After finally finishing the outline for the rewrite last week, I immediately jumped into re-reading the western spec in preparation for the inevitable rewrite/polish.
Looking at it after a 1 1/2-month break was incredibly helpful, and it still reads great.
Then it hit me.
If I can keep up this kind of productivity, I’ll have two brand spanking-new scripts ready to go relatively soon.
Yay.
This whole “dedicating a little time each day to writing” thing continues to be paying off.
Added bonus – more material at my disposal to respond to the question “What else have you got?”
Fortunately, I’m not doomed when the sand runs out
My schedule is probably a bit different than yours.
A job in broadcasting, getting around a large metropolitan city via bicycle or public transit, and escorting V to her numerous afterschool activities means not a lot of time to sit and write. Maybe a little over an hour a day. Maybe one and a half to two, if I’m lucky.
Since it’s all about getting stuff done, I’ve learned how to jam as much productivity as possible into that short window. Sometimes it’ll be “write until the end of this particular scene” or “crank out X number of pages.” Other times it might be “write until this point in time” or “write until you just can’t do it anymore”.
An hour may not seem like a lot of time to work with, but you work with what’s available.
Plus, setting up this kind of work habit is extremely beneficial on several levels:
-compels you to concentrate
-regular work pattern can improve skills and boost creativity
-problem-solving becomes easier and less necessary
-productivity may be slow, but remains steady
-that sense of accomplishment from having actually written something (very important)
These extremely unscientific results are how it’s worked out for me. I can’t speak for others, but I would imagine the results have been similar.
Find a system that works best for you, and keep at it. Make the commitment and stick with it. A few pages a day, and before you know it, you’ll be done.
Then you reset the clock and start all over again.
Ah, the car chase. A film staple. And a fantastic opportunity for the writer to really let their imagination run wild.
Mine started with the short description in the outline “Chase! (2-3 scenes)”.
I knew how it was going to start, and how it was going to end. It was all that stuff in the middle I had to figure out.
Despite the story’s fantasy-like setting, I’ve made a point of trying to keep things as realistic as possible where applicable. This falls into that category. No crazy cg effects or unbelievable stunts; just simple, basic and peppered with mad driving skills.
“But there’s only so much you can do with a chase scene,” you may think. And in some ways you’d be right, except there are countless ways to make things happen.
Break it down to the simplest elements – somebody’s trying to get away, somebody’s trying to stop them, and there are going to be obstacles in each one’s way.
The challenge is to think up ways for both to go about achieving their goal, as well as what can stop or prevent that from happening.
It’s not just about having a chase just for the hell of it or something that looks cool, but what makes the most sense and what fits in, plot-wise. Is there a way to make it feel it really belongs there and is connected to other parts of the story? If it means adding a little something to a previous scene, so be it.
Need a little inspiration? Go to YouTube and type in ‘car chase in movies’, or check out William Martell’s blog, which always includes a classic chase in the Thursday posts.
Most of all – please, please, please avoid tired cliches like the plate glass window, the fruit cart, the baby carriage and the large construction vehicle.
Getting closer to the end of the outline rewrite. I like how the story’s developing, and it definitely feels stronger than it did before. There are still some tweaks and adjustments to be made, but overall, it’s really coming together.
The last two words of the previous sentence are especially poignant, because as I modify the previous draft, it exposes some problems that need immediate fixing.
Occasionally, something would happen in an “all of a sudden”-type of way, mostly because I hadn’t set it up properly. So I’ll go back to earlier in the story to see where it can.
If I can make it work, great. If not, what has to be changed so it still works on all the levels it’s supposed to?
You want your story to flow smoothly and not feel forced. Throwing something in out of left field not only disrupts the story, but is just lazy writing.
Each scene should continue what happened in the one before it, and lead into the one after it. One of the basic tenets that tends to get lost in the shuffle, especially among beginner writers.
Take the time to plan things out, and don’t be afraid to cut where necessary.
You also want to make sure the details of your story all mesh together. This applies not only to what happens in the story itself, but the world in which your story takes place. Make it feel as authentic as possible. Part of our job as the writer is to convince the audience this kind of world could actually exist.
You have to do everything you can to ensure the story is fresh and original, stays interesting and keeps things moving. You may not think all those little details matter, but people will notice them (or lack of them).
I got a very interesting email the other day, with the subject of “Want to get your script into shape?”.
How could I resist such a persuasive sales pitch?
What followed was a lengthy diatribe about what an almost insurmountable task it was to write not just a good script, but a great one with the potential to open all kinds of doors and really get my career going.
If I wanted any of that to happen, then I should seriously consider the services of a script consultant. Specifically, this person.
It was a foregone conclusion I wasn’t interested, but I was intrigued to know more about them. Exactly who is this, and why should I invest the time and money to work with them? So I clicked on the link to their website.
Let’s just say it was not encouraging.
A very early-2000s look to the whole thing. Generic descriptions of what a script consultant is, how they can help me and lots of pie-in-the-sky descriptions of what could possibly happen with my script. No details about cost. Totally anonymous testimonials (which didn’t even sound true to begin with).
Did I mention this email showed up in my junk mail folder?
Just to seal the deal, I looked them up on IMDB Pro. Exactly. Nothing.
We all know this is an incredibly tough business to break into, and take all the help we can get. Using professional feedback can really benefit your work and help develop your skills. The tough part is figuring out who actually is a professional and gives you your money’s worth.
Utilize the tools at your disposal and do your homework. Ask questions of your peers via emails or Twitter. Check the numerous blogs and forums. There’s no reason you can’t find the information you need. And don’t be afraid to price-check and comparison shop. This is your time and money we’re talking about.
There will always be people who claim to be experts or professionals with all the answers, looking to take advantage of your desperation to succeed and ready to take your money.
Fortunately, you can go into this prepared and not let them.
Maximum Z 