Isn’t a rock a hard place to begin with?

Gotta pick one, but which one?
Gotta pick one, but which one?

Hard choices. That’s what it comes down to for your protagonist.

Someone in my old writing group put it very succinctly: each scene should force the protagonist so they have no choice but to go with the option that makes things harder for them.

If things were easy for your protagonist and everything went right for them, it wouldn’t be much of a story, would it?  We’d be bored silly.

It all stems from the necessary key word: conflict. Something must be opposing them reaching their goal.

This doesn’t mean it’s someone or something physically blocking them, although that is one option. It could be something out of nature, like a great white shark, a hurricane or a killer virus, or something from the grand scheme of the universe, like time, fear or silence.

One of the great things about conflict is there are countless ways to present it. It comes in all forms, but it really boils down to something in the scene (as well as the overall story) preventing your protagonist from moving things forward.

Taking it one step further, not only do you have to make sure they do, but they have to be the one doing it. Anything else is a cheat, and totally negates their development as a character.  Imagine if Dumbledore said, “Here’s a step-by-step list of what you have to do, Harry.” The mentor figure is there to guide the protagonist down the right path, not take the path for them.

The protagonist has to endure all of these conflicts in order to not only accomplish their goal, but grow or change from what they were when we first met them.

So go ahead and put ’em through the ringer. It’s the way it must be.

-I had the pleasure of doing an interview with Henry Sheppard, aka Adelaide Screenwriter. Check it out here.

Hey kids! Fill in the blanks!

The good news is this will not count towards your final grade
The good news is this will not be on the final, but neatness does count

Since I’m always interested in what other writers are working on, here are some questions I’d really like to see your answers to.

1. MY LATEST PROJECT IS TITLED _______________

2. IT’S A  ______________ (genre)

3. HERE’S THE LOGLINE __________________________________

4. THINK OF IT AS ___________ + __________

Here’s mine:

1. NORTH POLE’S MOST WANTED

2. mystery-comedy

3. A mild-mannered elf uncovers a sinister plot to get rid of Santa, but nobody believes him, somebody’s now trying to kill him, and Christmas is one week away.

4. LA CONFIDENTIAL + RUDOLPH THE RED-NOSED REINDEER

Now you.

The writing sprint: no training necessary

race
It’s not about speed; it’s how you handle the course

Finally, finally got to type in those illustrious words FADE OUT, which brings the first draft of the western spec to a satisfying close.

It’s very tempting to read it and see what needs work, but at this point, I’m opting to let it sit in hibernation while shifting the focus to the rewrite of the mystery-comedy.

While the previous draft is a more solid foundation than I thought, there are still some ideas I’m looking to incorporate.

Rather than jot a few down at a time, or hope inspiration hits every once in a while, I’m opting for a method that’s proven quite helpful in the past: the writing sprint.

Set aside 30 minutes. Just you and a blank page (paper or digital – doesn’t matter, although digital might be easier & faster to work with). Once that timer starts, write out scene ideas as fast as you can.  Don’t stop to think if they’re good or not. Just crank ’em out.

It’s not a bad thing to write what you already have, but maybe you’ll come up with something you never thought of, or suddenly hit on a solution to a problem that’s been bothering you.  Feel free to even take things a totally new direction. For now, there are no bad ideas.

It’s possible you could run out of gas before time runs out, but push yourself to keep going.

Once the 30 minutes is up, take a look at what you’ve got: a ton of (mostly) new material.

Pick and choose what works for you now, but make sure to hold on to the rest. Inspiration could hit from any of them, and you never know what might come in handy later.

Moving that inner strength outward

It may not be as heavy as you think
It may look heavy, but it might not feel that way

I hate hitting a lull. Even the sound of it is off-putting.

“Lull.” Yuck.

Which of course is exactly where I found myself over the past few days regarding the first draft. I thought I was making some good progress, but instead found myself staring at a screen that mockingly stared back.

“Come on, writer boy,” it seemed to say. “Show we what you can do.”

Putting more pressure on yourself combined with the anthropomorphization of electronics doesn’t usually end well. You’re already frustrated, and when the words won’t come, you just want to throw up your hands and do your best Bill Paxton impression.

I’ve been down this path before. I don’t like it, it ain’t pretty, but it’s gonna happen and I accept that.

This is one of those times when you have to remind yourself that you’ve got two options: quitting, which is the easy way out, and totally squashes all the hard work and effort you’ve already put in.

Or you dig deep and force yourself to keep going. Again.

I recently started re-reading my copy of THE FIRST TIME I GOT PAID FOR IT, which chronicles the tales of many successful and well-known writers and how they got started. Apart from some great stories, it’s a good reminder to us outsiders striving to be insiders that even the pros started in the exact same place we are now.

And if you’re like me and want to change your status in that scenario, there’s only one way – keep writing!

I don’t know what the exact trigger was, but the next time I faced off against that blinking cursor and half-empty page, something clicked.

Boy, did it.

The words didn’t just flow – they gushed. It was like a Niagara Falls of scenes and dialogue pouring onto the page. My fingers could hardly keep up with my brain.

Whoa. Three pages in thirty-five minutes? Inconceivable!

I definitely now feel back on track. A renewed sense of what drew me to the story in the first place. Being that much closer to being able to type FADE OUT. And a little more faith in my ability to be productive, even when I don’t think I can be.

Take that, lull.

Start. Write. Repeat.

Apropos of nothing. I just like Paris.
Apropos of nothing. I just wouldn’t mind being there.

With all the activity surrounding the one script these past few months, and even though I was working on some new stuff, I’d practically forgotten that I really needed to build up my arsenal of material. When somebody asks “What else have you got?”, I want to be able to say “This, this and this.”

Thus the pattern of always working on something continues. As it should for every writer.

Progress on the western spec has been pleasantly steady. And with school starting up the week after next, there’s no reason I can’t bulldoze my way to FADE OUT soon after that. When that’s done, it’s right into reworking an older script with the hope of a quick turnaround.

Changing your focus every once in a while helps keeps things fresh, both on the page and in your head. It gives your creativity a necessary recharge. If you’re working in different genres, it allows you to put yourself in a totally different mindset.

Think of it as crosstraining for the mind. You work on this for a week, then something else the next week, then another the following. Skills are sharpened while attention is spread out equally. In the end, you’ve got progress on multiple fronts.

It’s easy to fall into the trap of constantly rewriting the same thing over and over, which can quickly lead to frustration and burnout. New work can help avoid that.

Take advantage of the opportunity to switch it up, and even when you start something new, keep one eye looking just ahead to the project after that.

-Stan Lee update. Didn’t get to meet him, but took some nice pix from deep within the crowd. I also won a signed copy of Avengers #31. Both V and I had a good time despite the Giants losing 6-1.