Bit of a mishmash, but it works

goulash
Try it. You’ll like it.

The overhaul/revision of the sci-fi adventure outline continues, with some significant progress being made – especially over the past few days.

There’ve actually been a few rough spots just to get here.

One being letting go of how the previous drafts started out, story-wise, and not letting those details affect the new one.

Another has been being able to present important and relevant details and backstory without things being way too expository.

Still another has been figuring out how some, but definitely not all, of the story details could be reorganized, restructured, pretty much rebuilt from the ground up but still have it all work within the context of the story.

It’s been quite the challenge, but the gears have been constantly and consistently turning during the search for a solution.

Took a while to get there, but looks like it’s yielding some results.

But first – a little background info.

I make a point of holding onto previous drafts of outlines and scripts, because you never know if part of it will come in handy for a future draft.

Thus was the case here.

There were sections of the story that were going to stay, but some others simply weren’t a solid fit for the new draft – but there was something about them that still worked and that I wanted to keep.

Getting them to that point took several attempts, approaches and revisions. Took a while, but I got there.

Despite being a slow and somewhat drawn-out process, the new story is gradually coming together. I’m not one to impose deadlines on myself, but once I get all of this a little more organized, the outline should come together relatively quickly.

I like the idea of having a completed first draft, possibly even a revised second draft, by years’ end.

No pressure, but we’ll see how it goes. Probably helps that I’m really enjoying putting this one together.

A few words from the gentleman from Salinas…

Steinbeck
Didja know he wrote the story for Hitchcock’s LIFEBOAT? But he also didn’t like some of the changes Hitch made to it.

Big thanks to author/blogger Chad Schimke for inspiring today’s post.

John Steinbeck is one of, if not my absolute, favorite authors. I just love the way he writes, and many of his works occupy space on my bookshelf. If you haven’t read him lately – or at all, I highly recommend it.

I’m also very fortunate to live relatively close to his hometown of Salinas, California, where the National Steinbeck Center is worth a visit.

Here are his six writing tips, as originally published in an interview with The Paris Review from 1975.

-Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.

-Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.

-Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.

-If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.

-Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.

-If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.

Now these are all great, but the really interesting part is that in 1963, a full 12 years prior, after being awarded the Nobel Prize in Literature, he wrote this letter of “Advice for Beginning Writers”, which includes the following:

“If there is a magic in story writing, and I am convinced there is, no one has ever been able to reduce it to a recipe that can be passed from one person to another. The formula seems to lie solely in the aching urge of the writer to convey something he feels important to the reader. If the writer has that urge, he may sometimes, but by no means always, find the way to do it. You must perceive the excellence that makes a good story good or the errors that makes a bad story. For a bad story is only an ineffective story.”

True, screenwriters should read a lot of scripts, but that’s not all you should read. Books. Plays. Comics. So many choices. Whatever floats your boat.

Take it all in. Read. Enjoy.

Same destination, different route

hot fuzz

Even though I got some great notes back on the previous draft of my sci-fi adventure spec, one aspect of the script had always bothered me.

As much as I loved the opening sequence, it still felt out of place.

Its primary goal for existing was to establish and set up several plot elements and story details. It does that, but something just didn’t feel right.

Would the story still work if I took it out? Sure, but finding new ways to present all the relevant info would require some major rewriting and revising. Time-consuming (to a point), but necessary.

But that got the gears turning…

The more I thought about it, the more the idea appealed to me. Trust me, it killed me to even just consider killing all those darlings, but doing so would definitely force me to find new and original ways to tell this story.

Added bonus – a new opening would also enable me to do a better job of establishing the protagonist AND set the tone of the story.

So out all those pages went, with an ever-expanding list of all sorts of new ideas regarding How To Do It currently in development.

A writer may know what they want to happen in their script, but sometimes it doesn’t work out that way. The characters might unexpectedly guide you in a different direction, or maybe you realize what the story really needs is to take a sharp turn off to the side, or you decide that this is the perfect opportunity to go in a totally opposite direction.

Nothing is set in stone. You’re the ultimate creator. Everything that happens is under your control, and you can do with it what you will.

Something not working for you? Change it. Give yourself options.

Follow-up to that – go with options that still work within the context of the story and characters. Your characters still want the same thing they did before, but now you’ve drastically altered how they get there.

It’s a savvy writer who eagerly anticipates taking on the task of devising these kinds of changes. And once they’re all implemented, you’ll barely remember how it used to be because EVERYTHING WORKS SO MUCH BETTER NOW.

Suggestion – no matter how or when you come up with a new idea, WRITE IT DOWN. IMMEDIATELY. Even if you’re in the middle of working on the same script. Everybody says “Oh, I’ll remember that later.”

You won’t.

Do whatever you have to in order to preserve it.

*Apologies for a lack of post last week. I had some kind of bug that put me out of commission for a few days; didn’t even have the strength to compose a “sorry, no post this week” post.

 

Biannual self-evaluation begins…now

work-in-progress-wip

Here it is, a few days into July, which means it’s time to ask that all-important question:

How was the first half of 2019 for you as a screenwriter?

Completed a latest draft? Started a new script? Revised an old one?

Hit a wall? Had a breakthrough?

Entered, and potentially placed, in a contest or three?

Got representation? Lost representation?

Made a short? For the lucky select few – made a feature?

Working with a producer? A director? Taken on both roles yourself? Had a script optioned?

Something important to keep in mind – don’t compare your success or progress to that of others. We all have our own individual path. Find the route and pace that work best for you.

No matter how your year’s been, I sincerely hope you’ve continued to derive a little bit of joy out of this topsy-turvy creative process.

FYI – mine’s been pretty good. Some nice developments here and there. Nothing earth-shattering, but pleasantly encouraging on several fronts. Plus, as is usually the case, lots and lots of writing, editing and rewriting.

Learning never stops. Never.

coeds
Sure, I may be tired now, but wait until you see the end results

So far, so good, at least in terms of how the rewrite of the sci-fi adventure spec is going.

Already managed to trim a decent amount of pages, with more potential targets coming up fast.

However, one of the most surprising results this time around is seeing more and more opportunities to really get the most of not just the words on the page, but HOW they’re presented.

I already knew overwriting was one of my biggest obstacles. I tend to go into more detail than is necessary. Not “this is the color of his t-shirt, and this is what’s on his breakfast plate”-type stuff, but more in terms of excessively describing what you’d see transpire onscreen.

This has become painfully obvious for some of the fast-paced action scenes. In the old draft, there’d be several lines about what a character was doing. This time around, I want to get to the point faster – partially for less ink on the page, and partially to help speed things up – so I highlight only the parts that the can’t do without.

It’s probably safe to say each scene has become shorter by at least some degree. Some by a few lines, others by half a page, etc. But the overall impact is becoming more noticeable. Scenes seem to be flowing more smoothly. Even though the descriptions aren’t as detailed as they were before, the new, tighter versions are just as visual.

Of course, since I’m the one writing it, I already have a strong sense of how it’s supposed to “look”. The real test comes when a reader gets their hands on it. Will they experience the same results? I sure hope so, so in the meantime, I do what I can to write it so everything is easy to follow and all questions are answered.

What’s most surprising at all about these new developments is I’d written my last few drafts of several scripts with the same approach I’d always used, but there’s just something very different about it this time around. The way this draft is being put together has a much more analytical feel to it. It’s as if something holding me back has been removed, and the positive results are coming in rapid-fire. One can only hope this sensation endures.

Once again, there’s no firm deadline for a completed draft, but as I mentioned, progress has been strong and steady, so “slightly sooner than possibly expected” will have to do for now. And even when that one’s done, there’s a strong suspicion that just a little more touch-up work will be in order.

Thrilling times, chums.

-Screenwriter/filmmaker Ally May has launched a crowdfunding campaign for her packs-an-emotional-wallop short film project In A Breath. Donate if you can!

-Major congrats to screenwriter/overall mensch Bob Saenz for the upcoming US release of the film of his script Extracurricular Activities, a journey almost two decades in the making. Here’s a great interview Bob did for Script magazine.