My apologies. No time for the usual words of wisdom. Lots of last-minute preparation while we get ready to head out on a whirlwind trip to my nephew’s wedding. (Typing that feels odd.)
It’s the start of Memorial Day weekend here in the US, where we honor those who’ve given their lives for our country.
Even though several tentpole films came out earlier this month, this is also seen as the official start of summer movie season.
So go see something. Tell your friends about it. Tweet about it.
Or work that creativeness and crank out a few pages of your latest project.
Scenario: You’re at a social function, engaged in idle chit-chat. The topic of you being a screenwriter comes up.
“What’s your story about?” they will undoubtedly ask.
The chance you’ve been waiting for! What do you say?
You want to pique their curiosity, and not bore them.
In the simplest of terms: provide a quick summary of the main characters(s) and what happens in the main storyline.
Avoid too much information, non-essential characters, intricate subplots, how it’s a metaphor for this totally different other thing, or generic phrases like “and learns about themselves” or “stumbles into a world she wasn’t prepared for” or the ever-dreaded “wackiness ensues.”
What are the components of an effective logline? Just the following:
1. A protagonist with a flaw.
2. An antagonist with a goal.
3. The situation that pits them against each other
4. What’s at stake.
That’s pretty much it. Keep it simple. Nothing too specific or generic.
Make sure you emphasize the genre. If it’s a comedy, play up the comedic angle. A thriller, go for the suspense. That sort of thing.
And most importantly, make it sound interesting. This is your best chance to grab their attention, so make the most of it (and make sure the script is just as good).
As a screenwriter who hopes to one day see my work displayed on the big screen at your local theater, I strive to have each of my scripts present a unique tale that takes the audience on an entertaining ride.
Part of that uniqueness comes from me wanting to offer up a story that hasn’t been seen before. What’s better than being surprised with something you weren’t expecting, and liking it?
A lot of scripts adhere to “familiar, yet different,” which is fine. But there’s something to be said for putting a little more emphasis on the second part.
There’s an abundance of complaints about the lack of new ideas, or at least how sequels/remakes/reboots/re-imaginings are outnumbering original ideas. (I won’t argue with that, especially with the recent announcement of a planned remake of GREMLINS. As the saying goes, is this really necessary?)
Don’t let that stop you. New, smart and interesting will always triumph over dull, cliched and predictable.
Part of your job as a writer is to make your story so appealing that it becomes impossible for someone to say ‘no’ to it.
Put your creativeness to work. Figure out what could make your story different. Don’t be afraid to take chances.
Show off those writing and storytelling skills. Make the most of it and give ’em something they’re really going to remember.
Many, many years ago, I attended an abbreviated version of Robert McKee’s seminar on screenwriting. While they usually run an entire weekend, this one was a merciful two hours long.
Of all the things he talked about, of which there were many, there’s only one point I still remember to this day:
If you want to really understand how to write a screenplay, watch a movie while following along with the script. Do this every day (I’m assuming with a different script each time) for a year. Apparently this will instill in you how a screenplay works, the understanding of structure, etc.
I’m split on this. On one hand, the only way you’re going to really learn is to just sit down and write.
But there is at least some merit to the idea. The more you watch and read, the more you’ll (hopefully) come to understand all the inner workings, nuances and intricacies that go into these things.
Say you’ve come up with an idea for your next spec. A comedy. You’ve got the basic story idea down, but there’s something missing.
Chances are you were influenced by other comedies. Compare your story to some of your favorites. What is it about them that you like? Is your story similar? What do they have that yours doesn’t, and vice versa?
Take the time to watch them again, but don’t just watch. Study them. View them through a writer’s eyes.
Can you see the elements at work? Are you able to look beyond the jokes and follow how the characters and storylines develop? Do the jokes and comic set pieces come naturally or do they feel forced?
Over time, identifying story components will become easier for you, and you’ll be able to put that knowledge into play on the page.
Everybody’s been through this at one point or another. It’s an inevitability, no matter what field you’re in.
I got to experience it twice in the past couple of days. The first was mentioned by a colleague waiting to hear back about one of his numerous projects. The other’s me waiting for a new batch of script notes.
You work and slave for countless hours, then send the finished product off, eagerly waiting for the go-ahead to move forward. But it never happens as fast as you want at it to, and it’s killing you.
“What the hell’s taking them so long?” you think to yourself.
Fortunately, the perfect solution is always available to us folks of creativeness, and it’s not as hard as you think – focus on another project.
Doesn’t matter what. Start something new, go back to a previous one, maybe finally dive into that completely different something you’ve always wanted to try. Productivity is always a good thing.
Worrying about that thing you just sent out isn’t going to do you any good, so you may as well redirect all that anxious energy into something positive.
The more time you spend on this new thing, the less you’ll think about that previous one. And before you know it, progress has been made.
Added bonus – building up your arsenal of material. This way you’ll be well-prepared when asked “What else have you got?”
