Year: 2017

Edits, inspiration, and the rinse cycle

Maximum Z adrenaline, adventure, antagonist, editing, ideas, inspiration, output, pages, protagonist, pulp fiction, rewriting, screenplay, screenwriting, script, sequence, story, storytelling, thought process, writing, writing process , , , ,
housewife
Gosh, what a day! My whites are sparkling AND I have a stronger sense of my protagonist’s internal goal!

I’ve mentioned before about my tendency to overwrite, which usually applies to both outline and actual pages. This time around with the pulpy adventure spec is no exception. There’s simply too much going on, so before the amount of material got too overwhelming, some significant editing was needed.

I don’t know how or why I do this, but sometimes there’ll be a scene or sequence that’s more or less a repeat of what’s already happened. Such was the case here. In the overall context of the story, the second one was more important, so thus began the great removal of the first one, along with reinforcing the connection between what came before it and the second one. It actually wasn’t too bad. It tightened up the story much more than anticipated and, in my opinion, kept that energetic momentum going.

My slightly unusual work schedule allows me to dedicate most of the early afternoon to writing, which is occasionally interspersed with some household chores. For this particular instance, it was laundry.

In some ways, I’ve been quite content with my progress, but there was something still nagging at me about it. Things felt…incomplete.

I was somewhere in the middle of that day’s writing session when the washing machine let me know the latest load was finished. While my body went through the motions of hanging stuff on the drying racks, my mind was barreling along a continuous stream of thought.

“What if THIS HAPPENED? Or THIS? Maybe I’m looking at this from the wrong angle. A lot of this has been about the protagonist. What about the antagonist? I don’t want them to come across as a mustache-twirling cartoon villain. Their goal seems too vague. Hey, I wrote a post about that. This is their plan, but why are they doing this? How about THIS? Hey, that’s not bad. Let’s take it one step further and make it THIS. Ooh! This would tie in perfectly to the rest of the story! Hmm. Would this make them see themselves as the hero? Whoa. It sure does. Hokey smokes, I think I’m onto something. I better write this down!”

And I did. It was like the satisfaction you’d get after finding the long-lost last piece of a jigsaw puzzle and snapping it into place. The more I thought about this, the more excited I got about implementing it. In fact, the editing/rewriting is already underway.

I cannot begin to explain what a surge of writing adrenaline (if there is such a thing) this created. There’s a line of dialogue in my western that even to this day still gives me chills. This new idea – same thing.

While all of this will no doubt push back the projected end date for having a completed first draft, this new development is totally worth it.

This is just another example of how inspiration really can strike when you least expect it. Embrace it when it does.

And if you’ve been sitting at your computer, frustrated that the words won’t come, maybe stepping away and doing something completely mundane might provide the solution you seek.

Plus, you’ll get the laundry out of the way, which is always good.

Why, and why now?

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A pair of questions to study thoroughly

An associate of mine is in the early stages of developing a low-budget film. Call it pre-pre-pre-production. The script is part of that (as in “about to be written”), and I was asked to take a look at the outline and offer up my two cents on it.

It wasn’t bad. The structure was a little wobbly, but not too far gone, and a few other minor issues, but overall, I’d call it a fairly solid attempt.

I totally got what kind of story they’re trying to tell, but reading this outline definitely raised some important questions.

Two, to be specific.

First: why is this happening?

I don’t mean this is in a negative way, like “why are you even bothering?” Quite the opposite.

More of a “does what happens in this scene adequately follow what’s come before it, and does it do an equally good job leading into what comes next?” sort of thing.

As it reads now, it felt more like a lot was happening because the story required it to, rather than letting it all unfold smoothly and organically. There wasn’t enough setting things up in order to pay them off later. Almost like each scene is saying “This MUST happen HERE, logic be damned!”

A should lead to B, which leads to C, and so on, but then you also find out that not only did A lead to B, but it also resulted in H.

Second: why is this happening now?

This applies more to the primary storyline. Things are taking place, but I never really got a sense of how or why it all started. A lot happens after whatever event triggered it all, but there’s no indication of exactly what that trigger was. When I asked the writer about it, even they admitted they didn’t know and were having trouble trying to come up with something.

A writer needs to know every part of their story; what things were like before it started, how it started, what happens, and how it ends. Sometimes you can even throw in what happens next. No matter what approach you take, all of these elements play a key role in the telling of that story. If one of those elements isn’t there, it just gums up the whole works and you’re left with an incomplete story.

The writer was very appreciative of my comments and was looking forward to finishing the latest draft in order to provide answers to the questions I’d raised. It’s probably safe to say we’re both quite interested to see how it all turns out (although I suspect I come in a close second).

 

Doesn’t get any cheaper than this

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Our helpful staff is ready to assist you!

As my network of fellow screenwriters has expanded over the past few years, I’ve become more active with exchanging script notes with some of them. It’s a pretty even split between me approaching them first, and vice versa.

From my perspective, the whole thing has been quite helpful and I think my scripts are definitely better for it. And as far as I know, none of the other writers have any complaints about my notes. If they do, they’re not saying anything.

It’s gotten to the point where every once in a while, an email will pop up from one of these folks asking if I could look over their latest draft and offer up my two cents. I’m fairly certain I’ve never said no.

Full confession: it usually takes me a little longer than I expect to get it done, but I do make a point of getting it done. I try to extend the same courtesy to them that they would to me.

I bring all of this up because I had a great catching-up coffee chat with a writer yesterday; somebody I haven’t seen since last summer. We shared what’s been going on with our respective projects, and I mentioned finishing/sending off some notes.

“Do you charge for that?” they asked.

No. It’s just an exchange, and I like helping out when I can.

“That’s really generous of you to give up your time like that. Have you thought of charging for notes?”

Of course, but I don’t consider myself qualified to. If I was a working writer and had a couple of produced features under my belt? Maybe.

I’ve always found the bios of professional consultants and readers to be pleasantly diverse and equally fascinating. Almost all of them have spent time working in the industry, many having read or given coverage on thousands of scripts.

Me? I can’t make the same claims. I’ve read a lot of scripts, but nowhere near those numbers, and a large percentage of my time has been (and continues to be) focused on honing my writing skills.

They have a fairly solid grasp of what works and what doesn’t, and provide much more insightful comments than I believe I could.

All things being equal, I’d say my analytical skills have definitely improved over time. I don’t know what kind of pro reader/consultant I’d be, but for the time being, I’ll stick to the friendly no-cost, between-writers exchange.

As mentioned earlier, I like helping when I can, and will continue to appreciate any opportunity to read an associate’s script in order to give them notes that will in theory help them make it better.

*personal note – this is my 800th post. Thanks for being part of the journey, and hope you’ve enjoyed it. I certainly have.

Bursting at the seams – part 2

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Image result for MARK RUFFALO HULK GIF

On one hand, progress for the pulpy adventure spec is moving along nicely. Still maintaining a daily output of about 3 pages.

But on the other hand, this thing feels like it’s growing exponentially, continuously getting bigger than I originally anticipated.

A lot bigger.

Like “rise out of the bay, tower over the skyline, ready to wreak havoc and terrorize the populace. Call the military!” big.

That’s pretty big.

Part of this stems from me having a one-sentence description of a scene in the outline, not really taking into consideration I’ll need at least a page, maybe two, to execute it. Hence the feeling of overstuffedness.

There have been times where I’d be in the middle of a scene, but then think “Too much!”. This would be followed by the immediate deleting of what I’d written so far and starting anew, but with a mindset of “Same, but a lot less this time.” It happens; just not all the time.

No problem whatsoever if you start with a scene that’s initially three pages long, because you know the next pass will involve whittling down to one (or a little more). Getting it written in the first place is the hard part; everything after that – much easier (for some, anyway).

I freely admit I tend to overwrite, but that’s usually limited to the first draft. Once that’s out of the way, the red pens are produced and much killing of darlings commences.

Sometimes it’s very frustrating that my initial effort isn’t what I want it to be, but isn’t that the point of a first draft? There’s a reason it’s also known as “the vomit draft”. You just throw everything on the page, and then go back for ongoing cleanup work. The guiding principle here – you do what’s necessary to get it to that desired end result.

Will there most likely be some drastic changes somewhere down the line? Undoubtedly. If that means starting with a first draft that’s way too big, so be it. It’s not like this is what the final finished project is going to look like. Better to have an oversized script ripe for editing than a scrawny one that needs to be bulked up.

So for now, the slog continues. Scenes may go on too long, but it’s cool. This is a fun story and I’m enjoying writing it. I know it’ll take a while to get it to where I want to be, and that’s fine by me. All part of the process.

But better have the military on standby, just in case.

Progress, 2-3 pages at a time

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The great tallying of how many pages were written today

Part of this whole thing of getting stuff done, writing-wise, is exactly that.

You need to get your ass in that chair and write. Repeat on a daily basis as long as necessary.

While I may not get to write every day, I certainly do try. So far, the target output of 2-3 pages when I can is holding strong.

For those following me on various social media, you might occasionally see an announcement (read: tweet) proclaiming that day’s results. I’m proud of what I accomplish in each writing session, even if it’s only two pages. Progress is progress.

(Incidentally, I also enjoy seeing others make similar announcements. Don’t be afraid to toot your own horn.)

Every once in a while, someone will comment about how productive I am, or marvel at my steady output of pages. As if I’m some sort of writing machine.

Well, yes and no.

Yes in that I do try to write every day, but only because I like it, and, more importantly, it’s the only way to do it. This thing ain’t gonna write itself. And the more you write, the better you’ll get at it.

Even at the slow pace of 2-3 pages a day, the numbers add up and you can have a completed draft in a relatively short time.

And no because sometimes there are days where circumstances simply prevent me from having time to write. It happens. Life gets in the way and all that. Admittedly, I don’t care very much for those days.

It used to be that sometimes I’d read about someone who had significantly higher results than me (e.g. “Another 15 pages today!”), and feel all “How am I supposed to compete with that?”

Turns out I’m not. The only connection between me and that other writer is just that – we’re both writers. They have their way of doing it, and I’ve got mine. Do I wish I could be that productive? Of course. Does it mean I’m not as good a writer as they are? Hell no.

I write when I can. Maybe that means a little, a lot, or maybe not at all. But it’s the way I do it, and I don’t care how it compares to anyone else. It works for me, and that’s the important thing.