characters

Didn’t see that one coming

Maximum Z characters, rewrite, screenwriting, story, writing
Gosh!

This rewrite is really becoming an eye-opener.

While it would be too easy to stick with most of what I had before and just make some minor changes, there’s a line in the notes I got over the summer that really stuck in my head: your hero has to be challenged more.  The way the story plays out now doesn’t do that.

Something had to be done.

Now I look at every scene with the intent of changing it to not only make the hero the one moving things forward, but also to make sure he can’t just cruise through it.

This includes a key scene where the hero basically complicates things out of clumsiness, which was also commented on in the aforementioned notes. That definitely had to change.

I don’t remember which famous writer said it, but basically, if you get stuck, introduce a gun, or have somebody shoot a gun. Something like that.

And my hero has a gun.

See where this is going?

Without even realizing it, I had my character doing something I never thought he would. Or could. Now the dynamic of the scene has drastically changed, while keeping the purpose the same.

I’d heard about this before, but never actually experienced it myself.

They say your characters can really surprise you at times, and this was a prime example of that. Kind of makes me wonder what else both of us are capable of as the story advances.

Feels like things are about to get really interesting.

Ch-ch-changes

Maximum Z characters, Doctor Who, rewrite, screenwriting, story, writing
Sometimes it’s necessary, no matter how hard you fight it

Working on this rewrite has definitely helped me improve as a writer.

I started the process thinking “Okay. I’ll change what I have to in order to make this better.”

But the more I worked on it, the more I thought “I like it the way it is. Maybe I don’t have to change anything.”

Wrong! Wrong! Wrong!

The whole point of the rewrite is to CHANGE IT TO MAKE IT BETTER. Look for ways to improve what’s already there.

Maybe it’s something small, or maybe it’s something that completely changes the dynamic, but no matter what, you do what’s necessary to make your script stronger.  Even if you don’t want to, which makes it that much harder.

Case in point: DREAMSHIP has a supporting character I love. He was a blast to write, and I thought he had a pretty solid backstory, but some high-quality feedback opened my eyes to the fact that there needed to be more to him. How could I fix that? I ran through various scenarios until I found what I needed: flip his personality around.

And much to my amazement, everything I had come up with before not only still worked, but now even more so. He’s got more depth as a character, including a more satisfying arc, and I’ll be able to create more conflict with him in later scenes.

Lesson learned: I didn’t want to change something I considered ‘just fine the way it is,’ but I had to accept that those changes had to be made. Sure, they were hard to deal with at first, but they improved the story.

Now I’m not as hesitant about making changes, and my script is that much better for it.

Color me pleasantly surprised

Maximum Z action, adventure, characters, creativity, ideas, outlines, plot, screenwriting, story, subplot, westerns, writing
Totally wasn’t expecting that

Since figuring my way through the climactic portion of Act Three is still stressing out my creativeness, I did what any good writer would do in this situation: go back to the beginning and edit like a madman.  This will give my creative muscles a good workout while subconsciously working out the end.

Overall: the opening definitely needs some reworking, and there are a few places here and there that could stand a little adjustment, but for the most part – a lot more fun than I remember. Trying really hard not to sound egotistical, but I had to occasionally remind myself this was something I wrote.

Me.

Gosh.

Not working on this for so long enabled me to take a really good look at what I have so far. Interestingly, even though I knew what was coming, there was still a lot in there to make me want to keep going and see what happened next.

In all honesty, I’d also forgotten how much I wanted to utilize a lot of elements that make up the thrill-generating, pure adventurousness of the Western genre.  Those are definitely in there, with a lot of potential to be built up even more, but for now it’s all about the story. If that’s not rock-solid, then everything else is irrelevant.

The whole time I was looking this over, I found myself focusing less on ‘would it look cool on the big screen?’ factor, and more on making sure the characters were being proactive and realistically moving the story forward (especially the title character), and that each plotline was being established.  Maybe this is my brain quietly telling me my storytelling and writing skills are improving.

Something also very important to work on as this whole project moves forward – that the story grabs you from the start and doesn’t let go. But I suppose that should go without saying…

From one grind to another

Maximum Z characters, Man of the Century, Movie of the Moment, plot, screenwriting, story, writing gigs
Yeah. Something like that.

And I’m back. My script rewrite is now in the past tense.

Maybe not an out-and-out rewrite per se, but taking a script and reformatting it into script form.  My instructions were to work my magic on the action lines and leave the dialogue alone. Mea culpa – I tinkered with some of that too.

I’ll start off by saying the idea behind the story was good, and there were faint glimmers of potential, but I had lots of problems with the execution.  I don’t know if this was a first draft, but it sure looked and read like one.

-Huge blocks of text in both the wide margins and the dialogue.

-Starting a scene in one room, then having it go to one, two or more locations, without starting a new scene

-Not giving the reader any idea who the main character is, nor establishing what was at stake, if anything.

-Characters who disappear for long stretches of time.

-Tons of unnecessary and unfilmable details.

-Story details that come out of nowhere based on nothing the reader has already read.

-Dialogue that’s pure exposition.  Sometimes repeated several times in several different scenes.

-Scenes without any conflict, or at least nothing to move the story forward, that drag on and on.

-Characters saying each other’s names over and over and over again in each scene.

-Using the same verbs and adjectives throughout the whole thing.

The whole time I was working on this, there were quite a lot of times I couldn’t help but roll my eyes in disbelief.  But the main point is: I’m done with it.

The Nicholl deadline is next week.  No way am I going to make it.  I figure I can work on the DREAMSHIP rewrite, then pump out a first draft of LUCY.

Movie of the Moment: MAN OF THE CENTURY.  A fun, small independent film from ’99 about a man who lives in then-modern NYC as if it were the 1920s. I’d heard about it when it was originally released, which was for about a week in the arthouse circuit.  If you get a kick out of the early days of talkies, or at least the dialogue, then you’ll enjoy this.  Only complaint – they never explain why the guy is like this.

Turns out the star and director also wrote it.  They must have spent a lot of time researching the slang and catchphrases of the day, because they’re prevalent throughout the whole thing.

I was also impressed with how they had about eight different storylines each tie up nice and clean in the last five minutes.

I’d love to know how they got Frank Gorshin involved.  I thought he was in it for a cameo, but he was one of the subplots.

-I got to read a phenomenal action script yesterday.  It was fast-moving, exciting and just a blast to read.  It’s what I hope LUCY can be like.

The benefit of taking a break

Maximum Z characters, Lucy Steele, outlines, screenwriting, Star Wars, story

Today was the first time I really got to sit down and work on the LUCY outline.  I’d been thinking about some of the minor hurdles I was trying to get over, which included what my bad guy wants and how that impacts Lucy’s story.

My page one is always the title, logline and plot point breakdown.

I looked at the logline, which has always given me trouble, and erased it.  I wanted something new.  Something that really encapsulates the story down to its bare minimum.  It took a couple of tries, but I came up with one that works.  I”ll probably change it again at least a few more times, but it works for now.

I looked at the plot point breakdown.  Something didn’t seem right.  The story’s there, but not the way I think it should be.  I change a few words here, add some there, and suddenly, it seems stronger.

And now into the outline itself.  Like I said, I’ve been struggling with the bad guy’s goal.  Then I realized I was worrying too much about the little things and not focusing on telling a story.  I wasn’t enjoying myself.

So one of my original plot points gets changed just a little bit.  The what is different, but the result is still the same.  And to make it that much better, changing that enables me to use it in a bigger, better way for Act Three.

So far, so good.

I’m still in the third quarter of Act Two, and realize I can flesh out at least two sequences, which really helps strengthen the story.  And I also discover I can change the setting of an important sequence, while also bringing in that much-liked rotund character from a few weeks back.

Like I said at the beginning, I really like how it’s all coming together.  True, there are a lot of details that have to be worked out for the rest of Act Two (escalating conflict!), and I started listing what needs to happen in Act Three.

Most importantly, it feels fun again.  Which is always nice.

Movie of the Moment: IT’S A TRAP!, Family Guy’s take on JEDI.  Fun, but the first two were better.  Some truly hilarious moments, but they seemed few and far between.  It’s a good thing they’re not doing these anymore.  It really seems to have run out of steam, which is even acknowledged in the opening crawl.

It’ll be interesting to see what, if anything, they take on next.