I admit it. I was weak. I couldn’t resist. The urge was just too overwhelming.
So I accepted the reality of the situation, and just went ahead and did it.
I went back and revised the pages I’d already written for the pulpy adventure spec.
No regrets.
The character that shouldn’t have been in there was cleanly removed, but in the process of doing so, a new idea emerged with a way to further weave some of the subplots together. Always nice when that happens.
Engaging in this mini-rewrite also provided me with the opportunity to take a step back and just read. Was it still working? Were my aspirations of producing a ripping yarn being achieved?
Seems that way so far. Then again, I’m slightly biased.
Some notes I got on an earlier draft of the western were along the lines of “it’s good, but the writing’s a little dry.” With this script, there’s more of an effort to avoid repeating that by really punching things up.
I’m getting a real kick out of seeing what I can do to make this an exciting read for anybody, including myself. Many’s the time I’ve heard that you should be able to see the writer’s love for the material on the page. That’s something I’ve always tried to do, and working on this script is no exception.
So after this temporary pause, things are back on track. Momentum will be regained, and progress shall continue.
Exciting times all around, chums.
-Friend of the blog/consultant Jim Mercurio is running a crowdfunding project for his latest film project American Neorealism. It’s VERY close to being funded, and there are just a few days left, so donate if you can to help him reach (or even surpass) that goal.
Well, 2016 is pretty much in the books. I hope it was a good year for you, writing-wise.
Mine was okay.
Among the more noteworthy events:
-I completed the first draft for 3 separate scripts. 2 comedies, 1 sci-fi.
-One of those comedies was written, edited and rewritten/revised over 10 days.
-My western made it to the top 15 percent in the Nicholl and was one of the top 100 in the Emerging Screenwriters competition, but did not advance with PAGE or Austin.
-Several read requests from managers and production companies. Unfortunately, everybody passed with the commonly-used “Just not what I’m looking for.”
-Built up my network of talented writers located all over the world, along with numerous getting-to-know-you in-person chats with those in the immediate geographic vicinity.
-Organized and hosted a very successful and enjoyable networking event for screenwriters. In a deli. A block from the Pacific Ocean.
-Took part in script swaps for somewhere in the neighborhood of 15 scripts.
Not a bad compilation.
As for 2017, the usual objectives:
-Along with the aforementioned rewrites, complete the first draft for at least 2 or 3 new scripts.
-Continue the quest for representation. Already a few potentials on the horizon.
-Based on how my western did in the Big 3 contests, I’m torn between seeking professional feedback for one more polish, or just leaving it as is and trying again next year.
-Continue providing notes and doing script swaps.
-Look into hosting another networking event, probably at a bigger venue.
-More networking and establishing connections with more talented writers.
-More getting-to-know-you in-person chats.
-Watch more movies.
-Read more scripts
-Stay confident. Be patient. Not lose hope, even on the shittiest of days.
-Keep trying to make this work. Eyes on the prize.
And a final note to all you loyal readers – thanks for coming along on this rollercoaster ride of a journey. I hope you’ve enjoyed reading about it as much as I’ve enjoyed writing about it.
All the best from me to you for a very happy and successful 2017. Fingers remain, as always, firmly crossed that this is The Year It Happens.
“When someone tells you it isn’t working – they’re almost always right. When they tell you how to fix it – they’re almost always wrong.” – Neil Gaiman
Many, many years ago, when I was just starting out in radio, I’d put together a demo tape of some of my on-air material and asked some of the veteran DJs at the station if they’d give it a listen.
One guy had several positive things to say, but also pointed out ways of how I was demonstrating my still-green abilities. He made some suggestions about how to fix that, which would, in theory, help me get better. They did.
The second guy started with “It’s good, but here’s how I would do it.” I honestly don’t remember anything he said after that because I simply didn’t care how he would do it.
There’s a very similar approach to how one gives notes on a screenplay.
When I give notes, I read what’s on the page and offer up my opinions of how it could be potentially be improved (from my perspective). A lot of the time it involves questions like “Why is this happening?” or “How do we know that?”
Or if something doesn’t work, but I understand what the writer’s trying to do, I’ll ask “What if you tried THIS (different approach) that yields the same results?” They may not take that suggestion, but it might trigger something new and unexpected.
I totally get that this is their story, and my only interest is in helping them make it better. By asking questions that only the writer can answer, the responsibility of coming up with and applying any fixes falls squarely on their shoulders.
I also make a point of trying to be objective. I may not be a fan of your story’s genre, but that doesn’t mean I’ll automatically be negative in my notes. What I will do is approach it from a “does it tell a good story populated with interesting characters and situations?” perspective.
And then there are the notes that want to take your story in an entirely new direction. The ones that take it upon themselves to change your story because “that’s not how they would do it.” I’ve gotten quite a few of those.
But what if how you would do it is different than how I would?
Sometimes it’s a suggestion that runs counter to the story you’re trying to tell, or it might have absolutely nothing do with the story at all. I’ve even received the always-appealing “This was great, except for this one small thing I disagree with/don’t like, which ruined the rest of it for me.”
Everybody’s going to have their own opinion, but the one that counts the most is yours. Even if it doesn’t feel that way now, only you know what the script really needs, and you’re going to get all kinds of responses when you seek out feedback.
Some of it will be very helpful and insightful, some definitely won’t be, and in the end it’s really up to you to decide which notes you think provide the most guidance to helping make your script better, which will in turn help you become a better writer.
“Not the insightful script analysis from a seasoned professional I was hoping for, but a Rolex is nice too.”With the holidays coming up fast, and you’re just not sure what to get the screenwriter in your life, take a gander below at all the great gift choices available. What better way to show your support in helping them be a better writer in 2017?
And if you opt to splurge on yourself by purchasing any of the services being offered, they should count as tax-deductible (but double-check with your accountant, just to be sure.)
Keep in mind a lot of these offers are time-sensitive, so don’t delay and order today!
-Writer-director-producer Jimmy Day has launched the new Write12BlockScripts script consulting service. Mention Maximum Z when ordering and he’ll take $50 off, and that applies to both full script and 30-page reviews. Contact Jimmy here.
-Consultant Phil Clarke wants you to take advantage of getting his script services at the 2016 rates before the new 2017 rates kick in on January 1st. Visit www.philmscribe.com for details on a script consultant with bonafide, rarely rivaled industry experience, or contact Phil here.
-Story analyst Jim Mercurio is offering a 48-hour flash sale with 50% discount on several services. Get up to 20 pages of notes and save up to $600 on Jim’s Snapshot Evaluation, Comprehensive or Professional Analysis Services. Even if your script’s not ready to send right away, sign up the end of this weekend and submit your script anytime through the end of January. Contact Jim here.
-Writer-consultant Philip Hardy’s The Script Gymnasium is offering up the 2016 Holiday Special of $99 for full script evaluation and notes. This offer is good through December 31st. Contact Philip here.
-Consultant Andrew Hilton (aka The Screenplay Mechanic) will give a $10 discount on any of his services through January if you mention you were referred via Maximum Z. Better hurry! Spots are filling up fast!
-Consultant Danny Manus has a special holiday deal in place: purchase any Basic or Extensive Notes Service now thru January 1st and receive the 2-hour webinar “Mastering the Short Pitch” FREE! (normally $49) when you reference Maximum Z. Contact Danny here.
-Writer-consultant Mark Sanderson is offering a holiday discount of $25 off all consulting services. The offer runs through December 31st, but can be used throughout 2017.
-Consultant Lee Jessup is offering a 15% discount on her one-on-one career coaching services if you use the code MyPalPaul.
-Consultant Barri Evans is offering 15% off all services purchased between now and January 4th. Check them out here, or contact Barri here to discuss the best option for you. Services range from pro help on crafting powerful loglines, queries, and pitches to script consults offering one-on-one interactive feedback, as well as mentorship to meet your every need. Plus, be sure to check out her free Logline Thumbs Up or Thumbs Down on her consults page!
-Writer Bill Martell is having a sale until December 26th on the mp3’s of his audio classes: half-price for the Classic Class Set and the Naked Screenwriting Class. Bill also has a wide selection of e-books.
-And when you decide to take a break from writing and just want to lose yourself in a good read, Brian Fitzpatrick’s screenplay-turned-novel Mechcraft is slated to be published by Inkshares in 2017. With the visual intensity of The Matrix combined with the wonder of Harry Potter, pre-orders for Mechcraft are being taken now! Check out the site, the reviews, and sample chapters here.
A bit preoccupied with reading scripts, giving notes on some of ’em, working on my own stuff, and setting up a new round of of getting-to-know-you meetings with other writers.
Maximum Z 