Not writing? What does that mean?

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Had a great catch-up call with my manager this week (still gives me a charge to be able to say that).

As part of our respective “here’s what I’ve been up to”s, mine included work on the two rewrites and the slow but steady progress of the first draft of the action-comedy spec.

He responded with “That’s really great. Some of my other clients will say ‘Oh, I haven’t written anything in two weeks,’ so I’m really glad you’ve been keeping at it.”

Keeping at it? To me, any day where I don’t write anything is a wasted opportunity. Even if it’s just one page, a few scenes in an outline, or just a few attempts at a better logline, I’m one of those writers who has to write something. It’s hard-wired into my system to do so.

I’d rather write something already knowing I’ll have to totally redo it as opposed to not writing anything because “I’m just not feeling it”.

My manager added that ideally each of his writing clients would have an arsenal of scripts (at least 3-4) ready to go, and not be “some one-trick pony with a single script to their name. What do I say if a producer asks ‘What else have they got?’ and the answer is ‘nothing’?”

Quick aside about writing the action-comedy spec: It’s going to need a ton of rewriting when the draft is done, and the outline remains incomplete, but writing a few pages a day has been exhilarating. I’m doing my best to keep each scene tight and to the point. Tempting as it is to go back and tinker, I’m forcing myself to stay focused on moving forward. Fixing and fine-tuning is what every following draft is for.

A lot of writers I know are very productive and prolific, some even cranking out a few feature scripts a year. I’m definitely not one of those, but still happy with my output.

I find it astonishing that a writer wouldn’t feel compelled to write. Something. Anything. Not that you should be chained to your desk until you see the results, but you get the idea.

I’m one of those writers who can’t not write. I love doing it, and to paraphrase Dorothy Parker, especially love having done it.

Heed the words of Mamet

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A few more pages added to the first draft of the action-comedy spec. So far, so good.

With a little something new added to the mix.

Each scene has been an exercise in “write it, go back and tighten it up.” One scene that was originally 1 1/2 pages was trimmed down to around 3/4ths of a page without sacrificing anything.

What really helped was really adhering to writer David Mamet’s guideline of “Get in late, get out early”.

I’ve written before about my tendency to overwrite, and the scene in question was no exception. I initially put it together how I thought it should be, but it didn’t start as late it should, and took too long to get out. So anything that didn’t absolutely need to be there got cut.

The result – a tighter, faster scene that makes the same point.

As an experiment, I attempted to write the next scene with that mindset from the get-go. Start late, get out asap. Even with a little editing and tweaking as it was being written, this one also turned out nicely.

I’m sure every scene after this won’t be written as smoothly, but it’ll definitely help, possibly even speed up the process. Possibly.

Another detail that’s been incredibly helpful is to just write what I have in the outline for each scene. Nothing extra. It’s getting easier to resist padding it for the sake of padding.

A variation on the Mamet quote could be “Get in late, get to the point, move on to the next scene”.

It’ll definitely take some time to adjust since this is the way I’ve written for so long, but I like the results so far. Will do my best to stick with it from here on out.

First step taken

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After some delays, I returned to the outline for the new action-comedy spec. Still a ways to go, but I’d forgotten how much stuff I’d come up with. There’s a lot to work with.

Despite the overall incompleteness, I decided to try something a little different. Something I’d never consider doing at this stage.

I started on pages. Just to see how it read, what could potentially stay, what could be cut, etc.

Since this would be considered the vomit draft, this is all about getting stuff down on the page and focusing forward, rather than writing, going back and rewriting, and so on and so on.

Full disclosure – one day after the first two pages, I thought of ways to improve them and did a little tweaking. I like how it turned out, but am sticking with a “head down, keep writing” approach.

I may even go so far by writing what I already have in the outline, stop at a certain point and finish the outline, or possibly (gasp!) taking a total pantser approach and just write and see what happens.

But that’s not something to worry about right now. I’m just enjoying the writing, as it should be.

Bye-bye, blue birdie

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After 15+ years of existence, my Twitter account of @maximum_z is no more.

I got hacked. Somebody got in, took over, and booted me out.

A few days later, I got an email saying the account was suspended for “violating our rules against inauthentic accounts.”

Despite my efforts to fix it, Elon’s minions opted to deny any and all attempts.

And that was that.

I’d posted the news on other platforms, and was met with a lot of “Trust me. It’s for the best” and “I left a while ago. No regrets.” I imagine that’s how I’ll eventually feel about it, but for now, it’s still a period of adjustment.

A majority of the screenwriters and the screenwriting-adjacent I know were people I’d met/discovered on Twitter, so it’s a shame that those connections are no more. Especially since many had already voluntarily left – either to other platforms or off social media altogether.

It’ll be very strange not seeing updates from people I’ve known for such a long time – most virtually, with the occasional real-life encounter.

My account was also a strong marketing tool. It was great for announcing news of any sort, including progress on scripts, touting contest victories (and the occasional defeat), being part of self-promoting opportunities like ScreenPit, boosting the work of other writers, updates about my short film (coming soon!), and spreading the word about the Maximum Z Script Showcase.

Even with the loss of @maximum_z, this blog will endure and I’m still on other platforms, so feel free to connect with me on those – if you haven’t already.

Blue Sky – @pezscreenwriting

Instagram – @pezscreenwriting

There’s still the option of trying to re-establish the cancelled account, but that just seems like more trouble than it’s worth. Same goes for attempting to set up a new one.

It was fun while it lasted. Moving on and getting back to working on scripts.

More than a few takeaways

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While work continues on my actual writing projects, I’ve also been trying to reduce the number of scripts in my “Scripts to Read” folder.

It’s a decent-sized mix of recent and not-so-recent films, along with material written by professionals, colleagues, and “Hey, I saw you posting about this on social media. Sounds cool. Could I read it?”

It’s amazing how fast you can go through a script when you don’t have to give notes. Even more so when it’s exceptionally well-written, which a lot of these are.

One pair in particular, both written by the same pro.

Each script was unique unto itself, primarily in its story/concept. But you could tell that they were written by the same writer. A very distinctive style for how the stories played out, how it looked on the page, and even moreso in terms of voice.

One detail in particular that really stood out was the lightning pace in which these stories are told. Scenes are brief, to the point, and really move things forward. There’s no lingering, no unnecessary dialogue. The writer really adheres to the “get in late, get to the point, move on” method.

These were scripts that once you started, you didn’t want to stop. Honestly. The writing really was that good.

It’s also worth mentioning that these scripts don’t necessarily break any screenwriting rules, but they sure do bend them. Nothing major or drastic, but the writing is so strong that you’re willing to overlook this unusual approach.

Reading these scripts definitely makes you appreciate (and enjoy) how well-written they are, and also starts you thinking “My scripts aren’t at this level, so what can I do to get them closer to it?” Not that I’d ever try to duplicate this writer’s style – that would be futile. It’s more about letting my own voice and style really come through on all those fronts.

I’ve always been guilty of overwriting scenes, and seeing this very streamlined presentation is a good reminder that I should try for that as well.

It’s probably a good thing that I’m reading all of these scripts now because it’s still relatively early in the rewrite/overhaul phase for my scripts. I don’t think it’ll be too much of an issue to start applying what I’m picking up into them.

My scripts were good, but now it feels like there’s more potential for them to be much, much better. Here’s hoping.