Same destination, different route

hot fuzz

Even though I got some great notes back on the previous draft of my sci-fi adventure spec, one aspect of the script had always bothered me.

As much as I loved the opening sequence, it still felt out of place.

Its primary goal for existing was to establish and set up several plot elements and story details. It does that, but something just didn’t feel right.

Would the story still work if I took it out? Sure, but finding new ways to present all the relevant info would require some major rewriting and revising. Time-consuming (to a point), but necessary.

But that got the gears turning…

The more I thought about it, the more the idea appealed to me. Trust me, it killed me to even just consider killing all those darlings, but doing so would definitely force me to find new and original ways to tell this story.

Added bonus – a new opening would also enable me to do a better job of establishing the protagonist AND set the tone of the story.

So out all those pages went, with an ever-expanding list of all sorts of new ideas regarding How To Do It currently in development.

A writer may know what they want to happen in their script, but sometimes it doesn’t work out that way. The characters might unexpectedly guide you in a different direction, or maybe you realize what the story really needs is to take a sharp turn off to the side, or you decide that this is the perfect opportunity to go in a totally opposite direction.

Nothing is set in stone. You’re the ultimate creator. Everything that happens is under your control, and you can do with it what you will.

Something not working for you? Change it. Give yourself options.

Follow-up to that – go with options that still work within the context of the story and characters. Your characters still want the same thing they did before, but now you’ve drastically altered how they get there.

It’s a savvy writer who eagerly anticipates taking on the task of devising these kinds of changes. And once they’re all implemented, you’ll barely remember how it used to be because EVERYTHING WORKS SO MUCH BETTER NOW.

Suggestion – no matter how or when you come up with a new idea, WRITE IT DOWN. IMMEDIATELY. Even if you’re in the middle of working on the same script. Everybody says “Oh, I’ll remember that later.”

You won’t.

Do whatever you have to in order to preserve it.

*Apologies for a lack of post last week. I had some kind of bug that put me out of commission for a few days; didn’t even have the strength to compose a “sorry, no post this week” post.

 

I came, I saw, I removed it

caesar
Veni, vidi, non amoveatur

As the contents of our now-previous domicile were being sorted into their respective receptacles (keep, donate, trash, what on earth possessed us to buy THAT?), my time to write/work on something was somewhat limited.

So I squeezed in a few minutes here and there when I could. Not ideal, but better than not doing anything.

One of my ongoing projects is the rewrite of the sci-fi adventure outline. There’d already been some big changes compared to the previous draft, but it seemed to still suffer from a mild case of “just too much”.

Something had to go. But what? I liked the way this world had been established, along with setting up several vital story details that would yield some mighty effective payoffs later on.

Editor Me (EM) had to seize control from Writer Me (WM), who was really digging in his heels to keep things as they were.

“Which is more important?” EM would keep asking as WM tightened his grip. “Streamlining the story to make it more effective and flow smoother, or keeping something in there just because you like it?”

WM eventually raised the white flag, admitting that EM was absolutely right.

So drastic cuts were pending. But where to make them?

After much deliberation, the cleanest break would have to be the opening sequence – which I’d put together to really establish the world of the story, but it was simply too much, and the main character isn’t even part of it.

RIP, my darlings.

This was a tough decision to make, since this sequence offered up some prime exposition. With all of it gone, I have to now figure out new and original ways to relay some of the more relevant info and story details without resorting to the dreaded cliche of a flashback. Tough, but not impossible.

But as has occurred in the past, having a more-or-less thorough outline to work with has enabled me to salvage more than I realized, along with inspiring some new approaches. A lot of groundwork had already been established, so I get to work with what’s still there, along with utilizing odds and ends from the deleted material when applicable.

This remains a work in progress, albeit a very slow and drawn-out one. But I’d rather spend more time dealing with all of these aspects of the process now, and not agonizing later on over endless patchwork fixes scattered across a completed draft.

Learning never stops. Never.

coeds
Sure, I may be tired now, but wait until you see the end results

So far, so good, at least in terms of how the rewrite of the sci-fi adventure spec is going.

Already managed to trim a decent amount of pages, with more potential targets coming up fast.

However, one of the most surprising results this time around is seeing more and more opportunities to really get the most of not just the words on the page, but HOW they’re presented.

I already knew overwriting was one of my biggest obstacles. I tend to go into more detail than is necessary. Not “this is the color of his t-shirt, and this is what’s on his breakfast plate”-type stuff, but more in terms of excessively describing what you’d see transpire onscreen.

This has become painfully obvious for some of the fast-paced action scenes. In the old draft, there’d be several lines about what a character was doing. This time around, I want to get to the point faster – partially for less ink on the page, and partially to help speed things up – so I highlight only the parts that the can’t do without.

It’s probably safe to say each scene has become shorter by at least some degree. Some by a few lines, others by half a page, etc. But the overall impact is becoming more noticeable. Scenes seem to be flowing more smoothly. Even though the descriptions aren’t as detailed as they were before, the new, tighter versions are just as visual.

Of course, since I’m the one writing it, I already have a strong sense of how it’s supposed to “look”. The real test comes when a reader gets their hands on it. Will they experience the same results? I sure hope so, so in the meantime, I do what I can to write it so everything is easy to follow and all questions are answered.

What’s most surprising at all about these new developments is I’d written my last few drafts of several scripts with the same approach I’d always used, but there’s just something very different about it this time around. The way this draft is being put together has a much more analytical feel to it. It’s as if something holding me back has been removed, and the positive results are coming in rapid-fire. One can only hope this sensation endures.

Once again, there’s no firm deadline for a completed draft, but as I mentioned, progress has been strong and steady, so “slightly sooner than possibly expected” will have to do for now. And even when that one’s done, there’s a strong suspicion that just a little more touch-up work will be in order.

Thrilling times, chums.

-Screenwriter/filmmaker Ally May has launched a crowdfunding campaign for her packs-an-emotional-wallop short film project In A Breath. Donate if you can!

-Major congrats to screenwriter/overall mensch Bob Saenz for the upcoming US release of the film of his script Extracurricular Activities, a journey almost two decades in the making. Here’s a great interview Bob did for Script magazine.

A few slight adjustments

baby driver

The latest draft of the sci-fi adventure is moving along at a pleasantly brisk pace. Still averaging about 4-5 pages a day. The whole process this time around feels a lot more organized. Much more so than in the past.

The previous draft was 118 pages, and one of my many objectives for this one is to get it down to somewhere in the 105-110 range. I’m just about at the end of Act One, and it’s already 9 pages shorter than where it was at this point last time. Seems like the odds are in my favor to hit that page count goal.

But it’s taken a good deal of work to get here, including some shifts in my approaches.

Among the highlights:

-being more diligent in applying the “get in late, get out fast” approach to each scene. Although somewhat unavoidable for action sequences, doing what I can to use this as often as possible.

-cutting unnecessary dialogue. Never realized how much more I used to put in before. It’s been a real effort (and steep learning curve) to get the characters to only say what needs to be said, but it definitely helps get to the point of the scene quickly as well as moves things along.

-not being so detailed with action descriptions – by which I mean “what the characters are doing”, and not the fast-paced, high-octane thrilling moments. Focus on the important stuff. Don’t clutter up the page. Is it absolutely necessary to be so step-by-step about it? Nope.

-In a very “why didn’t I think of this before?” kind of way, having a hard copy of the outline and the previous draft have proven to be exceptionally helpful. The outline tells me what needs to happen in each scene, and the previous draft shows me not only what I did before, but gives me a starting point for potential changes.

-Taking that last item one step further, seeing how a scene played out before, combined with the applying the question of “how does this scene advance the plot, theme and character?” has enabled me to totally rewrite some scenes which before had felt kind of flat, but now read as stronger and help reinforce those three important components.

I managed to crank out the previous draft in about a month, and hoping to accomplish that this time around as well. Of course, a few ideas for more changes have popped up.  Nothing too severe, and I’m going back and forth about implementing them right away, or waiting for the cleanup-polish phase.

Every writer puts their material together in the way that works best for them. It took me a while to find mine, and it continues to be a work in progress. But if the latest results are any indicator, it’s working out quite nicely.

Plodding to the next finish line

VeneratedFlimsyCapeghostfrog-size_restricted

Well, one tough part’s out of the way. Got the latest draft of the sci-fi adventure done, clocking in at a respectable 118 pages. (And accomplished in just under a month, so – yay.)

Now it’s time to move on to the next tough part – the initial wave of cleaning it up, which will include cutting at least 7-10 pages.

It’s been a while since the last time I did this sort of editing, and it always seemed to be more problematic than expected. The best way I can describe it is “I couldn’t really see the forest for the trees”. The problems and their prospective fixes were there, but it would be difficult for me to identify them.

This time around, I’m taking a different approach.

I printed out a hard copy of the script, and went through it, scene by scene, and wrote down a very brief summary – a snippet or two of what was happening in each one. No frills. No dialogue. Just “here’s what happens here”.

Along the way, questions would constantly insert themselves into the discussion. Was there a way to still have this happen, but in a fraction as many words? Is this scene really necessary, or could it be combined with another? How can I describe what’s happening so it’s easier for a reader to “see” what’s happening? Everything geared towards telling a story in the most effective ways possible.

Additionally, new ideas and approaches would spring up when they were least expected. A scene or sequence I thought was just fine would suddenly feel totally out of place, or seem like it needed a drastic overhaul. With this still being a work in progress, any and all new ideas are welcome.

Another new development is how I’d initially type something like “MAYBE X DOES THIS” as a potential new part/development of a scene. Then while working on a later scene, see how that suggestion could be incorporated into it. This would then result in me going back and deleting “MAYBE” from the original. Sometimes your gut reaction really is the best one.

Didja also notice how those last-minute inserts are written in ALL CAPS? Just my little way of having a note stand out a little more so it’s easier to spot when I come back to it later on. Simple, but effective.

Even as this draft steadily grew, there were always sections of the story I knew would need some extra attention in the next draft. Rather than spend time going back and trying to fix things, it was just easier to leave it as it and keep pushing on.

Current focus is all about going through the pages and being as analytical as possible. A few minor story problems have been dealt with. Some unanswered questions are no longer unanswered. Opportunities to throw in a small dash of character and story development are opening up.

The strongest takeaway from this latest effort is that the overall process of putting a decent script together, while still quite challenging, is becoming slightly more manageable and somewhat less insurmountable.