The solution to your problems is somewhere in there
Finding time to work on the outline of the rewrite has been a bit challenging these days, but I’m managing. I do what I can to make the most out of a limited timeframe. Do this often enough, and it actually gets easier.
One of my biggest concerns with this new draft was “what if I can’t think of anything?”
Trying to figure things out had been bothering me for the past couple of days. No matter what I was doing, I’d be going over potential scenes and scenarios in my mind. How about this? Does this work?
All that was missing was the cartoony stormcloud over my head.
So I’m riding my bike home from work. All of a sudden, a metaphoric lightning bolt springs from that cloud and hits me dead center.
A small idea pops in. Just a two-word phrase, but within it is the potential to have a widespread impact throughout the rest of the story.
This then triggered a steady flow of still more possibilities. If I redo this part, then this could happen, thereby changing that and the other thing around completely.
How could I not see any of this before?
Writer’s block happens to everybody. It can be extremely frustrating, but you can’t let it stop you. It takes time to break it down, but don’t force it.
Do what you can to encourage your creativeness, and eventually it’ll be a lot more cooperative. Once you have that breakthrough, you’ll feel like there’s nothing that can stop you.
-I’ve been burning through my stash of unplayed podcasts at a rapid pace (including Scriptnotes), so I’m looking to add maybe one or two more to my library. Any suggestions?
-Since my current project has a 40s/50s noir vibe to it, playing era-appropriate music on Pandora really helps capture the mood (dig that crazy sax, man). I may even don my fedora while I write to complete the transition. If I enjoyed scotch or bourbon, there’d definitely be a glass of it on the desk. Guess a stiff cup o’ joe will have to do.
-My original intent with the rewrite was to completely start over, but the more I read the previous draft, the more potential I see. For now, it’s all about figuring the best way to combine ideas and elements from both.
-If there’s a writer whose work you really like, find out if they have a website, blog or on Twitter and send a friendly note telling them exactly that. Everybody likes a little compliment now and then.
-Could somebody please tell Netflix to get their act together and put Season 3 of THE WALKING DEAD and Season 7 of DOCTOR WHO on streaming? Haven’t we waited long enough? This might be my chance to finally start watching BSG, BREAKING BAD or MAD MEN.
-Definitive sign autumn is here – pumpkin pop-tarts (or toaster pastries, if you want to avoid the copyright infringement) at Trader Joe’s. They’re…okay. Maybe I’ll just make more pumpkin bread instead.
-Hope your latest project is going swimmingly. Enjoy the weekend, and try to write something.
It’s not about speed; it’s how you handle the course
Finally, finally got to type in those illustrious words FADE OUT, which brings the first draft of the western spec to a satisfying close.
It’s very tempting to read it and see what needs work, but at this point, I’m opting to let it sit in hibernation while shifting the focus to the rewrite of the mystery-comedy.
While the previous draft is a more solid foundation than I thought, there are still some ideas I’m looking to incorporate.
Rather than jot a few down at a time, or hope inspiration hits every once in a while, I’m opting for a method that’s proven quite helpful in the past: the writing sprint.
Set aside 30 minutes. Just you and a blank page (paper or digital – doesn’t matter, although digital might be easier & faster to work with). Once that timer starts, write out scene ideas as fast as you can. Don’t stop to think if they’re good or not. Just crank ’em out.
It’s not a bad thing to write what you already have, but maybe you’ll come up with something you never thought of, or suddenly hit on a solution to a problem that’s been bothering you. Feel free to even take things a totally new direction. For now, there are no bad ideas.
It’s possible you could run out of gas before time runs out, but push yourself to keep going.
Once the 30 minutes is up, take a look at what you’ve got: a ton of (mostly) new material.
Pick and choose what works for you now, but make sure to hold on to the rest. Inspiration could hit from any of them, and you never know what might come in handy later.
How I originally intended to approach this rewrite
Since it really has been years since I last looked at my mystery-comedy spec, and not wanting to be too heavily influenced by what I’d written before, I figured this rewrite would be completely fresh. A clean slate. Blank page from the get-go. A whole new ball of wax.
I sit at my desk, all set to open those floodgates. My notebook’s open to this new set of plot points, ready to be fleshed out. Pandora cranks out the sounds of the Rat Pack and the 50s jazz club scene (appropriate mood music for the story’s setting). A hot cup of joe within reach. Overall, a perfect writing scenario.
So what thought immediately pops into my head?
Yep. I’m gonna check out what I wrote before. But just out of curiosity. It’s not like I’m going to keep the whole story. Besides, it’ll be interesting to see how far my writing’s come since then.
This is also why you should never, ever throw away old material. You never know when you might come back to it.
I open the 1-pager. Okay, I remember this part. Wait. I don’t remember that. Whoa, where did that come from? Wow, this is a lot more detailed than I remember.
Finishing that, I automatically wonder how the script reads. A few scenes stick out in my memory, but most of it is long forgotten.
I’ll just take a look at the first few pages. Promise.
Hmm. Not as bad as I thought. Some of the dialogue is a little too on-the-nose. Too many adverbs. Character descriptions could be better. Some good set-ups I instantly recall how they pay off. This subplot’s a little weak.
A quick glance to the upper right corner to see what page I’m on. 26 already? Hokey smokes, this thing is flying by.
By now I feel almost obligated to finish reading it. 35 minutes later, I did.
The overall consensus: still needs a lot of work, but a much more solid foundation to start with and there are some ideas I’d like to incorporate. It’s kind of reassuring to know I’ve already taken care of a lot of the heavy lifting.
A few days ago, I was concerned this was going to be a real slog, but now – not so much.
Safety goggles are optional, but typing in work gloves is darned near impossible
This is a time of overlap, chums.
The final wrap-up of the western spec draws closer, despite realizing a new wrinkle – I need to show what happens to one of my supporting characters, rather than tossing that info out via a line of dialogue. This will also require a little set-up somewhere in the latter half of Act Two, but I think I’ve found a good spot for it. Then off it goes into the digital waiting room that is my hard drive.
As that door closes, the one into the rewrite of the mystery-comedy spec reopens. As much as I’d like to really jump into it, this is definitely going to require baby steps and lots and lots of planning. Since it’s been a very long time since I read it, I opted to start completely fresh, which meant figuring out my plot points.
I can’t recommend this enough. It doesn’t matter if you’re starting a new story or rewriting an old one: KNOW YOUR PLOT POINTS!
You know that expression about how a screenplay is like a blueprint for a building? Think of the plot points as the load-bearing support beams that hold everything up. Without them, everything will come crashing down.
So get yourself a blank page and, based on how well you know your story, jot down the following:
page 3 – statement of theme. You may not know it when you start, but having a general idea about it can help shape the story AND influence each scene
page 10 – inciting incident. Serves multiple purposes – gets your main story started, shakes up your protagonist’s world, raises the main question of the story
page 17 – a little twist in the action that continues to push your protagonist out of their comfort zone
Act 1 turning point – your protagonist enters a totally new environment; the main story question is once again raised
page 45 – another twist for your protagonist
Midpoint/Point of No Return – your protagonist becomes fully committed to achieving their goal
page 75 – another twist (yes, seems redundant, but each one of these has to make things harder for your protagonist)
Act 2 turning point – ALL IS LOST. Looks like your protagonist has no chance whatsoever of reaching their goal
Climax – your protagonist starts to turn things around, leading to a final showdown with the antagonist
Resolution – main story and assorted subplots are tied up
Denouement – how the protagonist’s life is different now
Something else to keep in mind – MAKE SURE YOUR PROTAGONIST IS THE ONE DRIVING THE ACTION! Why would we be interested in a passive main character who just reacts to things, or even worse, does nothing at all? Your protagonist should always have to go with the harder of two choices – don’t look for the easy way out.
Don’t get frustrated if you can’t figure it all out right away. You’re creating an original story, which isn’t easy to begin with. Take your time and think your way through it at your own pace. Ask yourself “What’s the best way to get from HERE to HERE?”
Once you know your plot points, then it’s on to the fun stuff: filling in the spaces between them.
Maximum Z 