Ah, the sensation of liberation that comes from not holding back AT ALL when you really throw yourself into a rewrite.
That’s kind of how it’s been working out for the latest draft of my western.
What was originally anticipated as a nerve-wracking ordeal involving constantly second-guessing my choices has actually become quite a fun, thrilling, and surprisingly eduational experience.
Part of the initial objective was to flesh out the characters some more while keeping the story intact. The former seemed to pose the biggest challenge. Tough, but not impossible.
I figured the best approach was to take it scene by scene, starting with page one and the mindset of “what can change about these characters?”
I couldn’t say if it was having not looked at the script for several months, or just going into this with a “just have at it” attitude, but there was definitely something different about this time. Both for me and the story.
The words came, and I really like how it’s coming along so far. There are the expected slight modifications to the story, but nothing too drastic, and overall it feels a little more developed.
In the meantime, the “one scene at a time” approach seems to be working out just fine. I thought the script was pretty decent before, but now think there might actually be a chance the end result could be even better.
A few more sets of script notes have come in. Comments in general are favorable (Thanks, everybody!), along with lots of suggestions about potential fixes. Nothing too drastic, but just enough to slightly alter things and still achieve the same results. Nevertheless, it’ll require a fair amount of rewriting.
Which is totally fine by me.
As much as I like what I’ve written, as do a lot of my readers, both sides know it can always be improved – especially my side. As the writer, it’s not as easy for me to recognize what those improvements could be and where they should go, which is why I ask for feedback. The readers start with only what’s on the page and use their knowledge and experience to deduce what works and what doesn’t, and then pass it all back to me for analysis and selective implementation.
A less experienced writer might be hesitant or even reluctant to do anything drastic that could change anything about their script.
Me, not so much. I know what the story is, and if somebody points out something that doesn’t work or suggests a different way to present it, I’m not going to say no. In fact, I’d probably be grateful for it. I might not always agree with what somebody says or suggests, but I still appreciate it and can totally see why they said it. Sometimes it might even inspire a totally new approach. Whatever works.
Used to be I would dread having to rewrite, but due to an effort of trying to write on as regular a basis as I can, which also involves rewriting, I’ve gotten to the point where I now actually look forward to it. (Helpful tip – the more you write, the easier it gets – albeit to a certain degree. Overall, it’s still tough.)
Will later drafts of my scripts be exactly the same as the first? Of course not. That’s the whole point of rewriting: to make it better than it was before. And that requires making whatever changes are necessary.
I recently got to sit in on a friend’s script review group where a new writer received some pretty brutal notes about their script (which I believe was also the first draft). If they wanted it to be better, they had a lot of work to do. They had this somewhat annoyed look and said “Guess that means I’ll have to rewrite most of the script.”
Well, yeah. This is no “one-and-done” kind of operation.
If you think the first or second draft of your script is perfect as is and doesn’t need any more work, then good for you, but I sincerely hope you never, ever show it to a writer with more experience because you will be severely disappointed with what they have to say.
As for me, I’ll be keeping busy with the usual hacking, slashing, and overall rehashing of my scripts. And enjoying every second of it.
-If you’re a fan of sci-fi adventure, then please consider contributing to writer/producer Marc Zicree’s crowdfunding project Space Command: Redemption. Among the cast of sci-fi luminaries are Doug Jones (HELLBOY), Robert Picardo (STAR TREK: VOYAGER), Bruce Boxleitner (TRON, BABYLON 5) and Bill Mumy (LOST IN SPACE), Space Command: Redemption is “a bold, new sci-fi adventure with a retro feel and an optimistic view of the future.” Donate if you can!
With the holiday shopping season now fully underway, you might be stumped as to what get that special screenwriter in your life, or maybe you’re a screenwriter with a desire to treat yourself.
Worry no more! Here’s a list of some holiday deals being offered by some well-known and exceptionally talented script consultants, along with a few books penned by some very savvy and creative scribes.
Keep in mind that a lot of these deals are time-sensitive, with more than a few expiring on November 30th, so act fast!
CONSULTANTS
-Need notes on your sci-fi script? Sci-fi screenwriter, Sci-Fi Circuit columnist for ScriptMag, and Called to Write Founder Jenna Avery’s sci-fi (and fantasy) script notes on sale through November 30th for $100 off. Find out more here: https://calledtowrite.com/product/script-notes
Need help showing up to write? Feeling blocked? Lost your writing mojo? Join the Called to Write Coaching Circle, Jenna Avery’s signature online program designed to help writers write every day. Save $50 on your first 28-day writing session with coupon code MAXIMUMZ. Find more and register here: http://justdothewriting.com. Next session starts on December 3rd, last day to register is November 30th.
–ScriptArsenal. 20% off Regular coverage, Comments-only coverage and Studio Notes – thru Thursday the 30th. Promo code “THANKS20”
-The fine folks at The Be Epic Experience are offering big discounts on all their services, starting at $100 off, through January 1st.
–Geoffrey Calhoun and We Fix Your Script. $20 discount on all script services, which includes a 15-minute phone consultation, if you use the code MAXIMUMZ.
–Friend of the blogHoward Casner. 5 pages of coverage for $40, and coverage, notes & a 1-hour one-on-one discussion for $125.
–Phil Clarke of Philmscribe. Use promo code BLACKNEWS via www.philmscribe.com/contact to get 20% off the Annotation, Analysis or A&A services for a 2018 consult through the end of November. Phil is based in the UK, so exchange rates and fees do apply.
–Steve Cleary. 30% off all screenwriting services. Make sure to mention this blog when contacting him.
–Barri Evans of Big Big Ideas. A special deal on her logline service just for readers of this blog. Using the code Maximum Z Pie in the subject line, send her an email that includes your script’s title, genre, and logline, and she’ll provide you with free feedback.
-Highstreet Script Consultation and Finish Line Script Competition. 6 pages of notes and a follow-up email for a rate of $125. Contact them here.
–Namita Kabilas of the NK Network. For a limited time only, join the Screenwriters Training Hub – your very own flexible online mobile screenwriting resource with access to regular monthly training videos, worksheets, expert tips, e-books, audiobooks, hosted webcasts on good writing AND one-to-one mentoring with Namita all for just $79 a month. Namita is based in the UK, so exchange rates and fees will apply.
–Jim Mercurio of A-List Screenwriting. Half-price on his 6-disc instructional DVD set and his Snapshot Evaluation script read service through November 30th. Plus, every order includes a complimentary copy of Jim’s Killer Endings DVD lecture.
-Phil Parker of Stories by Phil. 20% off script services, which includes a 30-minute Skype session. Phil is based in Australia, so exchange rates and fees will apply.
– Looking for a laugh? Half-Loaded by Don Holley. Don wrote the cult comedy National Lampoon’s Loaded Weapon 1, and this memoir chronicles his “wildly unlikely odyssey from obscurity to success and back again.”
-Have a young reader, aspiring comic artist, and/or comics aficianado on your list? Can’t go wrong with The Chapel Chronicles by Emma T Capps.
-Into a little sci-fi adventure? Only 99 cents for the Kindle 3-book boxset of Syndicate Wars by the very prolific Justin Sloan.
In a few conversations with writers and industry-connected folk, I’ve mentioned how I occasionally do script notes for friends and read for contests.
Sometimes I’d get a “That’s really nice of you.”
And once in a while, the person would look puzzled, and ask, with what I presume was in all sincerity, “Why?”
The way they utter that monosyllable carries a strong tone of “Well, that sounds like a genuine waste of time.”
To which I say, “Why not?” I consider myself a nice person, and try to help other writers out when I can.
Too simplistic? Let me elaborate.
I like reading other people’s stuff. In the case of doing notes, I’m either asked, or it’s reciprocal for them having given me notes on my scripts. That’s the least I can do.
(It should also be pointed out that a few cookies-for-notes transactions have taken place, with both parties being quite satisfied with the results.)
With a lot of the material I read being from experienced writers who know what they’re doing, the scripts are often quite solid from both craft and storytelling perspectives. This in turn helps me hone my analytical skills, which I can then apply to my scripts. Or at least attempt to.
Plus, screenwriters should always be reading scripts.
Regarding the contests, I’ve entered enough of them over the years with the hope I get a quality reader or readers, so I see this as a kind of giving back. It’s very time and labor-intensive, and I’ve had to endure more than my fair share of poor-to-horribly-written scripts. On the other hand, every once in a while you find a true rose among thorns.
I’m just trying to offer up the kind of help I could have benefitted from when I was still learning the basics. And even today, having made some progress on all fronts, I still seek out, as well as offer up when asked, advice and guidance. So far, no complaints.
I’ve never claimed to be an expert, but I do what I can. If that means setting aside some time to read something and offer up my two cents, so be it.
As much as she loved that scene, she eventually accepted the fact it would have to go.
I’ve received notes on three separate scripts in the past week or so, and each set is of very high quality. Each does a very thorough and insightful job of spotlighting What Needs Work for each script.
Daunting and somewhat overwhelming at first, I’ve begun the slow and somewhat laborious process of analyzing and breaking down all the comments and suggestions. I won’t use everything, but there is definitely a lot of good material to work with.
I provided a total stranger with material, and they’re offering up their honest opinions about it. At first glance, some of the comments might be interpreted as negative, but they’re really not. This is what they saw/thought while reading my script.
No axes to grind. No vendettas. No hidden agendas. Just pure, honest opinions. I take what they said, figure out which parts I consider the most helpful, and proceed from there. Ten times out of ten, the result is a better script.
I was told once that getting critically constructive notes and being willing to accept them were signs of a quality writer. Honestly, that was a little surprising.
As much I’d like to think my stuff is great, the reality of the situation is that it’s more along the lines of “it’s okay/pretty solid, but could still use some work”, which is fine. That’s what rewrites are for. From my experience, the final draft is always different from the first. I wouldn’t have been able to produce that final draft without all those helpful notes.
Many times I’ll see a writer ask for feedback on their script, which they get, but might not be the high words of praise they were expecting. Are they ever? Then they respond with something along the lines of “You just don’t get my genius!”, and promptly reject any and all notes. The end result: a lousy script that’s not much better.
Helpful tip: don’t do that.
The whole reason you want notes is to find out how to make your script better. Hard as it is to believe, you can’t make it better if you’re not willing to accept criticism. You can be super-proud of the script you have, but don’t fool yourself into thinking it’s perfect just the way it is now.
Chances are it’s not.
What’s more important to you: having what you think is a good script, or having somebody give you tips that would actually help make it better?
Would we love to see our scripts play out onscreen, just the way we wrote them? Of course. But what you see is up there is usually a lot different from what how it originally read on the page. Happens all the time. Getting upset about it and decrying the sacrilege committed by altering even one letter or syllable from your precious text is definitely the wrong way to go.
In the next couple of days, I’ll be having separate in-depth discussions about two of my scripts with some of the people who gave me notes on them. My emotional state could probably be summed up with “excitedly nervous”. It’s a combination of looking forward to and feeling a bit anxious about hearing what they have to say.
But in the end, it’s not about the writer. It’s about the script and doing what’s necessary to make it better.
Maximum Z 