The daily churning-out of pages for the first draft of the horror-comedy continues – still in Act One as of this writing – and now that November is underway, if I can maintain my current output of approximately 3 pages a day, there’s no reason the typing-out of FADE OUT couldn’t happen by mid-to-late December.
I’d probably be a little further along if it weren’t for my ongoing desire to keep going back and editing/revising what I’ve already written, which is a lot more tempting than you’d expect. But doing what I can to just write a scene and move on to the next one. Once again, the more you do it, the easier it gets.
And since this is supposed to be a horror-comedy, I’ve also gotten into the habit of trying to make sure each scene features some element of each genre – something scary and something funny. Trying being the key word here. This is a much bigger challenge, but again, doing what I can. Also helping – recent touch-up work on my two other comedies.
With one of the definitive screenwriting mantras being “it’s a marathon, not a sprint”, I don’t have any problems with taking an evenly paced and semi-methodical approach. There are some writers who can sit and crank out a draft in record time, but I’m not one of them. I lean towards the “hope I can hit my page goal today” camp.
But most importantly, I’m just trying to not stress about it and enjoy the whole process. It’s a fun story, and I like the concept, so why not make it a positive experience rather than fret and obsess? That way, it seems a lot less like work and more like “here I am having a blast being a writer and stuff”.
With the outline for the horror-comedy simmering away on the backburner, all attention is now being directed to a rewrite of the sci-fi spec. I was fortunate to get some solid notes on it, so the rebuilding process is well underway.
A big part of this involves cutting scenes and sequences, along with a whole lot of moving stuff around. Even with a hard copy of the previous draft in front of me and the current draft’s skeletal outline on my laptop screen, it requires a lot of planning things out along with a constant going back and forth between the two. To say the least.
Keep this scene? Or how about this one? Would this one work here, or here? Wait, do I even need this sequence anymore? Jeez, I totally forgot about that new scene that would set up the protagonist’s internal goal.
(Not my actual inner monologue, but you get the idea)
Simply put, there’s been A LOT of twisting, readjusting, manipulating and something comparable to “square peg + round hole + sledgehammer” to get this thing more streamlined and functional.
Going through all these motions has also revealed non-essential moments, or at least parts of them, dialogue that initially seems like it should stay in but really doesn’t need to, and a decent amount of literary fat that can easily be trimmed away. No fuss, no muss.
Despite the statements in the preceding paragraph, a majority of what’s already on the page still works. It just takes everything I’ve described, plus a little more, to get into better shape. A slow but effective process. As is usually the case for me, initially insurmountable, but gradually not too bad, and eventually being classified under “that worked out better than I’d expected.”
With any luck, the producing of actual pages will also go relatively smoothly.
One can only hope.
-Through September 30th, the fine folks at LiveRead/LA are offering the discount code MAXZ15 for 15 percent off their script services and the fee for their contest where your script could be one of two read live by professional actors in Los Angeles in October. Following the read (30 pages max), feedback will be provided, including from an Industry Insider (last time was actor Jason Alexander. This time it’s veteran production exec & producer Debbie Liebling – Comedy Central, Fox, now working with Sam Raimi). Writers from everywhere are encouraged to submit. The event will be livestreamed, so if your script is chosen and you can’t attend, feedback will be provided live via Skype.
Well, that was fun. A bit of an uphill battle, but I’ve survived.
The good news – the basic foundation for the horror-comedy outline is complete. Even though I had a pretty good idea of what was going to happen, it consistently went through a steady stream of changes, edits, tweaks, and so forth.
Let’s just say that what I ended up with is several versions removed from what I started with. For the better, I’d say, but still pretty darned close to keeping with the original idea. Even managed to come up with some new twists and wrinkles along the way.
Despite still considering the story as pliable as warm Silly Putty, it really is coming together and I’m quite happy with the results. Sort of a pre-first draft, one could say.
But in addition to the ongoing process of fine-tuning the story, there’s the just-as-if-not-more-so important part of making it funny.
When they say “dying is easy; comedy is hard,” they’re not kidding. Quite an apropos phrase, especially in this context.
Like with the comedy I’m polishing now, the more I work on it, the more opportunities I expect to find to work in a suitable joke of some sort. Sight gags, plays on words, what have you. I think that’s similar to how the ZAZ team did it with Zero Hour for Airplane!. Not that this script will be anything like that, but you get the idea.
I think I’ve discussed this before, but as I outline, I’ll also include potential lines of dialogue or specific actions for each scene. Same thing applies here. But now that the story is (somewhat) set in place, I can now fine-tune both that and punch up the jokes as I work my way forward.
Luckily for me, there are also great examples of films that did this sort of thing, so I can watch those to get a good idea of how to approach it with this story. Not a bad self-imposed homework assignment, right?
Finding the funny for this won’t always be easy, but coming off doing it for the previous script, and with the burden of telling the story in the first place somewhat out of the way, it seems just a little bit more so now.
Thanks to my ever-expanding network of savvy creative types, I get lots of chances to be on both the giving and receiving ends when it comes to reading scripts.
I consider myself extremely fortunate to be able to get exceptionally helpful notes from a lot of really talented folks. All this feedback has somehow managed to influence my writing for the better, and for that I am overflowing with gratitude.
So the least I can do when somebody asks me “Will you read my script?” or “Can I pick your brain about this idea?” is to say “Of course.”* Maybe I can offer up a few scraps of advice that might somehow work to their advantage. If anything, I can at least point out where a fix in spelling or punctuation is needed. For a script, anyway. That counts, right?
*caveat – it’s taken a lot of work spread over a long time for me to build up my network and establish connections, so I don’t mind if somebody I actually know drops me a note with such a request. If our only connection is being connected on social media and we’ve never interacted – at all, you’re little more than a total stranger to me. So heed that one word and be social. It makes a difference.
I had the pleasure of such an experience this week. I’d connected with another Bay Area creative, and we’d been trying for a while to arrange a face-to-face meeting. After much scheduling, cancelling and rescheduling, we finally made it happen.
This person had an idea for a project, wanted to talk about it, and see if I was interested in being involved. I stated at the outset that I had enough work on my own for now, but would be open to giving notes – time permitting.
After the initial introductions and our thumbnail backstories, we focused on their project. I won’t go into specifics or details about it, because those aren’t the important parts.
What was important was:
-this was a story they’d had inside them for a while, and even though they knew it needed A LOT of work, they were still happy with simply having written it all out
-they were totally open and willing to listen to my suggestions. Some they liked, some they didn’t. Totally fine.
But the more we talked, the more the seeds of ideas were planted in their head. Even though a lot of the details we came up with, including possible paths the story could take, ended up being totally different from their original incarnation, it was easy to see that spark of excitement reignite inside them.
Seeing that happen with somebody you’re trying to help is more satisfying than you can possibly imagine.
We parted ways, with them really rarin’ to go and start developing the latest draft. They added that they really appreciated me being so willing to help out.
I just like doing that sort of thing. I never had that kind of person-to-person help when I was starting out, so why not do what I can for others? Granted, the internet and social media didn’t even exist then, so it’s a lot easier now.
I got a few emails from them the next day showing me what they’d come up with since our meeting. Same concept, but a totally new approach (and, in my opinion, provided the opportunity for a lot of new possibilities). This also included a more thorough write-up of “what happened before the story starts”.
Even though it can be tough to read emotion in text, it was easy to see the spark was still burning strong within them. The way they talked about their plans for what comes next, I could tell they were actually looking forward to working on this.
It was nice knowing I had a little something to do with it.
We exchanged a few more emails (mostly me asking questions about story and characters and them providing sufficient answers), and I wrapped up with “Keep me posted.”
Their response: “Definitely. Thanks again. You’re a good dude.”
As the dog days of summer lazily drift on by, each of those days sees me dedicating a portion of it to working on the next small section of the horror-comedy outline. So far – it’s coming along nicely.
For now, it’s just filling in the blanks between primary plot points. Not counting those, I tend to think and plot things out in a linear manner; going from A to B to C and so on, rather than A to B to J, and then maybe filling in that stretch between D and F. This approach helps with not only crafting the developments of the main storyline, but also the subplots and figuring out how all the interconnections work. Others may do it differently, which is fine. This way works for me.
What originally starts out as one to two sentences summarizing what happens in a scene quickly becomes lengthy descriptions, including specific character actions and snippets of dialogue. This has caused the outline to appear dense and bulky, or at least that’s how it looks at first glance.
At first this would appear to be a bad thing, but keep in mind that this is only the outline, so a scene write-up that appears as an impenetrable block of text here might translate to, say, half to three-quarters of a page, including dialogue. Not a bad exchange rate.
Just as an example, as a scene was playing out, it kept getting longer and longer, which would have run way too long for both script and screen. Realizing that simply would not do, I made some minor modifications and managed to break this exceptionally large scene into three slightly smaller ones. Each one still retains the point I wanted to make, as well as continuing to advance the plot, theme, and characters. A win all around.
The way I figure it, it’s a lot better to have an overabundance of material during this stage, and then be able to cut, trim, or maybe even add more where necessary down the road.
Another key part to all this development is making sure everything I come up with plays some kind of role in the overall context of the story. Call it the “keep only if relevant” rule. If there’s something on the page that has nothing to do with the story or the characters, then why have it there in the first place?