Hang on! We’re going back to almost where we just were!
The previous draft of the mystery spec was a nice round 100 pages. As this rewrite continues, I just hit page 90 and I’m still in the last quarter of Act 2, so there’s probably somewhere around 20-30 pages left.
Not too bad, and as I move ahead, I’m already thinking about what needs to be fixed in the rewrite after this.
The constant question during initial writing and each subsequent rewrite is always “How can I make this better?”
Even as I crank out pages, the wheels are already turning as to what changes and improvements to implement. Honestly, sometimes it’s a little dizzying trying to keep track of everything.
This is just a part of the whole process, but it seems to get a little easier with each rewrite.
-Contest news update! The western has been submitted to the PAGE and the Nicholl, with maybe 2-3 more targeted for later in the year.
Fingers, as always, firmly crossed.
In the meantime, focus has switched back to the current ongoing projects because the arsenal must continue to build and it’s never too early to get ready for next year.
When you get feedback on your work, you have the luxury of being able to pick and choose which comments and suggestions you’re going to use, and disregarding the rest.
It’s only one person’s thoughts, right? Maybe there’s a worthwhile nugget or two in there.
But what if more than one person makes the same comment? If those folks mentioned it, it might be likely more are going to as well.
Take a look at what they’re saying. Can you understand why they said it, and more importantly, what can you do to fix it?
Such was the case for a pivotal plot point in my western spec. At least three people asked “Why does this character do this?”
Each claimed it didn’t make sense and felt contrived, like it was happening because the story needed it to, rather than being set up organically.
If one person had said this, I would have thought “Maybe I’ll take a look at it.” After the second and third piped in, it quickly changed to “How can I fix this?”
It took some work (mostly with the dialogue) to set things right, so not only does this character now feel more fleshed out, but their actions come across as more believable, there’s more conflict between them and the main character, and the flow of the story is smoother.
A writer’s ego is already a sensitive thing, but what’s more important? Thinking your work is perfect as is and doesn’t need any changes, or being willing to make those changes to make it better?
Maybe it’s a little fix or maybe it requires a major overhaul. No matter what, you’ve got some work to do.
After a great discussion of his notes for the western spec, my manager’s script guy said those words I have always and will probably continue to dread.
“All we need now is your logline and one-pager.”
Ugh.
You know that feeling of loathing when there’s something you really don’t want to do, but know that you absolutely have to? That’s exactly how I felt, and from what I understand, I’m not alone in this.
But like I said, it had to be done.
First up was the logline. I’d already spent a lot of time working on this, so most of the heavy lifting was out of the way. Turns out it just needed a little tightening up, so yay on that front.
Which brings us to the one-page synopsis.
Double ugh. Calling it the bane of my existence is a little harsh. More like a necessary evil.
Using what I did last year for DREAMSHIP as a model, I opted to put it together like a slightly extended version of what you would read on the back of a paperback novel.
A quick overview-setup establishing the major character and main storyline, then some hints/teasers at what comes after things really get started, followed by a sort of cliffhanger about the ending.
As was explained to me, to convert the potentially-interested into the definitely-interested, the synopsis has to really capture the tone of your script and not focus as much on what happens. The more concise and descriptive you can be regarding what the story’s about rather than the story itself, the better. Go into too much detail and you’ve lost their interest.
It took a few attempts, but in the end I had what I consider to be a pretty strong synopsis. There will most likely have to be some rewrites, but that’s okay. The hard part’s done.
In the meantime, it’s back to the mystery spec rewrite. Rest assured that as I work my way through the second half, my always-reliable subconscious will keep reminding me of one absolute truth:
“You know you’re going to have to write a one-pager for this one too, right?”
When exactly are the days of auld lang syne again?
Things definitely changed for me during 2013, happily for the better.
-My script DREAMSHIP got me a manager, was a semifinalist in a high-profile contest and placed in the top 15 percent of the Nicholl. While I hope more things happen with it this year, I’m also pretty excited about the potential of the western spec and the two still in the rewrite/development stages.
Most importantly, I’d say I finally realized the true meaning of “write what you know”. A lot of what I write could fall squarely into the category of pulp material. A high-flying adventure guaranteed to buckle anyone’s swash. A western where you can practically breathe in the dry and dusty air and hear the thundering hoofbeats. A noir-style mystery that makes you want to hang on to your fedora as you toss back a shot of cheap rotgut.
I live for this kind of stuff, and strive to convey the same kinds of sensations and experiences in my work. It took a while to really understand this, but it’s made a significant difference for me and how I approach writing.
-Through this blog, assorted networking websites and writing forums, I’ve connected with a lot of extremely talented people from all over the world. Pleasantries, experiences and script advice have been exchanged, and I’m looking forward to continuing all of them (when possible, regarding the latter).
-Absolutely nothing happened with relaunching the podcast, mostly because I never found the time. Will do my best to change that.
-I ran 5 half-marathons, including two where I finally managed to break the 1:55 mark and set a new personal best – 1:51:10. I don’t know if I’ll do as many this year, but would like to try and at least hit 1:50.
-The running and bike riding definitely helped me stay in shape, and I attempted to maintain a semi-regular regiment of upper body work. Not as fit and toned as I’d like to be, but it’s helped a little. This will continue.
-The great baklava experiment was a smashing success. It’s been requested I make it again, this time with pistachios instead of walnuts. No reason that can’t happen. Still undecided about what new concoction to attempt this year, but baked alaska currently holds the frontrunner position.
As always, I’d like to thank you for coming along with me on this thrill ride of an experience, and hope you stick around because 2014 holds bigger and better things.
The end of the latest polish of the western spec is at hand, with just the last few pages needing some work.
Various subplots are being wrapped up, and I know what happens with the characters involved, but all of my attention now is focused on what may be the most important scene in the whole story: the main character makes a literal life-changing decision.
Notes from a few trusted colleagues indicated the decision as it stands now seems out of character. I’d known since starting this project that this was how I wanted this storyline to end. Changing it was out of the question.
Bonus points for those who’ve probably already figured out what happened next.
Their suggestion kept making more and more sense. My main character would not choose this, despite me wanting her to. But the story’s not about what I want. This change had to be made.
Now that I’ve opted to take things in this new direction, I’m working out a real heart-wrenching scene that depicts the character in the process of making this decision and the toll it takes on her. Conflict, character development, moving the story forward – all based on her.
It’s often been said that your characters will let you know how things are supposed to go.
It’s too easy to have a character do something because that’s what you would do. The challenge is to have them do something you wouldn’t, but you have them do it because that’s the kind of character they are.
Maximum Z 