rewrite

Maybe next year

Maximum Z Drive, Girls With Slingshots, Moneyball, Nicholl Fellowship, productivity, rewrite, screenwriting, The Script Adventurer!, webcomics
So close to being done, but just not enough

Based on my recent productivity, or lack thereof, I don’t think the DREAMSHIP rewrite will be ready for the Nicholl deadline.

At first I was pretty disappointed in myself. I’d set a goal, but fell short.

But while it’s taken longer than I wanted, I’d rather take the time to make sure it’s a solid piece of material, and not “good enough for now”.

And it didn’t help that my work schedule the last few weeks has been all over the map, which completely messed up my chance to just take some time to sit down and write. But it’s starting to calm down a bit, so I’ve been able to make a little headway. Latest example – 3 pages yesterday.

Besides, if things work out the way I’d like them to (re: agent, manager), I won’t worry as much about making next year’s deadline.

-In case you missed the most recent edition of The Script Adventurer!, it’ll be on again this Sunday at 7PM PST. I had the pleasure of talking with Danielle Corsetto, creator of the webcomic Girls With Slingshots. I got a very nice email from her afterward saying it was one of the most complimentary interviews she’d ever done, which I guess is saying something.

-Movie of the Moment – I forgot to post this last week, so another twofer.

-MONEYBALL (2011). Loved it. A great look at behind-the-scenes baseball. Especially poignant to me since my daughter loves the A’s. Very worthy of a Best Picture nomination; seemed more like that kind of movie than THE ARTIST or HUGO, which now come across as lighter, fluffier works.

-DRIVE (2011). Loved this too. An extremely quiet movie that simmers with suspense in a lot of scenes. Not as gory as I’d been led to believe, but a lot of make-you-squirm scenes both on- and off-camera. I was surprised Albert Brooks had such a small part, but I agree that by playing completely against type, he was (no pun intended) criminally overlooked for a Best Supporting Actor nomination.

15 days and dwindling fast

Maximum Z AMPAS, Dreamship, Nicholl Fellowship, rewrite, screenwriting
NOT the Academy of Motion Picture Arts & Sciences

The deadline for the Nicholl Fellowships is coming up fast – May 1st! – and I keep going back and forth as to whether I want to submit DREAMSHIP.

I like how the rewrite’s been coming along and think it’s pretty solid, but I want to be absolutely sure the end result is what I want it to be, which could mean another pass at it once I finish this rewrite/edit.

A tough choice, actually.

I’ll have more time to write between now and then, so I’m hoping to have a better idea of what I’d like to do near the end of the month.  Either way, I’ll end up with a script I like, and that’s the important part.

If you’ve already sent yours in, good for you. If not, are you and your script ready?

I can see clearly now

Maximum Z anime, editing, Heather Hale, Miyazaki, plot, Radioslot.com, reading, rewrite, screenwriting, story, The Script Adventurer!
Ahoy! Rewrite dead ahead!

This week’s installment of The Script Adventurer! featured an interview with the multi-talented Heather Hale.  She’s worked as a writer, a director, a producer and as a consultant, so she definitely knows her stuff. (Mark your calendars – the show re-plays Sunday at 7PM on radioslot.com)

I always like to know what key piece of advice a professional or working writer would offer to the rest of us.  A thought or phrase to jot down on an index card and attach to the wallspace in front of your working area.

Heather named two.

1. Clarity is king.

You may know your story inside and out, but if the person reading it can’t follow it or is confused as to what’s going on, then you’ve got a problem.

It doesn’t matter if you’ve got the most brilliant concept ever.  The plot and story have to be clear so anybody can pick up the script and know exactly what’s going on.

It’s up to the writer to make their story as easy to follow and comprehend as possible, or else the reader/audience will get lost in the story, and not in the good way.

2. The reader is never wrong.

You think your script is perfect. The reader knows better. It’s their job to go over it with a fine-tooth comb and look for flaws.  And unless you’ve attacked that script from every conceivable angle, fixing any potential problem you can think of, they will find them.

The reader really does want to like your script, but if you give them any reason to say no, there’s no reason to be bitter about it.  They know what they’re talking about.  Look at this as an opportunity to make your script better or stronger than it was before.

-Movie of the Moment: Three over three days!  It’s been a long time since I’ve done that, and two were actually in theatres. Wow!

THE HUNGER GAMES (2012). I read the book last month, so it was pretty fresh in my mind. I liked it, although it could have been a little shorter. I can appreciate a strong female protagonist, and it’s easy to see why Katniss has caught on.  She’s tough and doesn’t give up.  Congrats to Jennifer Lawrence for doing a solid job in the lead.

I also really enjoyed Stanley Tucci as Caesar Flickerman, the blue-coiffed TV personality with perfect teeth. A great accomplishment in casting.

My only complaint – Katniss doesn’t always drive the action forward. She’s more reactive than active in some scenes.

-THE SECRET WORLD OF ARRIETY (2010). Another animated gem from Miyazaki and Studio Ghibli, based on the classic books THE BORROWERS.  A recurring theme in a lot of their films is the main character’s coming of age. And this one is no exception. If it weren’t for 3 of the characters being 3 inches tall, this could easily pass as a stage production. Good for all ages.

-RISE OF THE PLANET OF THE APES (2011). Smart and well-written. Easy to see why this was a surprise hit last summer. Especially fun if you’re familiar with the original films. K made an interesting point in that you’re rooting for the apes to win, which would mean the eventual downfall of humanity.  Count me in the camp of those who think Andy Serkis should have gotten some kind of recognition for his mocap work as Caesar.

(temporarily) not writing = good thing?

Maximum Z editing, rewrite, screenwriting
T minus how many days?

This week has been a lot busier than expected, so I’ve gotten practically no writing done.  Which really sucks.  Or does it?

I haven’t worked on the rewrite since last week, and most likely won’t get back to it until next week.  For me not to write over a 2-week gap is really something. But while this will unfortunately push back finishing the whole thing, it could also have a positive impact.

When a writer loses their focus, it really messes up their productivity.  And stepping away, voluntarily or not, could actually work in your favor.

You’ve probably heard it.  After you’re done writing, put the finished product in a drawer and ignore it for at least a week or two.  Then when you come back to it, you’ll be seeing it with a clear head and fresh, invigorated eyes.  Maybe you’ll see a problem you didn’t see before, or at least think of a way to make it stronger.  Or maybe you’ll uncover the solution to a problem that’s been driving you batty.

Got my fingers crossed for those kinds of results.

Finding a method in all that madness

Maximum Z creativity, editing, outlines, Radioslot.com, rewrite, screenwriting, story, The Script Adventurer!
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pre-computer 'delete' button

I was doubly fortunate to interview two writer-directors live and in-studio on yesterday’s installment of The Script Adventurer! – Joshua Grannell and Mary Regan.  Among the many subjects discussed was how each of us develop our ideas, especially in the beginning phase of building a script. (If you weren’t able to catch the show live, never fear – it will replay this Sunday at 7PM PST on radioslot.com)

While everybody has a different approach to how they put a story together, the style is usually very similar.  You come up with an idea, then figure out how to develop a story around it. Some people like to come up with as many potential scenarios that could arise from that original idea. Others may choose to meticulously weave an intricate web of storylines around it.  There’s also the time-honored practice of metaphorically throwing everything at a wall and seeing what sticks.

No matter what your style, it’s extremely important to hammer out all the kinks of your story BEFORE you start on pages.  It’s a lot easier to fix a problem contained in one sentence rather than one page.  This will also cut down on your frustration over having to go back and edit and/or rewrite.

Another plus is it gives you a more condensed and detailed view of your story, so it’s easier to keep track of where something happens if you need to jump back in and fix it. This way you’re not wasting time scrolling through pages trying to find that one thing you need to change.

Maybe this comes from years of focusing more on the outline first, but I’ve found that once I’m satisfied with how the outline is put together and start on pages, if I find something that needs to be fixed or I come up with a way it could be better, making those changes is a lot easier than it used to be.  I suppose it’s because I already know what the point of the scene or sequence is, so I don’t have to worry about what’s supposed to happen next and can instead channel my creativity into making it stronger/more effective.