Sometimes when you’re working on a story, you just have this feeling that the way it’s being told is the way it should be told. It just feels right.
Even though I’d made some good progress with the ongoing revision of the sci-fi adventure outline, something still seemed…off. What I had was good, including several scenes that now felt necessary, but as a whole, not quite there yet.
As I’ve mentioned before, I keep all the previous drafts of the outline and script on file – you never know when some of that text will come in handy. The recent work on the current revision was accompanied by another tab on the screen containing the previous draft, serving primarily as a sort of roadmap to help guide me through this latest effort.
Despite telling myself that this new draft was supposed to be different from its predecessor, its siren call was a bit stronger than expected. There was just something about it that couldn’t be denied. Not to say that the newer version was no slouch either.
Parts of this one work, and parts of that one work. Why not combine the two?
Sure, this even-newer draft might occasionally take a somewhat unorthdox approach in how the story’s presented, but by gosh, I still like it. “Rules of screenwriting” be damned.
There’s nothing wrong with cherry-picking parts of the new draft and incorporating them into the previous one where applicable. Of course, it would have been nice to have come to this conclustion a few weeks ago, but sometimes that’s just how it works.
What’s really nice is that for the most part, save for a few problem spots, the previous draft is still pretty solid on its own. Nothing serious, and some of these new elements look like they’ll really rectify that.
Based on some extremely helpful notes, another factor that’ll help this time around is putting more of a spotlight on the characters’ emotions. Even in this kind of story, with all of its fantastical and extraordinary elements, it’s important to show how the characters are still people.
Lastly, all the time I’ve been working on this story, I’d forgotten how the initial concept and earliest versions were all written with a certain kind of tone in mind; something to really convey the vibe of what story of story this was supposed to be and how I wanted it to read. Somehow that aspect’s diminished over time, and I plan on re-introducing it for the next draft.
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.”
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.
Chris Mancini is a Writer, Director, Comedian, Author, Producer, Podcaster, and Parent, which also makes him very tired. He has also written, directed and produced on everything from soap operas to parenting books to horror films, which are all more closely related than you think.
A strong advocate of podcasting, Chris is also the co-founder of Comedyfilmnerds.com with Graham Elwood. The site features a podcast with over 6 million downloads and features comedians and filmmakers talking about movies. His scripted horror anthology podcast Conversations From The Abyss is now in its second season. Chris was also one of the founders of the Los Angeles Podcast Festival.
What’s the last thing you read or watched you thought was incredibly well-written?
The two extremes would be Avengers: Endgame, because it was the culmination of years of storytelling, and Paddleton because it was a small two actor character piece that just sucked you in. The relationship and the drama of the two leads and their interaction was incredibly engaging. Mark Duplass and Ray Romano did an amazing job.
Were you always a writer, or was it something you eventually discovered you had a knack for?
I’ve wanted to be a writer since I was 16. I submitted short stories to magazines. Yes, that was a thing. Ironically, I got published first with non-fiction. I was a journalist for a local newspaper for a while (also a thing), starting at age 18.
What are some of your favorite comics and/or webcomics?
I really enjoy Hellboy. I also like anything by Neil Gaiman, and grew up on a healthy dose of Spider-Man and Daredevil. I actually remember when Spider-Man first got his black costume. It was an alien symbiote that came out of some weird machine during Secret Wars. I remember not being happy because I always liked the red and blue one. But you get over these things. I am also reading a lot of kids’ comics with my son, like Cardboard and Amulet which I am really enjoying.
How’d you get your start writing comics?
I kind of made it happen on my own. I’ve always wanted to write comics, and I had a story I thought would be perfect for the medium. I met Mark Waid through a mutual friend and podcast fan and he championed it. So I found an artist I loved and kickstarted it. I was able to fund it thanks to the generosity of the fans and then Starburns Press picked it up. I am very happy to be over there, and I think it’s a great fit for the book. I just got my first offer for a short piece in their next comics anthology. My first comics writing assignment! I’m hoping for many, many more. I would love to write more comics.
A lot of people hear the term “comic book writer”, but don’t really know what the job entails. How would you describe it?
Interestingly, since I have a background in indie film what you’re really doing as a comic book writer is writing and directing. You’re writing the script but also describing the action, pacing, and what goes in each panel. Basically you’re storyboarding like you would for a film. In indie film you have to wear a lot of hats, but with comic book writing you’re not just writing some abstract script. You’re describing each panel and basically directing the book. That’s why it’s so important to have a great artist to be paired with like I was with Fernando Pinto. Eventually you develop a shorthand and it gets quicker.
What inspired you to write your graphic novel Long Ago And Far Away? What was your process for writing it?
I’ve always loved fantasy stories, and growing up was a sucker for the stories about kids from our world who go into a fantasy world to save the day, like The Chronicles of Narnia. But I always thought about what would happen when those kids come back to our world and become adults. How would it have affected them? And then what if they had to go back into that world as an adult? The process was very, very long. I had the story a few years ago and it was in and out of development at various companies as an animated show, etc. But it never moved forward. But it was the kind of story that stays with you, and insists on being told. We all have stories like that; ones that won’t let you go. So I thought that a comic book would be a great way to tell the story. And I wouldn’t have to worry about there not being enough money for computer effects.
LAAFA was funded via crowdfunding. With a lot of comics creators taking that route to self-publish, is it something you’d recommend, and what are some tips you’d offer?
I recommend anyone who wants to create to just get out there and make it happen, any way you can. If someone buys your idea or hires you, great. But more often than not we have to greenlight ourselves. So if you’re a filmmaker, make a short film. If you’re a novelist, self-publish. If you want to make a comic, you need to raise enough money to pay the artist and make the book. But it can be done. Just know that crowdfunding is a full time job for that window of raising money. Don’t just think you can put a project up and money will magically appear. You have to promote, get endorsements from other artists, and also promote. Did I mention promoting?
You’ve also had experience writing for film, both narrative and documentary. How do you compare writing for the screen to the comics page?
I really, really, love it. It’s like filmmaking with an unlimited budget. No one comes back and says “we don’t have the budget to blow up Manhattan” in a comic book. If it can be drawn, it can be in the story. As far as story goes, film story progression and storyboarding can be really instrumental in writing for comics and guiding your panels.
A key component of writing (and not just for comics) is to make the stories and characters relatable. What sort of approaches do you take to accomplish that?
Characters we create often have traits of ourselves or people we know in them. That grounds them and keeps them believable. Even when it’s a supervillain, there’s a relatable trait you can give him or her. I always try to figure out what kind of character they are by how they would react in certain situations. Character reactions can convey lots of information about a character. As far as the story goes, keep the story progression organic. It should only have crazy twists in it if you were slowly leading up to them all along. The best narrative twists are the ones the audience didn’t see coming, but in hindsight were justified from the very beginning.
What are some key rules/guidelines every writer should know?
Write what you know.
Make the story personal, regardless of the genre or scope of the story.
Get help from other writers, and help them in return.
Don’t write for free for millionaires. If someone is serious about your work, they’ll make a deal with you.
Don’t neglect your body. Take time to exercise and unplug. It will help your mind focus and clear your head, which will improve your writing.
I really want to focus on writing right now, so I’m taking a break from stand-up, but may return to it at some point.. While I do the Comedy Film Nerds Podcast with Graham Elwood every week, I also have a scripted horror anthology podcast called Conversations From the Abyss that just finished its second season. I’m also hoping to get my next comic project going called Rise of the Kung Fu Dragon Master with the same team. It’s a martial arts/fantasy/comedy about a small time crook in Los Angeles who gets mixed up in a perennial battle between good and evil from ancient China. I also have various TV and film projects I’m developing and hoping to get into production.
How can people find out more about you and your wide body of work?
My website has links to my books and movies, including Ear Buds: The Podcasting Documentary. There are also links to the podcasts and my demo reel.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
Peach. ‘nuff said.
Here’s an episode of the Comedy Film Nerds podcast where Chris goes into an extensive recounting of his experience with his film Asylum. HIGHLY RECOMMENDED for aspiring filmmakers, plus it’s just an extremely entertaining tale. Well worth the listen.
The latest draft of the sci-fi adventure is moving along at a pleasantly brisk pace. Still averaging about 4-5 pages a day. The whole process this time around feels a lot more organized. Much more so than in the past.
The previous draft was 118 pages, and one of my many objectives for this one is to get it down to somewhere in the 105-110 range. I’m just about at the end of Act One, and it’s already 9 pages shorter than where it was at this point last time. Seems like the odds are in my favor to hit that page count goal.
But it’s taken a good deal of work to get here, including some shifts in my approaches.
Among the highlights:
-being more diligent in applying the “get in late, get out fast” approach to each scene. Although somewhat unavoidable for action sequences, doing what I can to use this as often as possible.
-cutting unnecessary dialogue. Never realized how much more I used to put in before. It’s been a real effort (and steep learning curve) to get the characters to only say what needs to be said, but it definitely helps get to the point of the scene quickly as well as moves things along.
-not being so detailed with action descriptions – by which I mean “what the characters are doing”, and not the fast-paced, high-octane thrilling moments. Focus on the important stuff. Don’t clutter up the page. Is it absolutely necessary to be so step-by-step about it? Nope.
-In a very “why didn’t I think of this before?” kind of way, having a hard copy of the outline and the previous draft have proven to be exceptionally helpful. The outline tells me what needs to happen in each scene, and the previous draft shows me not only what I did before, but gives me a starting point for potential changes.
-Taking that last item one step further, seeing how a scene played out before, combined with the applying the question of “how does this scene advance the plot, theme and character?” has enabled me to totally rewrite some scenes which before had felt kind of flat, but now read as stronger and help reinforce those three important components.
I managed to crank out the previous draft in about a month, and hoping to accomplish that this time around as well. Of course, a few ideas for more changes have popped up. Nothing too severe, and I’m going back and forth about implementing them right away, or waiting for the cleanup-polish phase.
Every writer puts their material together in the way that works best for them. It took me a while to find mine, and it continues to be a work in progress. But if the latest results are any indicator, it’s working out quite nicely.
Well, one tough part’s out of the way. Got the latest draft of the sci-fi adventure done, clocking in at a respectable 118 pages. (And accomplished in just under a month, so – yay.)
Now it’s time to move on to the next tough part – the initial wave of cleaning it up, which will include cutting at least 7-10 pages.
It’s been a while since the last time I did this sort of editing, and it always seemed to be more problematic than expected. The best way I can describe it is “I couldn’t really see the forest for the trees”. The problems and their prospective fixes were there, but it would be difficult for me to identify them.
This time around, I’m taking a different approach.
I printed out a hard copy of the script, and went through it, scene by scene, and wrote down a very brief summary – a snippet or two of what was happening in each one. No frills. No dialogue. Just “here’s what happens here”.
Along the way, questions would constantly insert themselves into the discussion. Was there a way to still have this happen, but in a fraction as many words? Is this scene really necessary, or could it be combined with another? How can I describe what’s happening so it’s easier for a reader to “see” what’s happening? Everything geared towards telling a story in the most effective ways possible.
Additionally, new ideas and approaches would spring up when they were least expected. A scene or sequence I thought was just fine would suddenly feel totally out of place, or seem like it needed a drastic overhaul. With this still being a work in progress, any and all new ideas are welcome.
Another new development is how I’d initially type something like “MAYBE X DOES THIS” as a potential new part/development of a scene. Then while working on a later scene, see how that suggestion could be incorporated into it. This would then result in me going back and deleting “MAYBE” from the original. Sometimes your gut reaction really is the best one.
Didja also notice how those last-minute inserts are written in ALL CAPS? Just my little way of having a note stand out a little more so it’s easier to spot when I come back to it later on. Simple, but effective.
Even as this draft steadily grew, there were always sections of the story I knew would need some extra attention in the next draft. Rather than spend time going back and trying to fix things, it was just easier to leave it as it and keep pushing on.
Current focus is all about going through the pages and being as analytical as possible. A few minor story problems have been dealt with. Some unanswered questions are no longer unanswered. Opportunities to throw in a small dash of character and story development are opening up.
The strongest takeaway from this latest effort is that the overall process of putting a decent script together, while still quite challenging, is becoming slightly more manageable and somewhat less insurmountable.