Why so hostile?

Angry voice!
Angry voice!

I’ve been making an effort over the past few weeks to build my network of writing acquaintances, which has involved connecting on assorted social media networks.

Several of these include groups of like-minded people that offer up the opportunity to ask questions, get feedback, etc.

One of them was about loglines.

Feeling fairly confident but open to suggestions about the one for my western, I typed it in, hoping somebody might have some helpful comments.

Within minutes, the response came in: “…or? What’s at stake? What are the consequences?”

Hmm. Well, her train’s been stolen, which…puts her livelihood at stake?  And it’s going to be used in a major heist, so the consequences are…widespread? I’ve always hated this part. Maybe I’m not giving enough information?

I wrote back: “open to suggestions.”

Past experience with logline feedback via online forums, while occasionally frustrating, has sometimes yielded positive results.

Sometimes.

A few minutes later: “I’m a producer and script consultant, not a psychic. If I knew what the story was about, knew the protagonist’s motives, knew what the antagonist was doing and why, and knew what was at stake and the consequences of certain actions, I would make a suggestion. However, with so little on offer, there’s little I can do other repeat what I’ve already said.

I’m not arguing anything after the word ‘psychic’. It’s not easy to get all of that across in a logline. It’s much harder than most writers realize.

(Side note – I love it when somebody backs up their comments with the proclamation of their qualifications. As expected, a quick internet search of this person’s “producer and script consultant” credentials yielded both jack and squat. It took a lot of effort to not ask them for more details.)

Desperately seeking resolution, I offered: “Would you be willing to take a look at the 1-page synopsis to get a better understanding of the story?

Soon afterward: “based on your logline, no”

And that was that.

While I didn’t have a problem with the actual advice, there just seemed to be this overall tone of angry condescension in their text. “Grr! I know what I’m talking about! My advice is infallible and you’re an idiot if you don’t listen to me! Grr! Argh!” Maybe I was just reading too much into it?

Honestly, it kind of nagged at me for the rest of the day. I always thought the point of these groups was to help each other. Sure, sometimes people just don’t get it, but I’m more likely to appreciate your comments if you seem willing/interested in actually helping me.

Later in the day, somebody with no connection to me whatsoever called this person out for being unnecessarily cruel (a bit harsh, but I understood where they were coming from). I made a point of staying totally out of what soon became a snippy back-and-forth of “I’m right, you’re wrong”.

So much for taking part in that group again.

Still seeking some kind of help, I tried again on a different forum, but approached it from a different angle.

I listed the logline plus some key story details that might help, adding how I was seeking some bolstering in terms of including stakes and consequences. (The original responder may have come across as an asshole, but I didn’t think their advice was wrong.)

There was a significant difference in the responses. A lot were not only helpful, but practical and encouraging, including this gem – “I love this logline. If I were a producer I’d want to read it. Hell, I still want to read it, just because it sounds like fun.”

I felt a little better, had what I felt was a stronger logline, and a few requests to read the script. Nice.

As part of that aforementioned back-and-forth, my original responder said they were just preparing new writers for the kinds of responses they should expect from the industry if they submit “subpar material”.

While I can understand that kind of thinking, it seems that people are more likely to heed your advice or suggestions if you actually come across as helpful, rather than sound like we’re wasting your time and the last thing you want to deal with right now.

But then again, I’m just a nice guy to begin with, so what do I know?

Doth it suck? Yea, verily

Because "Dude. Yorick. Bummer." just doesn't have the same panache
Because “Dude. Yorick. Bummer.” just doesn’t have the same panache

Oh, first draft. You teasing vixen.

I go over the story ideas in my head, everything coalesces and plays out like a well-oiled machine.

But try to transfer them onto the page, and it all discombobulates into a tangled mess on par with the cord on a pair of earbuds carelessly tossed into a gym bag.

Experienced writers know what I mean.

Although it took a while, I finally reached the end of Act Two in the revamping of the outline of the pulpy adventure spec. On one hand, I’m thrilled to have gotten here. On the other, I want to shrug my shoulders and mutter “eh, good enough” about the scenes and sequences that led up to this point.

They’re definitely far from perfect, and without a doubt will be totally different as future drafts come into play.

Let’s pause to consider the phrase “future drafts.” As in “there will be more”, emphasis on “will”. Not “might”. “Will”.

I recently connected with another writer on a networking site, and they ended our introductory correspondence by letting me know they had first drafts of their scripts available to read.

I sincerely hope not.

Unless you’re looking for feedback, don’t show your first draft to anyone. Ever.

The first draft is the attempt to put all your ideas into some kind of order. Know going in that it won’t be pretty, and will most likely be a big mess requiring a ton of fixes. Not a bunch of little edits, but huge, drastic steps. The end result should look totally different from what you started with.

Don’t regard rewriting as a chore or a slog. It’s something you have to do on a regular basis. It makes the script better and helps you become a better writer.

Consider the last script you wrote. How many drafts did it require to get to the point where you finally said it was done? And wasn’t each successive draft a little better, until the final draft turned out significantly improved compared to the very first one?

That’s what you should be going for. Every single time.

Got an A for my Q?

Gimme the straight scoop, pal
Gimme the straight scoop

Every time I connect with somebody on some kind of social media or community forum, I ask the same question:

How are your latest projects coming along?

It’s always a wide variety of genres in various stages of development, and always nice to hear.

Here’s what’s going on with me.

-Still trudging my way through the revamp of the outline for the pulpy adventure spec. I’m somewhere between the midpoint and the page 75 plot point. It feels a bit disoriented as I work my way through it, but it should get better as I push my way forward.

So how about you? What’s occupying your time these days?

Q&A with 2014 Table Read My Screenplay winner Nick Schober!

With so many contest deadlines looming, here’s a tale of encouragement in the form of an interview with Nick Schober, winner of the 2014 Table Read My Screenplay competition.

I met Nick through Twitter (@nicschober). He’s a great guy.

Enjoy.

sundance 3

1. How did you get your start as a writer?

I guess I’ve always been writing, just for different reasons. In college I knew I wanted to work in the industry, but I was sure I wanted to be a director of photography… and then an editor.. then a director, and so on, and the only way to constantly hone those crafts was to write material. After I took a serious run at producing a few years ago, I realized writing was my favorite part of the process and I’ve been at it ever since.

2. What’s your script about, and how did you come up with the story?

GIVEN is a story about a wealthy widow who offers her vast fortune to a local slacker in exchange for one small favor… that he kill her. The concept originated as a “first 15” contest put on by The Writer’s Store. They provide a logline and everyone submits 15 pages based on that. I think the original logline was something about a New England matriarch offering her fortune to anyone who would grant her dying wish. I thought the twist of her asking someone to kill her would grab attention.

3. What was it about Table Read My Screenplay that made you want to enter?

I think I saw the emails about this contest shortly after I found out I did not win The Writer’s Store contest. I figured this was good a time as any to jump back on the horse. Besides that, the opportunity to go to Sundance and have your screenplay read by actors is a once-in-a-lifetime opportunity. Also, as with any good contest, they blast your script out to their network of producers and agents, which is the name of the game.

4. What was your reaction to winning?

I tried to play it cool when I got the call from the organizers but I promptly called my wife and yelled at the top of my lungs. It was pretty awkward considering I was still at work. You can’t help but wonder if you really have what it takes to do this, and things like this are a great signpost to look back on when you need encouragement. 

sundance 2

5. As the contest’s name says, there was a table read of your script at this year’s Sundance Film Festival. How did that go?

It was amazing. They had a conference room at the Waldorf in Park City and cast some excellent actors who really went for it, even though it was just a table read. Harvey Weinstein was having breakfast right outside the door. They also recorded the audio and sent it to me to for review. It was invaluable to hear your words spoken. You can truly understand the importance of timing, what works and what doesn’t.

6. What was your overall experience being at Sundance?

It was a blast. The organizers put us up in an amazing house walking distance from downtown. They set us up with a few movie screenings and also got us into a few parties. It was an intense exercise in networking, especially for a serial introvert, but I made a couple of good contacts.

sundance

7. What’s been happening for you and your script since then?

Since then, I’ve jumped headfirst into trying to get this sold. I’ve uploaded my script to The Blacklist, submitted to all the major contests, and recently started querying. I’m also developing a few other ideas and trying to write every day.

A hearty congrats to Nick!

There are lots of ways to establish a career as a screenwriter. Winning or placing in a contest is just one of them. So keep on rewriting and polishing that latest draft, send it out there and see how it goes.

And in case you don’t make it past the first round (which does happen), more contests now offer notes and feedback, so you can make a few more fixes to make your script that much better.

Good luck!

What’s wrong with PG-13?

One of the two movies which resulted in the creation of this rating
One of the two movies which resulted in the creation of this rating

In recent discussions with other writers, I’d be asked what I was currently working on. I’d mention the western and mystery specs, and give a thumbnail description for each.

Among the responses I’ve come to expect is usually the follow-up question:  “Who’s your target audience for that?”

Everybody.

While what I write would probably be too much for very small children, there’s no reason it couldn’t be enjoyed by anyone between 8 and 108, as the saying goes.

In addition to all the usual criteria, I want to make sure the story is interesting enough so it would appeal to a wide spectrum of viewers, as well as keeping the content dead-center on that fine line between “not enough” and “too much.”

One writer sent back his notes on the western. He had some very good comments, but some of them seemed to be through a DJANGO UNCHAINED filter (which he also admitted being influenced by). It was suggested I go for a more intense level of violence in some scenes.

Which would be fine if I were writing something that was a hard ‘R’, but this isn’t.

I’m just more of the family-friendly sort, and there’s absolutely nothing wrong with doing that kind of material. (FROZEN has earned $350.7 million so far. Not too shabby, with the sing-along version ready to be unleashed.)

Although I want my stories to be fun and exciting, it’s also important to me they respect the audience’s intelligence, no matter what age they are, while also being fairly easy to follow.

I appreciate it when a movie does that, and hope to keep the practice going.