spec

Out, damned trope! Out, I say!*

Maximum Z cliches, creativeness, creativity, feedback, ideas, monsters, movies, originality, outlines, plot, problem-solving, reading, scenes, screenwriting, script, social media, spec, story, tropes, Twitter, villain, writing
Do whatever you can to avoid falling into this perilous situation
Do whatever you can to avoid falling into a similar perilous situation

(*A slight variation on the actual line from MACBETH – Act V, Scene I. We’re all about accuracy around here.)

The more I work on the story of the monster spec, the more I realize how flimsy the villain’s plan is. I know what their objective is, but the biggest roadblock is figuring out HOW they’re going to accomplish it.

Part of the original story included a monster with shape-changing abilities taking the place of a high-ranking figure in world politics. At the time, it seemed good.

But now it just seems tired and stale. It really is something we’ve all seen before, which totally goes against what I’m trying to do. Coming up with a fresh, original story is one thing; telling it in a fresh, original way is another.

How often have you read a script or seen a movie or TV show and thought “Seen this before” or “Saw that coming a mile away”?

It’s easy to fall into the trap of using something that’s been used or done many times before. Cliches. Tropes. Clams. Call ’em what you will.  There’s nothing wrong with them, but it’s lazy writing.

Why would you go through the trouble of working so hard to create something new and exciting, but fill it with material that isn’t?

Read through what you have. Does anything come across as too familiar, or at least expected?

Look at that tired old chestnut as purely temporary, then go back and brainstorm a few alternatives which are totally opposite (or at least really different) but also accomplish the same thing.

Take a look at scripts and movies similar to yours. Can you see how they did it? Maybe it’ll inspire an approach you hadn’t thought of.

Feeling stuck? Ask for help. Twitter’s usually pretty good. You’ll soon discover that writers have the amazing ability to easily come up with ideas when it’s for somebody else’s project.

You’re a creative type, so get creative. You know there has to be a better way out of this. It may take a couple of tries, but you’ll get there.

In the meantime, I’ll be busy figuring out a new way for monsters to take over the world.

Wanted: wonder, fun & excitement

Maximum Z adventure, characters, creativity, Doc Savage, genre, goals, Godzilla, Guardians of the Galaxy, ideas, monsters, mystery, originality, outlines, parenting, plot, pulp fiction, rewrite, screenwriting, script, spec, story, storytelling, structure, The Shadow, trailers, westerns, writing
Seeking this kind of vibe
Seeking this kind of vibe

This was parent-teacher conference week, so my after-school parenting schedule was shaken up a bit. As a result, not as much time to work on the mystery spec rewrite.

So in an attempt to make the most of my limited time, and without my laptop with me, I opted to tinker with the outline for the monster spec.

Like any good writer, I had my ever-present notebook and story notes with me. Seriously.  I keep them in my bag for just such a situation.

The first act is really coming together, with most of the focus now on working out the details of the gaps between the plot points of Act Two. And as happened before, I’m having a blast.

At its heart, this story is a pure pulp adventure, which is exactly the mood I’m going for. Grab you from page one and not let go as it gains momentum from there on, building and building until finally culminating in a jaw-droppingly amazing, can’t-believe-I-just-saw-that finale.

Simply put, my objective is to create a simple-yet-solid story with three-dimensional characters, using the spectacle aspect as support that keeps things interesting.

Similar to how it was with the western, I’m a huge fan of the genre and know what I as a member of the audience would want to see. I’m not looking to reinvent the wheel here; just tell a fun story. Hopefully my appreciation and knowledge of this kind of material will come through on the page.

What it really boils down to is the more I can make this a smart and exciting thrill ride, the better.

As I work out the story details, I’m keeping this in mind: If there was a free-of-plot-details trailer for this, you’d be overwhelmingly compelled to want to see it.  (Sort of what they’ve done for GODZILLA and GUARDIANS OF THE GALAXY.)

Getting ready for the next go-round

Maximum Z contest, Nicholl Fellowship, PAGE International, rewrite, screenwriting, script, spec, story, westerns, writing
Hang on! We're going back to almost where we just were!
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.

Their opinion (singular) vs their opinion (plural)

Maximum Z characters, conflict, dialogue, feedback, rewrite, screenwriting, script, setup, spec, story, storytelling, westerns, writing
Anybody else have something to say?
Anybody else have something to say?

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.

Slightly easier (but I still don’t like it)

Maximum Z feedback, loglines, manager, mystery, rewrite, screenwriting, script, setup, spec, story, stress, synopsis, tone, westerns, writing
Takes a while to really get it right
Takes a while to really get it right

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?”

Triple ugh.