Yet another busy week around Maximum Z HQ, including quite a bit of doing script notes, polishing the latest draft of the comedy spec and punching forward on the horror-comedy outline.
Fun stuff all around.
It also included my western placing in the top 15 percent of this year’s Nicholl, which is the second time for this script, and third overall. Not bad, but still not enough to get to the quarterfinals. At first I was feeling kind of down about it, but realized (and was reminded by more than a few colleagues) that a much larger number of scripts didn’t even make it that far, so I should still regard this as a positive.
Suffice to say, it looks like there’s a little more tweaking in store so as to get this script and at least one other ready for next year (along with a few other top-tier contests).
Since this blog recently hit the 9-year mark, of course there are some previous posts of relevant content.
Results are slowly trickling out for some of the big writing contests, and while hopes were high for my revised western, it once again failed to make the quarterfinals for PAGE.
My immediate reaction – that’s it. I’m done. No longer will I subject myself to that kind of humiliation!
And of course, later the same day, I was figuring out whether or not I should look into any further tweaking so as to get it ready for next year.
More than a few writing colleagues and connections voiced similar comments, ranging from the frustration of their lack of advancing in this contest, to the murkiness regarding the quality of contest readers overall, to the subjectiveness of it all, and whether contests are even worth it.
As you’d imagine, there’s a wide spectrum of opinions about all of these.
I dug up this post from last year which I believe sums things up quite nicely.
Contests aren’t the only way to break in, but a win or very high placement can help, or at least potentially open a door or two. It’s just one of the many routes a writer can take. Some writers are even fortunate enough to not even have to do them. I am not one of them.
A key component of all of this is persistence. There’ll be lots of disappointments, which can be…disappointing. And frustrating. Oh so frustrating. But learning to overcome those is just as important as learning how to tell a good story.
All you can do is send your script out there, hope for the best, and move on to whatever’s next. If things work out, great. If not, yeah, it sucks, but it’s not the end of the world. It might feel like it, but it’s not.
Try to look at it as a learning experience – “How can I make this better?” Also a question with no easy answer, but how willing are you to put in the time and effort necessary to accomplish that?
Currently in “full speed ahead” mode with the latest draft of the dramedy spec (coming along nicely, thanks for asking), so felt this was an opportune time to dip into the archives and offer up a few posts from the past couple of years.
Also made a point of trying to find the ones that are directly or semi-directly connected to this script.
As 2017 wraps up, it’s only natural to engage in a little self-evaluation.
How many of your writing goals were you able to check off this year? Most of them? Some? A small-but-decent fraction? Hopefully you don’t need to mark the box labeled “None”.
One of mine was to complete at least three scripts. I managed two drafts, a revised outline, and one and a half rewrite/polishes (one still a WIP). Pretty solid results. A very hearty thanks to everybody who devoted the time and effort to give me notes. I hope my notes for yours were just as helpful.
Using those notes and the results of a few conversations, I think I’ve been able to up the quality of my writing a few notches. It still has a few levels to go, but it definitely seems better than it was. The next round of drafts should be really interesting, both in terms of working on them and how the end results turn out.
I wanted to read more scripts, which actually happened, but not entirely in the way I expected. I didn’t do as much reading of scripts for the purpose of entertainment or gleaning some helpful guidance because I ended up reading over 100 scripts for several contests. Don’t know if I’ll do it again, but still glad I did it.
On the gaining representation front, lots of query emails were sent. Maybe one response out of ten expressed interest in reading the script, with each ending with a “thanks but no thanks” or “just not what I’m looking for”. A bit disappointing, but not totally unexpected. Along the way, I also worked on being more strategic about the process, researching potential recipients and re-drafting the query to (in theory) really sell the concept of the script.
And what would an ambitious screenwriter’s year be without contests? My western made it to the seminfinals of a few smaller contests and the top 20 percent for the Nicholl (not too shabby), but once again whiffed it for PAGE. I’ve become somewhat disillusioned regarding contests, so will most likely really cut back on them. Maybe just stick to the big three.
There was the most pleasant experience of going to Los Angeles to attend a table read for one of my scripts. I like the idea of doing one or two of them locally, so looking into that for 2018.
I hosted two screenwriting networking events, which connected me with some very talented writers from right here in the Bay Area. Definitely plan on doing that again at least once this year. Highly recommended, especially if you’re not in Los Angeles and want to expand your own personal network.
On the half-marathon front, I ran five races this year – the most ever in one year for me. Still averaging about two hours, which isn’t bad – for me, but the quest for 1:55 continues. Already signed up for three next year, with maybe one or two more expected to be added into the mix. Like with screenwriting, improvement takes time, effort and dedication. A good pair of socks and strong knees also come in handy, and that applies to both.
Finally, this blog. As always, a great experience doing what I can to offer advice to help other writers, recounting my experiences and the lessons I got out of it, and presenting some interviews with some truly interesting and amazing creative folks. I am truly grateful to everybody who’s stopped by to take a look, like a post and make a comment.
But it’s also been exhausting. Producing posts twice a week on top of dedicating time to write and make a career out of it has simply gotten to be too much. I still enjoy doing the blog, but want to refocus my energies. So as of January 1st, I’ll be reducing my weekly output to Fridays only, and sometimes even that might be iffy. It’ll most likely be on a week-by-week basis.
I hope you had a most productive 2017 and wish you all the best for an even better 2018.
Of all the notes I’ve received about my western, the ones that really stood out the most were about developing the characters a little more – especially the titular protagonist.
I’ve also been spending some time reading, watching and analyzing the scripts and films that influenced it. Namely, RAIDERS OF THE LOST ARK (along with its sequels) and a few others involving female leads who kick ass.
It’s a great opportunity to explore what makes a character tick. A lot’s been written about the “exposition without being blatantly expository” scene in RAIDERS with Indy and the government men, but I’ve been paying more attention to other scenes; the ones that offer up a bit more about what kind of person Dr Jones is as seen through his interactions with other characters.
-Indy discussing with Marcus the implications of finding the Ark.
-The reunion with Marion (see photo above)
-The encounter with Belloq in the cafe in Cairo.
All of these (and a few more) present an aspect of Indy’s character WHILE ALSO advancing the plot. It takes a lot of effort to do that and do it well.
I’ve also been working my way through the infamous story conference transcript, where Spielberg, Lucas, and Kasdan work out the story based on Lucas’ idea of a “swashbuckling archaeologist”. While you can easily find the memo itself, check out this phenomenal post that also analyzes some key points of what’s being discussed.
A lot of this is what I’ve been focusing on during this rewrite. More than a few of my notes highlight certain scenes and say something like “This would be a great place to show us more about her.” So that’s part of what I’ve been trying to do.
I originally thought it would be really tough to implement those kinds of changes, but using RAIDERS et al as guidelines and knowing my objectives for each scene, it actually hasn’t been as challenging. Sometimes all it requires is a few extra lines of dialogue or a modified action line. It’s not always easy, but it definitely feels a little less daunting. Also helping – working on one scene at a time.
In the meantime, progress on the rewrite/polish continues at a healthy pace and I really like how this new draft is shaping up. I suspect the end result will be a little more than just slightly different from previous ones, and hopefully the changes will really take the script to the next level.