On Online. She’s written several spec scripts, including the adaption of the Pulitzer Prize-winning book, Slavery by Another Name, with its author, Douglas A. Blackmon, senior national correspondent of The Wall Street Journal. More information can be found on her website, Ramblings of a Recovering Insecureaholic.

What is the current project you are working on?

I always have multiple projects in the works. For the last three years, my main focus has been the pursuit, and finally the writing of, the adaptation of the Pulitzer Prize-winning book Slavery by Another Name. But even during that time, I wrote a short film, a comedy feature, and a vomit draft of a novel.

Did you always want to be a writer?

Hell, no. For years my father and one of my college professors encouraged me to write, but I was young, naïve, and couldn’t imagine anyone would want to read what I had to say. Instead, I ran a motel and restaurant for 15 years and was miserable. It wasn’t until I turned 40 that I finally pursued writing. Yes, I admitted I am over 40. Funk that.

What inspired you to become a writer?

When I was in high school, I wrote poetry – the teenage angst kind. It was liberating to get my feelings on paper, even if I never shared them with anyone. But my motivations now are different. Now I want people to read my words to both move them emotionally and to get them to think about something in a new way.

What is the best thing about being one?

When people say, “Wow, you really touched me with that story.” Or when they share how because of something I wrote, they made a life change or perhaps reached out to someone from their past. Those are the reactions I want. Even with my Script Magazine Balls of Steel column, which is nonfiction, people tell me they’re inspired by my journey and have changed some of their own choices, or opened their minds to new ways of approaching the industry. It’s not that my way is the right way; it’s just a different way. In the end, everyone has their own path, but if I can inspire them to take another step toward their goal, it humbles me.

What is the worst thing about being one?

Not getting paid for the countless hours I work.

How has your life changed since you became a writer?

I smile a lot more and have a greater sense of peace and direction.

What is one piece of advice you can give to someone who also wants to make it in the movie business?

Listen to feedback. This medium is about collaboration, and the very first step to making a movie is having a great script. Nail that sucker before you ever show it to anyone. The ONLY time you have full control over it is before it’s submitted to a producer. Therefore, the only way you can have any guarantee your words won’t be changed endlessly is if you nail that script to begin with. So do your job. Write well. Then… be patient. I can’t stress the need for patience enough. This is a long-haul career.

Have you had any other jobs before you decided to become a writer?

I managed a motel and restaurant for 15 years. That is an experience I’m still twitching over… and where my tequila addiction started. After the motel, I took five years off to be a full-time mom. But once I hit 40, I realized I was a stay-at-home mom but had no kids at home. I feared my brain had gone into atrophy. A friend convinced me to try medical transcriptioning, which I did for a year… until I got fired for challenging the intelligence of one of the doctors. Oops. But if I could find that doctor today, I’d thank him. It was his bitchslap that pushed me to pursue what I really wanted to do… write.

How would you describe your film education?

I went to Cornell and trained in hotel and restaurant management. I only took a few writing courses there, but knew it was in my blood. When it came to screenwriting, I learned by just jumping in and doing it. I wrote with several writing partners, which is an extremely valuable experience, but I also write alone. There’s something to be said for writing solo and owning your work… and your mistakes.

Last year I took the Screenwriting U Pro Series, which was an amazing experience. I’ll continue taking classes with them in the future, but for now, I just want to be in my cave and write. I think a lot of people get stuck in permanent student mode, when, in my opinion, the best way to really learn writing is to just shut up and do it. At some point you have to take all those lessons you’ve learned and apply them.

How would you describe the film "scene" where you live?

I live in the country in Upstate, NY, but am fortunate that we have an incredible film community here. Being only two hours north of NYC, many filmmakers have second homes in my small neighborhood. We even have a growing film festival, Film Columbia, which attracts some incredible talent and independent/foreign filmmakers. I’m extremely fortunate.

What's your opinion on crowdfunding?

As Executive Producer of gone Elvis, I did a Kickstarter campaign with the writer/director, David Newhoff. I’ll be honest; I have mixed feelings about it. It’s humbling having so many people believe in a project they’re willing to open their wallets, but there’s also a lot of responsibility that comes with it. Some filmmakers abuse it and go to the well too often. When I write my upcoming short film, I’m going to try it without fundraising and shoot it Lone Gun Manifesto style (a form of filmmaking where you do it with zero budget… coined by Clive Davies-Frayne @filmutopia). After I do that, then I’ll probably have a clearer picture of the differences and which I prefer.

What is the casting process like?

David handled the bulk of casting decisions for gone Elvis, but he’d call me when he had a part that needed filling. I brought him several people from my circle that he loved. The fun part though was watching them act during the shoot. I have a deep respect for actors.

You could go back in time and see any classic film being made. Which film would it be and why?

Any Katharine Hepburn film, starting with Bringing Up Baby. Kate is my hero on so many levels.

You could have any super power. What would it be?

To be invisible. Imagine all I could learn about people that way! It would be a writer’s dream resource. But since I don’t have Harry Potter’s invisibility cloak, I’ll have to stick with being a voyeur at Panera. I heard the manager is bedazzling me a cape.

What is your opinion on movie remakes?

I usually hate them. I have yet to see one that compared to the original. There are so many wonderful spec scripts out there, yet Hollywood does remakes instead of taking a risk on something new. As a writer, it’s very frustrating.

What is your opinion on book to movie adaptations?

In general, they don’t always work. A film version can rarely compete with the reader’s imagination. It has to be a special kind of book that has cinematic elements for it to be pulled off right. I just adapted the Pulitzer Prize-winning book, Slavery by Another Name, with its author, Douglas A. Blackmon. This wasn’t a typical adaptation. The book is an historical exposé of slavery post Civil War and spans seventy years of history. We took only a slice of that history and brought it to life. I learned an enormous amount on that project. I have no doubt adapting another author’s work has forever changed me as a writer. I’d recommend every screenwriter try adaptation once… but make sure you have the rights to the book first.

Is there anything else you would like to add?

Every writer needs a support system. For me, that’s my Scriptchat family, starting with our treefort of co-founders, Zac Sanford, Jamie Livingston, Kim Garland, and Mina Zaher. I can’t imagine my life without them. The past two years have been nothing short of miraculous for me. I couldn’t do what I do everyday without their support.

 

 

 

 

 

Thanks for doing the interview Jeanne. I’m a big fan of  Scriptchat. I will check out Slavery by Another Name.   Everyone should check out gone Elvis.