Because ‘Journal of the Whills’ just doesn’t cut it*

How DOES it look on a marquee?
How DOES it look on a marquee?

*the original title George Lucas had for STAR WARS. Not as good, right?

After reading countless spec titles in places such as The Black List and Done Deal Pro, I’ve come to the conclusion that my script really needs to undergo a name change.

DREAMSHIP

It sort of just…sits there, when instead it should be grabbing your attention and making you think, “Cool! I’ve gotta see this!”

Examples: BACK TO THE FUTURE. CHINATOWN. DIE HARD. See what I mean? Solid. Succinct. To the point.

I may go back to the original title – THE AMAZING DREAMSHIP ADVENTURE. It feels like it does a better job of conveying what the story’s about and what kind of ride you’re in for, but I wouldn’t put it past me to try and tweak it a little more.

It was also suggested that since this is more of a family-oriented kind of story, I should go the HARRY POTTER route and include the main character’s name. I’m not sure how I feel about that.

Having a good, strong title is key because it and the logline create the first impression. Do an effective job with that and you’ve got their attention. Just make sure the script/story can hold onto it.

Going for that streamlined look

No, no. The car.
No, no. The car. Aw, never mind.

With most of the querying out of the way, I’m now focusing on two things: getting the podcast up and running, and fine-tuning the western outline.

There’s not much to say about the podcast, except it just hasn’t been a priority. I could have spent more time on it, but opted to get the queries out, which was very time-consuming. It’s looking more likely now to be a February launch.  Stay tuned for more details.

Regarding the outline rewrite, although I had a pretty solid outline already done, it still needs a lot of work.  Up first: tightening things up.  There are just too many scenes.

Using the existing outline, I’m now figuring out ways to move story details and plot points around so everything moves along faster.

For example: the earlier draft didn’t really introduce the villain until around page 17 (he’d been lurking around in the shadows up until then). I’ve since moved things around and now he shows up around page 4, which also includes a follow-up scene to show just what kind of a bad guy he is.

There was also the decision whether or not two scenes could be combined into one. I’ve gone back and forth on this. Scene 1 advances the story/continues to set things in motion, while Scene 2 provides some backstory about the connection between the hero and the villain. Although each has merit on their own, I’ll probably remain undecided up until the end.

Happy to say I’m still enjoying the whole thing.

-Movie of the Moment Two-fer!: THE OTHER GUYS (2010)   I don’t really care for a lot of Will Ferrell’s films, but this caught me totally off-guard. It was actually funny and had a good story. Surprisingly entertaining.

MIDNIGHT IN PARIS (2011) Another clever film from Woody Allen. Probably doesn’t hurt that I love Paris too. Kind of wish he’d write characters other than those from the upper classes.

Cleaning up after all that dirty work

Yeah, it kind of felt like this...
Yeah, it kind of felt like this…

Well, that’s that.  The queries have been unleashed, and the process of getting it done was truly exhausting.

Most of the work was research. Lots and lots of it.

Equipped with a few lists of potential recipients, I scoured IMDBPro (signing up is highly recommended) and Google to check the status of each name, agency, management firm and prodco I had.

Are they still in business? (a good percentage were not)  Do they accept queries?  Is the person still there? If not, where are they now? What about that place?  Do they even handle screenwriters? Would they be interested in my script’s genre?

Some of the major houses (CAA, WME, etc.) don’t list any contact info apart from address and phone number, so unless you know somebody there, you’re just plain out of luck. A lot of them also have a disclaimer somewhere on the website stating they don’t accept unsolicited materials anyway. Better to focus on the ones that do.

Proof these lists are not entirely accurate or up-to-date – one listed office info for somebody who apparently died in 2009.

Believe me when I say this is not a small-scale project.

Something else to keep in mind – depending on your determination, you’ll be sending out an immense number of queries, and most likely the responses, positive or negative, will be few and far between. If you hear back at all.  Remember – these places are getting bombarded with queries from writers just like you every single day.

Not getting an immediate response can really be quite a blow to your self-confidence, but unfortunately it’s the way things are.  All you can do is send it out and move on.  Like I wrote last time, use this as an opportunity to redirect your attention towards something else of a productive nature.  Write something. Read something.  Exercise. Whatever it takes.

So while I wait, I’ve got an outline to improve, some podcasting equipment to master and a pumpkin pie that needs baking.

Eyes front, mister!

The solution isn't on somebody else's paper
The answers you seek won’t be found on somebody else’s paper. Which sounds a little more ‘zen’ than it should…

The emailing of queries continues, as does the struggle to force myself to stop checking my inbox on a too-often basis.

Wait! A new email just came in! Did somebody respond? Nope. Groupon for a bikini wax. How about now? Nope.  Screenwriting newsletter that seems to come every two months. I really should just unsubscribe from that. Now? Nope again. Netflix confirming they received my disc of JUSTICE LEAGUE: DOOM.

Over and over and over.

The more this scenario plays out, the more frustrating the whole thing becomes. Why isn’t anybody responding?  I sent that two whole days ago. Doesn’t anybody check their email?  Oh no! What if nobody wants to read my script? All that work for nothing! I’m a failure! Doomed to gnash my teeth every time somebody sells their you-call-that-an-original-concept spec for low-to-mid six figures! Aaauuughhhhh!

*collapses on floor in fetal position*

And….scene.

It would be so easy to fall into this kind of trap, but it’s also easier than you would think to just take a deep breath and let it go. I’ve done my part. The rest is up to my query recipients. All I can do is hope they’re interested and want to read my script.

If so, great. If not, no big deal. Comes with the territory. It took me a long time to accept this.

I’m a writer, so writing is what I need to focus on right now. It’ll satisfy my need to be creative while drawing my attention away from the queries. Hunkering down and diving into the outline is good for what ails me.

And it’s a western, so how can I resist the call to immerse myself in a world I’ve created loaded up with cowpokes, shootin’ irons and yellow-bellied sidewinders?

Added bonus – in the event somebody likes my first script and asks the all-important “What else ya got?,” I’ll be this much closer to having something ‘else’ to offer.

Hold on. Another email just came in.  Back in a sec.

Three to get ready…

Yeah, it kind of feels like that…

It took a while, but the initial editing phase is complete.  There aren’t a lot of significant changes to be made, but almost every page has something that requires some kind of fix. Fortunately, most of them are very minor, like changing a verb or rearranging the way a scene is described.

There are at least 3, maybe 4 scenes where something needs a little more attention, so I circle it and write my standard “Work on this”.

So all that’s left is one or two thorough typing sessions, one more read-through, a little feedback (professional and trusted colleague), and then diving headfirst into the fray and getting the script out there. (which reminds me I really need to get on the ball and get back to the research phase)

And honestly? I’m getting a little nervous.  But in a good way.

This is what I’ve been working towards, and now it feels like it’s just about here.

Is it wrong for me to think there could possibly be a good chance of something happening?

Don’t get me wrong. I’m not expecting a million-dollar sale.  Although selling a script would be fantastic, I’d much rather get representation and take some meetings that result in steady projects.  That would be phenomenal.

For some reason, I’m flashing back to a meeting I had about 11 years ago with a professional writer. I’d written 2 scripts and he read both of them purely as a favor.  When we met, the first thing he said was that I was a good writer. I had the talent, but really needed to keep writing in order to get better.

Which is exactly what I’ve been trying to do ever since.

Keep in mind that like everybody else, my first efforts were incredibly lousy (at least compared to my current stuff), so either he was being kind or he actually meant what he said. I really hope it was the latter.

For now, this remains an ongoing process. I’ve said many times it’s all been an absolute blast, and that still holds true.

And something deep inside tells me there’s bigger and better things ahead.