Year: 2023

Only we can answer

Maximum Z adventure, Austin Screenwriting Competition, conflict, dialogue, ideas, inspiration, notes, outlines, pages, problem-solving, productivity, progress, rewrite, scenes, science fiction, screenplay, screenwriting, script, spec, story, strategy, writing, writing process , , , , , , , , , , , , , , , , , , ,

After an unexpected break, work has recommenced on fine-tuning the outline of the sci-fi adventure spec.

I don’t know how other writers organize their outlines, but mine tend to be a scene-by-scene breakdown on a Google doc. (Hats off to the users of index cards). Each scene is planned out in terms of what happens, sometimes what dialogue might be involved, and an underlying mindset of “what’s the conflict here?”

Even though I know what I need the scene to accomplish, I may not have all the information I need, so I’ll jot down a note or question in ALL CAPS as part of it (to help me not overlook it). The note or question is something that needs to be addressed, but can’t be answered just yet.

Things like:

-DOES HE KNOW ABOUT THIS? IF NOT, HOW TO DO THAT?

-WHAT CAN SHE DO HERE TO DEMONSTRATE WHAT KIND OF PERSON SHE IS?

-NEED 3 VARIATIONS ON THIS (SEE PREVIOUS DRAFT FOR LIST)

-POSSIBLE CLUE OR HINT HERE TO BUILD UP TO BIG REVEAL

You get the idea.

I find it better to write these down in the outline instead of something separate. I don’t trust myself to be that organized, and my desk/working area is quite a mess. It’s just easier to keep it all in one document.

It’s more helpful to take the extra time to deal with all of these now, rather than jump into pages and have to hit the brakes each time one of these needs to be addressed.

Dealing with these sorts of issues can also prove beneficial because while you’re handling the initial thing, it may also offer a new or at possibly an unexpected solution that can cover a few other things, or add a new detail that adds to or helps the story. It’s happened before.

For the most part, the outline is pretty solid, story-wise, so once all of these notes and questions are covered, it’ll be off to the races. I don’t think it’ll take too long, and shooting for another end-of-the-year finish in terms of completed drafts. One would be nice, two would be better.

It’ll get there, slowly but surely.

-Contest news! My animated fantasy-comedy made Second Round for comedy features with Austin. Another long-time goal achieved, so…yay.

Congrats to all the other amazing writers whose work also made it. I’ll be there to celebrate. How about you?

-As the writers strike continues, it’s taking a toll on the people involved. One of those people is friend-of-the-blog Jenny Frankfurt, who runs the Finish Line Script Competition. She could use whatever help you can provide, so please donate here if you can.

I did the math so you don’t have to

Maximum Z editing, encouragement, pages, perseverance, persistence, procrastination, rewriting, screenplay, screenwriting, script, television, time, time management, writing, writing process , , , , , , , , , , , , , ,

It’s September 1st! New month, new season (kinda-sorta), school’s back in session, all that rot.

It also means there are 4 months, or 122 days if you want to be super-specific about it, left in 2023 for you to GET SOMETHING WRITTEN.

Totally not impossible.

Even if you average a page a day, that’s a completed draft of a feature (or a pilot), plus some extra time for notes, editing, and polishing.

Dive back into that script you finished earlier this year, last year, or whenever, and attack it with your red pen to edit the bejeezus out of it.

It doesn’t matter what you write, just as long as you plant that ass in a chair and DO. THE. WORK.

That script ain’t gonna write itself, y’know.

Why all the encouragement?

I find a certain appeal to closing out the calendar year having accomplished something writing-wise. You can simultaneously proclaim “Look at what I did!” while also be ready to work on it from the get-go on January 1st.

You’ve got 122 days and counting, so quit your procrastinating, hemming and hawing, and get to it.

And…begin.

Opinions may vary

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Wanted to try something a little different today.

While there are standards for formatting in scripts, there are a few topics that seem to cause more debate than expected.

Such as:

-sluglines. Bold or not?

-Spaces after a period. One or two?

EDIT: -Since this initially posted, a few writers chimed in with using FADE IN and FADE OUT. I might have used FADE IN when I first started, but soon stopped. As for FADE OUT, I favor FADE TO BLACK or maybe SMASH BLACK. Something to put that note of finality on it.

I’m sure there are others, but these two came immediately to mind.

For the record, I think bold sluglines look better on the page, and have always preferred one space after a period (although somebody in a recent conversation said “it has to be two”).

I thought about “two brads or three?”, but don’t think that’s much of an issue anymore. Can’t even remember the last time I read a printed script that wasn’t mine.

I’m sure more experienced writers – especially those who’ve been produced – will say none of it matters. Probably, but I think it’s still an interesting discussion.

What’s your position on these topics, and are there others that seem to have two distinct schools of thought?

The other three little words

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My, what a rough week this was.

PAGE semifinalists and Nicholl quarterfinalists were announced. My script was not on either list.

Disappointing, especially since I think it’s a pretty solid script.

At least that’s what my readers say.

But like you always hear: it’s all subjective.

Your first thought when you get that notification that includes “Unfortunately,…” is probably “I must be a really shitty writer”.

Not so. I’ve read a lot of scripts of exceptional quality that also didn’t advance, including one by a previous Nicholl top 10 finalist.

There is absolutely no way to tell how a script is going to do in a contest. You send it, hope for the best, then move on to whatever the next thing is.

After I’d posted about not advancing, more than a few writers responded in kind.

“Me too.”

“Another swing and a miss.”

“Whoo! My eighth consecutive year of not advancing.”

It’s taken me a lot of time to accept that while it’s great to see your script do well in a contest, when it doesn’t do well is no absolute reflection on you as a writer.

Again: it’s all subjective.

One writer I know was frustrated after years and years of their script never doing well in a contest. That script then went on to place in the top 50 for the Nicholl.

This isn’t to say that your script couldn’t do with a little more work. That’s really up to you.

If you’re among the horde of writers whose contest journey has come to an end, give yourself a minute to vent and air those grievances, then decide what you’re going to do about it.

Is your script as solid as it can be, or would it be worth your while to give it another read to see if anything could use some tweaking?

Something to also keep in mind: winning a contest can be a stepping stone to a career as a writer, but it’s not the only way. A script can not do well in a contest but still attract the attention of somebody interested in making it.

As another writer put it: “I’d rather write a script that would be a good movie, than one that wins contests.”

At this point I don’t know what my plan is for next year’s contests. I’m too busy working on scripts to worry about it.

Which reminds me of another three important little words:

Don’t. Stop. Trying.

Create your own doorway

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Had a great Zoom chat the other day with a newer writer. They’d found me on social media and liked what I’ve had to say about screenwriting and working on establishing a career at it. Would I be open to imparting some of what I’ve learned and any other advice I might have that could potentially help point them in the right direction?

Even though I admitted to still being one of those trying to “break in”, so my two cents of guidance was probably worth about that much anyway, how could I say no?

We talked about wide variety of topics, mostly involving screenwriting, including our respective backgrounds, experience, short- and long-term goals. They also asked for potential suggestions as to how they could go about achieving those goals.

I told them what I’ve said to many writers before, and it still rings true.

Everybody’s path to success (however you gauge it) is going to be unique to them and them alone. What works for me will probably be totally different than what works for you. If you know what your goals are, then it’s up to you to figure out what it will take for you to get there.

You need to create your own doorway, because nobody’s going to do it for you.

Use everything at your disposal. You might think you don’t have anything to work with at first, but you’d be surprised how effective even the littlest thing can be. It’s all about perspective and determination.

For example, the writer had worked on some short films in various capacities. They could use those to showcase their skills, as well as adding the other filmmakers and crew into their network. You never know who knows of another gig or has heard of a project that needs someone who can do the things you do.

If that’s what it takes for you to find that way in, that’s what you do.

The writer said nobody had put it that way before, which really helped them as they start to figure out their approach and possible strategies. They appreciated the advice, and the honesty.

This sort of stuff might seem pretty basic to those of us who’ve been at it for a long time (such as yours truly), but there will always be those just starting to dip their toes into these turbulent waters. I didn’t really have anybody like that when I was starting out, so why not offer up a helping hand in some capacity?

Now if you’ll excuse me, I’ve got a doorway to finish creating, followed by kicking it wide open.