That last burst of adrenaline

A few weeks ago, I ran my first in-person half-marathon in just over two years. Despite the fact that it was raining for a good part of it, it was fun and I had a good time.

Added bonus: I always tend to get caught up in the energy and excitement of an in-person race, and this time was no exception. I even ran at a pace a smidge faster than I’m used to; faster than I ever expected to.

So when I got to the home stretch and saw the finish line up ahead, I kicked it into high gear and pushed myself to cross it as soon as possible.

Which I did, I’m happy to say. I’d beaten my expected finish time by about 12-15 minutes.

Suffice to say, I spent the rest of the day feeling pretty good about it.

(I also have a strong suspicion I won’t be able to duplicate that feat anytime soon, but you never know…)

This brings me to my current writing project: a rewrite of my animated fantasy-comedy.

Although progress has been a little slower than I would have liked, I’m currently working my way through Act 3, and making what I consider to be some solid strides. If I can keep my output steady, there’s a good chance I could be typing FADE OUT by early next week.

Even now as I develop, plot, outline, and then actually write each scene, the excitement of “Almost there!” continues to build.

There’s definitely something be said for how a writer feels as they wrap up a draft. I’m already aware of changes/edits/tweaks that will have to be made, so when I’m done, I’ll stash it away for a few weeks and shift to another project (of which there is always a few). Then come back to it with fresh eyes and a red pen, read it through, marking it up as I go.

All part of the process.

-Shameless self-promotion: my book GO AHEAD AND ASK! VOLUME ONE is available in both print and ebook. Want a signed copy? Let me know.

Happy to help

A few of my writing colleagues got in touch with me this week, each seeking input on a few assorted topics.

One was asking for my thoughts on their short script.

Another asked for my advice regarding how to approach some business and legal issues of working with a director.

I offered what guidance I could for both, and both expressed their gratitude.

Similarly, I met with another writer friend who offered up some great suggestions and guidance for potential ideas regarding other avenues for my scripts.

I’m definitely not the type to go around saying “Got a problem? I’ve got the perfect solution!”; maybe more “Don’t know how much I can help, but I’m certainly willing to give it a try.” Most of the time it works out, along with the occasional totally unexpected but still positive results.

A lot of this wouldn’t be possible if I hadn’t taken the time to establish and maintain a professional relationship with each of these writers. It’s how I operate overall, and a practice I heartily recommend every writer do.

Although writing is primarily a solitary activity, that doesn’t mean you have to stay isolated. Connecting and interacting with other writers is beneficial on several levels. Any help or boost you can offer another writer is always appreciated.

Same thing for when the situation is reversed and I ask another writer for help. Got time to read my latest draft? Could you look over this query letter? You’ve worked with this person before – how did that go?

A hashtag I frequently use in social media is #WritingCommunity, because that’s exactly what it is. I may not be the most active or vocal member, and sometimes it takes me a little longer to respond than I like, but I take part or help out when possible.

I’ve enjoyed it, look forward to continuing to do so, and hope you do too.

-A friendly reminder that my book GO AHEAD AND ASK!, INTERVIEWS ABOUT SCREENWRITING (AND PIE) VOLUME ONE is now available in both print and ebook formats.

Rewriting: more than just moving words around

I came up with the idea/concept for my fantasy-comedy more than a few years ago. Up until last year, putting it together consisted mostly of the occasional jotting-down of ideas for scenes and sequences. Figuring I had enough to work with, I worked my way through writing a first draft.

That was the end of last year.

After working on several projects since then, including some still in progress, I’ve decided to make things just a bit more complex for myself and start on the next draft.

The core concept and execution are still pretty solid, but after a lot of help and suggestions from some trusted colleagues, I’ve got a better grasp of which parts need some major work. It’s not as long a list as I expected, but there’s still a good deal for me to work on – especially from the perspective of character development; namely – my protagonist.

There are still some aspects to his internal and external goals that need tweaking, so a lot of my time lately has been all about that. And I was already racking my brains trying to figure out what would work best not just for that character, but also how all of it relates to the antagonist as well as the supporting characters.

Initially a daunting prospect, I am finding the more I work my way through this, the stronger the story seems to become.

I’m also working on fleshing out the storylines for some of the supporting characters, making sure to incorporate the theme into each of those. It’s also been a pleasant surprise to realize/uncover previously hidden connections between some of them and work those into the story.

As is my usual M.O., I’m taking my time in figuring all of this out and doing what I can to make sure everything is as solid as I can make it (for this draft, anyway) before starting on pages.

And what might be the most important angle to all of this – I’m enjoying it. This is just a fun story to work on. It is definitely the kind of thing I would write, and I hope that vibe really comes through in the finished product.

Until then, and as it always does, the work continues…

The path through is around here somewhere

The actual writing-of-pages for the current project may be underway, but wow did it take several attempts to get there.

A lot of it involved figuring out how to best set up the world in which the story takes place. I’d considered starting it one way, then thought “how about if…?”, which resulted in another way, naturally followed by “then again, I could try…”

At the time, I’d settled on the one I thought worked best. Feeling confident about the state of the outline, I started on pages.

Progress was slow, but steady. After a couple of days, I was already up to page 20.

Which of course was MUCH MORE than it should have been.

Not that I strictly adhere to the “THIS happens on Page ____”, but there was just too much going on, which was slowing things down a lot more than I’d intended.

What to do, what to do?

One option was to keep pushing forward and then go back and edit like crazy, but at the rate I was going, I’d end up with a script approximately 150 pages in length. Not an option.

Or I could go back to an earlier version of the outline that only includes part of what’s already there.

Yet another option was to go all the way back to how I initially envisioned the whole thing starting.

Quick side note – you know how they say the first page really sets the tone for the rest of the story? This is a guideline I’ve always tried to work with, especially in this case.

The first pass didn’t cut it, nor did the second one. Something needed to be done.

So I went through my extensive notes, hoping to find a solution.

And I found it. And it was the original idea. It had exactly what I needed, and I’ve seen variations of it in other scripts and films, so there was no reason I couldn’t make it work for my story.

I got to work reorganizing it and streamlining it to help things move along faster. This including having to jettison a majority of material I was very sorry to see go, but it was necessary. No reason some of those details couldn’t be implemented later on.

Oh, and another small detail I forgot to mention – my computer’s OS updated, which my screenwriting software hasn’t been adjusted for yet, so working with that became quite a pain. Luckily, some recent contest success resulted in me receiving another screenwriting program. After a quick installation and a few “how to” videos about using it, I was on my way yet again.

All of one page so far. But I like it better than the previous versions, and it’s significantly better than having no pages at all.

Let the pushing forward commence.

Q & A with Buzz McLaughlin

Buzz McLaughin photo

Buzz McLaughlin is a playwright and screenwriter, theatre and film producer, script consultant, and teacher. His plays have been produced throughout the U.S. and Canada and have won numerous awards including the National Repertory Theatre Foundation’s National Play Award for Sister Calling My Name, the most recent staging of which was at the Sheen Center, NYC in early 2020. With his wife Kris he has written several screenplays and teleplays.

He is co-founder/producing partner of the independent film company Either/Or Films (The Sensation of Sight), the Founding Director and former Artistic Director of Writers Theatre of New Jersey, and for many years was professor of Theatre Arts at Drew University. The author of The Playwright’s Process: Learning the Craft from Today’s Leading Dramatists, he holds a doctorate in theatre and dramatic literature from the University of Wisconsin, Madison and is a member of the Dramatists Guild and Writers Guild of America. Currently he teaches playwriting and screenwriting in New England College’s Creative Writing MFA program.

His website is www.buzzmclaughlin.com and he can be reached at buzzmclaughlin@gmail.com.

What’s the last thing you read or watched you thought was incredibly well-written?

THE TWO POPES, written by Anthony McCarten, based on his play. The film was directed by Fernando Meirelles and stars Jonathan Price and Anthony Hopkins. Nominated for best screenplay by the Academy Awards and Golden Globes as well as for best actor and best supporting actor. A wonderful example of excellent writing scene after scene with a script so real that you forget you’re watching a make-believe story as the actors really sink their teeth into the material.

Another film I must mention here is the indie PIECES OF APRIL, written and directed by Peter Hedges and co-starring Patricia Clarkson, who was nominated for Best Supporting Actress by the Academy Awards and Golden Globes. The film was also nominated for Best Screenplay by the Independent Spirit Awards. It was one of the first films shot on all digital and has become somewhat of a classic, especially in regard to its impeccable dramatic structure. I have used it for years as a teaching tool on how to construct a successful story for the screen. Well worth a close look.

How’d you get your start in the industry?

As a stage actor and director, then later I moved to writing because I started having my own ideas for scripts and felt I could do this, too (if not better than most).

What do you consider the components of a good script?

A well-constructed story with relatable characters that draws you in and keeps you engaged from start to finish. There are many ways to accomplish this, obviously, but that in a nutshell is what makes a good script. The main components are having one central character who wants something badly but who runs into road blocks preventing him or her achieving it. In the best stories, this central figure discovers along the way that what they think they wanted isn’t what they really need and as a result the character comes out a very different person at the end of the journey. And this gives the story its ultimate emotional power. My book The Playwright’s Process goes into the details of how you build or construct this kind of story one step at a time.

What are some of the most common screenwriting mistakes you see?

By far the biggest screenwriting mistake I encounter is faulty dramatic construction, scripts that wander too far away from some configuration of the three-act paradigm and as a result stall out and are unable to deliver the goods as all successful storytelling must do. Writing snappy and engaging dialogue is important, obviously, but if the story’s foundational structural underpinnings are faulty, the whole script comes tumbling down.

What story tropes are you just tired of seeing?

Formula and predictable action films and stories that are obviously agenda driven. In other words, stories that are primarily designed to thrill with violence and manufactured suspense or those that promote – sometimes quite heavy-handedly – a particular political or cultural persuasion.

What are some key rules/guidelines every writer should know?

-Determine who is your central character and what his or her primary external want and true internal need are going to be.

-Your central character should be a changed person by the end of the story.

-Take the time and effort to get to know your characters’ backstories well before plunging into your first draft. Burn into your brain that nine-tenths of the iceberg is under the surface. Remember that you are already writing your script when you engage in this pre-draft exploratory work.

-Make an initial attempt to define your dramatic premise up front – what the overall point of your story is going to be – and believe it fully yourself.

-Allow yourself to become the structural engineer and work out a three-act outline of your story with a well-defined beginning, middle, and end before starting your first draft. In other words, create a road map that will take you through your story’s journey so if and when you find yourself lost (which you most likely will) you still have that roadmap on the seat next to you and you have a way to get back on track.

-If at all possible, set your story in a world you know well.  Otherwise, research it to death.

-Train yourself to never listen to the negative voice as you develop your project.

-Never share a work in progress with anyone until you have a completed draft you think is ready to release to others. The creative process is precious and intimate and it should be shared between only you and your characters. This should be your private creative world. The time will come soon enough to get outside input, but it shouldn’t happen until you have something substantially complete to share. Otherwise your own personal vision for the script is contaminated and you risk having your whole project derailed prematurely. The only exception to this rule is when you’re working with a collaborator or a script consultant – folks whom you have invited into a creative partnership with you.

What would you consider are some key similarities and differences between writing for the stage and the screen?

The biggest similarity between a play and a screenplay is the structural design of the story itself. Both have a version of the three-act configuration: the set up, the struggle, and the solution.

The biggest difference is that plays are primarily verbal and films are primarily visual, meaning the stage play’s story is largely communicated through dialogue coupled with physical action and the film story is largely communicated through what the camera sees action-wise, coupled with dialogue as needed.

Another way to compare the two mediums is to look at the opportunity for theatricality in writing for the stage – inviting the audience to engage imaginatively with passages of time and shifts in settings and so forth – as opposed to the numerous cinematic devices available in writing for the screen such as using the dissolve, narrative voice-overs, etc. In a real sense, the two mediums are attempting to accomplish the same thing – inviting the audience to creatively enter into the unfolding story. And this is one reason why writers are often able to shift back and forth between writing for the theatre and writing for film or television.

A common recommendation to screenwriters is to take an acting or improv class. As someone who works with both writers and actors, do you agree or disagree?

I strongly agree. My experience has shown me that writers who are also actors (or have had some acting experience) are generally ahead in the game in terms of motivations and getting under the skin of a character.

As a producer, is it difficult for you to read a script without using your “reader’s eye”?

This is definitely difficult for me regardless if I’m experiencing a screenplay or play. And it starts on page one. Call it the curse of the producer. I’m so conditioned to look and wait for the inciting incident to grab me that if it doesn’t happen within the first ten pages the read often becomes an exercise in frustration.

How can people find out more about you and the services you provide?

Check out my website at www.buzzmclaughlin.com. Or email me at buzzmclaughlin@gmail.com. As a script consultant I can work with you on a finished draft or help you structure an idea into workable pre-draft shape. In other words, I can meet you where you’re at with your project.

Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Warm apple, with a slice of cheddar cheese.

apple pie w:cheese