Couldn’t make this any more Freudian without going NSFW
As the events of Act Three of the pulpy adventure spec outline slowly develop, it’s becoming more clear that retroactive edits/fixes/tweaks will be necessary for parts of Acts One and Two.
Act Three goes beyond making sure each of the main characters has something to do. The actions they take should be tied directly into the main story, represents them overcoming their own personal obstacles and wraps up their individual storyline, all in the most satisfying way possible.
Hence the need to go back and make those changes. The more I can set up and effectively reinforce each character’s storyline, the better the payoff will be, both for them and the overall story.
I’ve always stressed the importance of setups and payoffs throughout a script. Everything we’ve seen in Acts One and Two should come to its appropriate conclusion in Act Three.
I’ve read a lot of amateur specs where something is set up early on and ends up either totally forgotten, treated as an afterthought or pays off with less of an impact than it should.
This is what you’ve been building up to for the past 90-plus pages.
Because “Dude. Yorick. Bummer.” just doesn’t have the same panache
Oh, first draft. You teasing vixen.
I go over the story ideas in my head, everything coalesces and plays out like a well-oiled machine.
But try to transfer them onto the page, and it all discombobulates into a tangled mess on par with the cord on a pair of earbuds carelessly tossed into a gym bag.
Experienced writers know what I mean.
Although it took a while, I finally reached the end of Act Two in the revamping of the outline of the pulpy adventure spec. On one hand, I’m thrilled to have gotten here. On the other, I want to shrug my shoulders and mutter “eh, good enough” about the scenes and sequences that led up to this point.
They’re definitely far from perfect, and without a doubt will be totally different as future drafts come into play.
Let’s pause to consider the phrase “future drafts.” As in “there will be more”, emphasis on “will”. Not “might”. “Will”.
I recently connected with another writer on a networking site, and they ended our introductory correspondence by letting me know they had first drafts of their scripts available to read.
I sincerely hope not.
Unless you’re looking for feedback, don’t show your first draft to anyone. Ever.
The first draft is the attempt to put all your ideas into some kind of order. Know going in that it won’t be pretty, and will most likely be a big mess requiring a ton of fixes. Not a bunch of little edits, but huge, drastic steps. The end result should look totally different from what you started with.
Don’t regard rewriting as a chore or a slog. It’s something you have to do on a regular basis. It makes the script better and helps you become a better writer.
Consider the last script you wrote. How many drafts did it require to get to the point where you finally said it was done? And wasn’t each successive draft a little better, until the final draft turned out significantly improved compared to the very first one?
That’s what you should be going for. Every single time.
I’ve been invited to take part in The My Writing Process Tour, which is kind of a blog/chain letter thing. One blogger asks another to take part and answer some insightful questions, then link to writers/bloggers we’d recommend.
I was nominated by Henry Sheppard, aka Adelaide Screenwriter, from the Australian metropolis of Adelaide. He’s always offering up some fantastic material, including articles, interviews and shorts. Definitely worth checking out.
As for me…
1. What am I working on?
Three items currently hold my attention: revamping the outline of a pulpy adventure spec, the rewrite/polish of a Christmas-themed mystery-comedy and resuming the hunt for representation.
2. How does my work differ from all others of its genre?
Even though I’ve written in several genres, the one thing I always try to convey is a sense of fun and excitement. It takes a lot more effort than people realize to really engage a reader that way.
I want you to enjoy the story beyond just “this is good writing” and more like that amusement park thrill ride you rush to get back in line for as soon you get off.
3. Why do I write what I do?
My formative years were the late 70s/early 80s, so I had the benefit of being heavily influenced by the likes of STAR WARS, RAIDERS OF THE LOST ARK and BACK TO THE FUTURE. To me, those are textbook examples of what smart storytelling should be, and it’s what I strive for in my own work.
I’ve stated before about being a fan of the genres I write, so not only am I trying to write something I’d want to see, but I try to create something I haven’t seen before.
4. How does your writing process work?
It all starts with an idea. Is there a story behind it? If so, what happens over the course of that story? How could I tell it in an original way?
Once I have a general idea about that story, including knowing how it starts and ends, I set up the plot points (statement of theme on page 3, inciting incident on page 10, etc), then fill in the gaps between them.
If it’s a genre-specific film, I try to incorporate elements that are part of that genre while trying to avoid tropes, or at least approach them from a different perspective.
I do a majority of my work in developing the outline, and it makes a huge difference. It gives me a better overview of the whole thing so it’s easier to keep track of character development, storylines, subplots, setups and payoffs. I won’t even consider starting on pages until I think the outline is solid.
Because of my schedule, I write when I can. When it comes to pages, I try to produce at least 3 a day. Sometimes it’s more. It’s gets easier the more you do it. They add up fast, and before you know it, you’ve got a completed draft to go back, edit and rewrite.
I’m also extremely fortunate to have several friends and trusted colleagues I can turn to for feedback. They pull no punches in telling me if something doesn’t work.
Lastly, I’ll rewrite and polish the script until I think it’s good to go.
Over there on your right is a list of blogs I think make for some excellent reading and advice. I’ve added three definitely worth checking out:
Bonus! If you’re looking for some reasonably-priced professional analysis for your script, you might want to consider:
-Doug Davidson’s Four Star Feedback. Doug is the only writer to win a Nicholl Fellowship with an animation script (2004), but he happily covers all genres.
I’ve been hesitant to say anything, but there’s just no getting around it anymore.
My manager and I have parted ways.
Long story short – things weren’t happening. Apart from being disappointed it didn’t work out, I bear him no ill will, and wish him and his savvy assistant all the best.
So once again, it’s all me. Gone is the initial fear/terror of no longer having representation. Actually, the nervousness has segued into one of…let’s call it liberation.
I can’t say I’m all the way back to square one, because this isn’t totally starting from scratch. This go-round includes a much better understanding of what I have to do and how to do it, such as:
-being able to offer up one script that’s had some moderate success in some high-profile contests, and one that’s “a refreshingly exciting new take on an old genre.” Throw in the two others currently being developed, and I’ve got quite an arsenal of high-concept material at my disposal.
-knowing the right way to do a query letter. Lessons have been learned from mistakes made the last time, and the first wave has been dispatched. There’s even been a couple of “We’d like to read this” responses. I send the script and don’t look back.
-having a lot more confidence in my writing. All the writing, rewriting and utilizing of notes and feedback has had a significant positive impact. I may not be the absolute best ever, but I definitely know how to spin a ripping yarn you want to keep reading.
Let us sincerely hope the sun has not set just yet
If ever there was a need for a man in a white hat to ride in and save the day, now would be a good time.
First THE LONE RANGER is the mega-bomb of 2013, followed by the much-heralded crash and burn this weekend of A MILLION WAYS TO DIE IN THE WEST.
Mea culpa – I’ve not seen MILLION, and based on what I’ve read, have no real desire to do so. It doesn’t bode well when a lot of the reviews generate more laughs than the trailer.
The western just can’t catch a break. Every once in a while you get something incredible like TRUE GRIT, 3:10 TO YUMA or DJANGO UNCHAINED. Jeez, even RANGO had a little redeeming value. Films like these come along and hope grows in our hearts, but then we get dreck like JONAH HEX or COWBOYS & ALIENS, and back to movie jail goes the western.
I had no real hopes for Mr. MacFarlane’s latest, but at least he was attempting to do some kind of western. Granted, it was trying to be this generation’s BLAZING SADDLES, but apparently failing miserably.
This goes beyond another nail in the coffin. At this point the coffin’s already in the ground with a few shovelfuls of dirt on it.
As a writer offering up a totally kickass western spec, my hopes for success seem to diminish just a little bit more with this kind of news.
I can imagine every potential recipient recoiling in fear. “A western? Eek!” followed by the frantic pressing of the ‘delete’ key.
Contacting a friend repped at a high-profile agency, I asked if anybody there might be open to reading it.
“I wrote a western, and they won’t sell it,” was the reply. “They don’t believe there’s a market for them after THE LONE RANGER.”
Well, sure. Because every western is going to be an overpriced, convoluted bloated crapfest. It doesn’t help that a lot of them actually have been exactly that.
Why have so many recent westerns been bombs? Wish I knew.
Skimming the credits of some of the great westerns of the past shows that the people who made them had a real understanding and appreciation of the genre – John Ford, Howard Hawks, Clint Eastwood, just to name a few. And it shows in the finished product.
Hopefully somebody else will give it another go in the near future, sooner rather than later, and know how to do it right.
Maximum Z 