outlines

Working in a timely manner

Maximum Z ambition, determination, editing, feedback, goals, motivation, notes, organization, outlines, output, perseverance, persistence, preparation, productivity, query letter, rewriting, Rocky & Bullwinkle, screenplay, screenwriting, script, structure, time, writing
train conductors
“Now that’s something you don’t see every day, Chauncey.” “What’s that, Edgar?” “A writer setting a schedule and sticking to it.”

Following the lead of some of my writing colleagues, I’m making more of an effort to establish a sense of order and structure when it comes to my writing and all things connected with it.

It used to be “Write when you can!,” which in a way it still is, but more layers and categories have been added to the mix.

-First and foremost, the setting aside of at least an hour a day to work on one of my own projects continues, be it outlining, writing, editing, rewriting, or polishing. This remains the primary objective.

-Networking. While connecting with people is easy, maintaining those relationships takes effort, and can quickly become time-consuming. As much as I enjoy conversing (albeit online) with people, I try to keep it to a minimum – unless it’s relevant to the project of the moment.

-Related to that is the reading and note-giving for other writers, especially those who were equally as generous with their time to do the same for me. I may not always be on schedule about it (something I’m trying to improve), but I make a point of getting it done.

-Career-building. This mostly involves researching potential recipients for pitching and queries, which means diving head-first into the scavenger hunt that is IMDB Pro. While most of the time the contact info is accurate, sometimes it’s out of date (people move on), or there’s no contact info whatsoever, or the person or company in question hasn’t existed for years.

*True story – researching an agent, I’d discovered they’d apparently died several years before but the email was still in operation. I opted not to query them.

-Overall stayin’ organized. I’ve started jotting down each day’s objectives and “must do’s” in a little notebook, and checking off items as they are accomplished. It’s been very helpful in making me stay focused on what needs to get done, rather than hoping I remember later on.

All of this is still somewhat early in the process, but so far, so good. That feeling of being in control helps make the whole thing seem a little easier, as well as feeling like stuff is actually getting done.

How about you? What steps are you taking to be more organized with your writing?

Looking back (and a peek ahead)

Maximum Z ambition, appreciation, blog, consultants, craft, determination, draft, feedback, goals, half-marathons, ideas, inspiration, motivation, multitasking, networking, outlines, output, passion, perseverance, persistence, pitching, productivity, professionalism, query letter, running, screenplay, screenwriting, script, social media, story, storytelling, success, westerns, writing
sleeping
Me around 10:30 on New Year’s Eve

As the end of the year gets closer, one can’t help but be a little reflective of how the past 12 months have gone, and in this context, it’s all about the screenwriting and its related subjects.

-My western. A labor of love finally put to bed once and for all. This script has gone through A LOT of changes, and both I and it could not have gotten to this point without the sage feedback received from many of my trusted colleagues.

-Other scripts. Over the course of this year, I completed a first draft and two outlines (with a third in its final stages), all for separate scripts. I may not be as productive as I’d like, but think this is still pretty good. I’m hoping that at least two of these will be completed scripts by this time next year.

-Establishing a career. I’ve always said that each draft of every script gets me a little closer to accomplishing that dream of being a working writer. 2015 saw some strong progress on that front. My writing’s getting better, I discovered I’m pretty good at pitching, and found out the hard way what should and shouldn’t go into a query letter. It’s an ongoing learning process, but I’m getting there. Hopes are high of moving to the next level or two in 2016.

-Networking. The number of writers I’ve connected and interacted with has definitely grown by leaps and bounds. Some have been in person, while most have been via social media, but the benefits have been tremendous all around. From exchanging script notes to being a sounding board for ideas to plain old moral support, you couldn’t ask for a more helpful bunch of folks. Hopefully they got as much out of it as I did. Highly recommended.

-Running. After involuntarily taking a year off, I got back into the habit of going for runs and took part in four half-marathons this year. Didn’t set any new records, but stayed within my realm of expectatins. Really glad I did them and already looking forward to the ones next year. How does this relate to screenwriting? Well, apart from the standard quote of “It’s not a sprint, it’s a marathon (or half-marathon, in my case)”, it’s about determination, endurance, perseverance, and setting a goal and working towards achieving it. All necessary elements involved in writing a script.

-The blog. This year saw the wrap-up of my series of interviews with scripts readers and consultants. I still keep in touch with a lot of them, and happy to say that a lot of those posts continue to get hits. Thanks to all of you for that. In the meantime, no big changes planned for what you read around here, but I’ve got a few ideas.

Thanks for reading, happy new year, and may we all get some kickass writing done in 2016.

 

Is your story worth fighting for?

Maximum Z comedy, encouragement, entertainment, feedback, Gary Cooper, High Noon, loglines, mystery, networking, originality, outlines, pitching, professionalism, screenwriting, script, story, westerns, writing
Will Kane knows what it's like to feel like one against everybody else
Follow Will Kane’s example (except without all the shooting and stuff)

The rewrite of my mystery-comedy has been put on hold because I’m teaching myself how to write a mystery, or at least how to be better at writing one. I bought a book and everything.

But I also don’t want to not be writing, so I’ve also decided to return to the low-budget comedy. It’s been a while since I’d read the outline, but it holds up more than I thought. Sure, it needs work and there are some spots where it says something like “SOMETHING FUNNY HAPPENS!,” but overall, I like it (hold onto that statement for just a bit).

Several months ago, I’d had the opportunity to have a brief chat with a writer who specializes in comedy. He asked what I was working on, so I pitched him the idea. He liked the concept, but was quick to poke holes in the story vis-a-vis the logline (which has since been rewritten), and didn’t care for how I had the story play out (as delivered in my thumbnail presentation).

“X should happen instead of Y! Having THIS CHARACTER connect with THAT CHARACTER is all wrong!” Plus some additional words to that effect.

Gosh.

I wasn’t expecting a standing ovation, nor did I expect it to be proclaimed a work of genius, but if this guy didn’t care for what I had, did that mean it was doomed before I even started?

Nope. Quite the contrary.

Several key things I had to remember:

-this was his opinion. One person, which is not a majority.

-his sense of humor and comedy stylings could be totally different from mine.

-it’s a work-in-progress in its very early stages. The end result will most likely be very different from the starting one.

-I think it’s a good story. Always have, always will. I have no intention of abandoning it or making any significant changes so as to gain his approval. I’m not writing this for him.

Every writer spends a lot of time coming up with story ideas, and then developing them as far as they’ll go. Stick to your guns if you believe in your story, but don’t totally block out advice and suggestions. Use what you think works best. Remember – this is YOUR story. If you think it works, then by all means, do what you can to make things happen.

It’s great when you get encouragement, but you’ll also encounter a lot of naysayers (“I don’t get it/like it, so it must be a bad idea.”). It’s all subjective. Everybody likes different things. If you believe wholeheartedly in your story, you have to do your absolute best to get the rest of us to be just as interested in reading it.

Just make sure to tell that story in the most entertaining, original and professional way possible. That’s all.

Oh, the possibilities! – OR – It’s nice to have choices

Maximum Z adventure, comedy, high concept, outlines, rewrite, screenwriting, script, self-confidence, westerns, writing
Either way, I win
Either way, I win

With the books officially closed on my western spec (unless someone of influence wants to develop it further? Operators are standing by!), a certain question has been popping up on a regular basis:

“So what are you working on next?”

(This is a close relation of that other inevitable question: “What else have you got?”)

Any writer should have an answer ready. Doesn’t matter if it’s one script or three or ten. I’ve said it before, but it can’t be emphasized enough. The more you can build up your arsenal of material, the better.

Not only does this give you more scripts, but it also means you’ve been doing a lot of writing (and rewriting), which can only help improve your skills and the quality of your material. One of the things I’ve noticed from doing rewrite after rewrite is that each subsequent draft is a little better than its predecessor.

I try to always be working on something. Whenever I’d take a break from the western, my focus would shift to another script. Results always varied; sometimes I’d get farther along than expected, or not as far as I’d wanted, or just kept going until I got to a point I considered enough. It was all prep work for each individual project, with the underlying message of “it’s all part of the process”.

So where am I now?

I’m feeling fortunate in that I’ve got several scripts to choose from, some of which have multiple drafts, whereas others are still just an outline-in-progress. No matter where they are in the development stage, the heavy lifting is already out of the way in that they exist.

All of my options are viable (to me), each for its own reasons. Do I want to go high-concept or low budget? Comedy or popcorn adventure? There is no wrong answer.

I haven’t made a final decision as to which script I’ll work on next, but whichever one it does end up being, it’ll be the right choice for me, and I’m pretty psyched about getting started on it.

Again.

Something awfully familiar about this – OR – Already seen it

Maximum Z adventure, editing, movies, outlines, pages, plot, plot points, pulp fiction, reading, screenwriting, sequence, spec, story, storytelling, structure, subplot, The Matrix, writing
Not exactly the same, but mighty darn familiar
Whoa.

I was THIS CLOSE to being done with the latest version of the outline for the pulpy adventure spec when my writer’s sense starting tingling.

“Something’s still not right!” screamed out my internal editor.

What? That couldn’t be possible, could it? I’d spent the past few weeks being oh-so-meticulous in reorganizing sequences, working out subplots and connecting story points. How in the names of Walter Gibson and Lester Dent could there be a problem?

I looked at the outline with a more critical eye.

Opening sequence – check.
Intro of hero, establish his world – check.
Hero’s world drastically changes while raising central question of the story – check.
Complications ensue – check.
Midpoint where hero becomes fully committed to achieving his goal (accompanied by reminder of the central question) – check.

Wait. Back that up a little. To right between the “Complications” and “Midpoint” parts.

Hokey smokes, there it was. Cue the flashing red light bulb (with optional klaxon).

Two consecutive sequences just way too similar to each other. This is what’s been bothering me.

No doubt about it. One of ’em has to go. Probably the first one. You’d think it would be no big deal to just go in and change it.

And you’d be kinda/sorta wrong.

The events that happen during these two sequences are vital to the story, so the outcome needs to stay the same. The tough part now is figuring out how to change the “what happens” in that first one so not only is it unique enough unto itself, but also falls neatly into the overall structure of the story.

As always, a daunting task. For now. But potentially solvable given some time and exploration of possible alternatives.

I cannot stress enough the importance of why you should outline your story before even considering starting on pages, and being extremely thorough about it while you do. This is where you get all the heavy lifting done by figuring everything out. Where it’s a lot easier to identify the cracks in the foundation. Where it might take you a few passes to realize what works and what doesn’t.

Then again, this is how I do it, so your approach may be totally different. But speaking for myself, I prefer to go back in and fine-tune a couple of scene descriptions consisting of one to two sentences, rather than labor my way through several pages, then have to totally junk them because they’re not working.

So my focus for the time being is fixing this, then going through the whole outline a few more times, making adjustments where necessary, until I think it’s done/ready for conversion into pages.

-Got to see JURASSIC WORLD and INSIDE OUT last week. Both very enjoyable, but for very different reasons. Of the two, I’m more interested in seeing INSIDE OUT again, mostly for the writing and storytelling aspects.

Regrettably, still haven’t seen MAD MAX: FURY ROAD yet. Of all the summer releases, this feels like the one that must be seen on the big screen. Will do what I can to rectify that.