westerns

That moment of clarity

Maximum Z action, confidence, description, determination, encouragement, goals, ideas, imagination, inspiration, obstacles, productivity, pulp fiction, reading, rewrite, scenes, sequence, story, storytelling, thesaurus, westerns, writer's block, writing
Don't you love when these show up?
Don’t you love when these show up?

I’ve always said that with each draft of every script I work on, my writing gets a little bit better. Definitely a “learn as you go” scenario.

If you looked at my earlier work, you’d probably say it was pretty basic. Very straightforward. Average. With the later stuff, you’d see improvement. Better, but still some room to grow.

Among the helpful comments I received regarding the previous draft of my western was “give us more flair in the prose…make the details a bit more colorful.”

This can be a trap a lot of writers fall into. You want your writing to be vivid and descriptive, but it’s easy to overdo it and before you know it, the storytelling overshadows your actual story.

Since I started the rewrite, I’ve been doing my best to maintain an equal balance of both so the story is told in an entertaining way and easy for a reader to visualize what’s happening. If they feel like they’re actually there, experiencing it along with the characters, then I’m doing a good job.

Working on an action sequence earlier this week, I was struggling to come up with the best way to describe the events as they played out. Ordinary words weren’t cutting it, and the ever-present thesaurus wasn’t offering much help either. I knew what I wanted to say, but couldn’t come up with the right way to say it.

You can describe how something happens, but is it strong enough to hold somebody’s attention? Is there a “more colorful” way to say it? How could you add “more flair”?

If I were reading this, what would make me want to keep going? What would compel me to want to know what happens next?

Since this is, at its heart, my take on a pulp story, I decided to embrace that aspect and run with it. I mean really run. Let loose and color those words in the perfect shade of purple.

To say it made a difference is putting it mildly.

Words and descriptions that refused to make themselves known before were sprouting up left and right. This was exactly how I imagined the sequence and exactly how it should be written.

A key point to remember in all of this is that this is what works for me. Your writing and your style are totally your own, and only you can find the best way to do it.

I won’t say that everything from here on in for me will be as easy or productive, but it’s definitely a change for the better, and I for one am looking forward to seeing the end result.

 

 

Run at your own pace

Maximum Z agent, anxiety, blog, consultant, goals, half-marathons, inspiration, manager, message boards, motivation, obstacles, opportunity, pages, perseverance, pitching, productivity, public forums, reading, representation, rewrite, running, screenwriting, script, ScriptShark, self-confidence, spec, westerns, writing
It's the total opposite of a sprint
It’s the total opposite of a sprint

For the past couple of days here at stately Maximum Z HQ, yours truly has been doing everything possible to fight off a nasty viral infection (Note to self – invest heavily in Kleenex and Halls cough drops) because I’m doing my first half-marathon in over a year this weekend. I do expect to be well enough to run. Fingers firmly crossed hoping to at least break the 2-hour mark.

As a result of being sick, I’ve been home from work the past couple of days, which means a little more time than usual to work on the western rewrite. Latest update: page 38.

When I have a lot of time to write, I’ll give myself a short break after reaching a milestone, such as the end of a scene, or x number of pages written or after a certain amount of time (this also helps prevent premature burnout). Sometimes break-time involves perusing social media or screenwriting forums, just to see what’s going on out there.

What’s been going on this week has been a flurry of activity among my peers. One got a manager. Another finished their latest draft. Another had an agency request their script after a pitch.

And there’s me, filling a wastebasket with snotty tissues, coughing up things of a color not found in nature, and hoping to get to the bottom of the next page before the day is done. Slightly disheartening, to say the least.

But, like when I run a race, I remember that it’s different for everybody. I’ve been working on this rewrite for quite a while, and have confidence that it’ll be done sooner than I think.

I’m also overseeing all of the “Ask a…!” interviews, and have now added this into the mix.

Oh yeah, and training runs.

When you finish a race, you get a medal, and you wear it with pride. You’ve earned it. You finished an hour behind the winner? Big deal. Chances are you didn’t do it to win. You did it to test yourself, to see how you could do with this self-imposed challenge.

When you write a script, yes, you are going up against every other writer out there, but you do it the way that works best for you. You can only manage 30 minutes a day? That’s fine. You tell yourself you’re going to write at least 3 pages a day, and you actually do? Fantastic.

Will others get done before you, or accomplish things faster than you? Of course, but that’s nothing for you to worry about. Focus on you, not them.

I think it’s absolutely phenomenal that these other writers have each reached a certain point with their writing and careers. And so will I. Maybe not as fast, but it’ll happen.

Just gotta keep working at it.

See you at the finish line.

Am I wrong, or just stubborn?

Maximum Z analysis, creativity, determination, feedback, imagination, loglines, originality, outlines, perseverance, problem-solving, productivity, public forums, rewrite, screenwriting, script, story, storytelling, westerns, writing, writing group
Sometimes you're the puller, and sometimes you're the pullee
Sometimes you’re the puller, and sometimes you’re the pullee

Ever since I started working on the western, a lot of comments have been made pertaining to the belief that certain aspects of it are just not believable (including the always-popular “It’s not historically accurate.”). Therefore, the story doesn’t work.

But I didn’t let that stop me from writing it. In fact, a majority of the notes on the previous draft were quite complimentary and enjoyed the originality and execution of how it all played out.

Jump to the present. I’ve recently become involved with an online writing group. Despite some negative experiences in the past, this one came recommended, so I’m just starting out with them.

Since I don’t have pages for the western rewrite yet, I sent in a revised version of the logline. In all honesty, I don’t really like it. It feels very lacking and incomplete, hence my need for help.

So far, only two people have commented on it, each saying they cannot get past the number of ways this idea can’t work.

Argh.

This kind of response has always bothered me. As writers, our imaginations are the biggest tools in our arsenal. The possibilities of what we can come up with are endless. Just because it’s not how you would do it means my way is wrong; we’re just taking different approaches.

I’ve never been one to use “because I say it does” as a counter-argument, and will never, ever say “you just don’t get it”. I prefer “I can make it work,” and will spend a lot of time and effort figuring out how.

Which pretty much sums up how I’ll deal with this for now.

Like I said to them, there’s a solid logline out there somewhere. It’s finding it that’s the hard part.

Rewriting with a capital “Re”

Maximum Z blog, comedy, coverage, creativeness, creativity, determination, encouragement, feedback, genre, goals, ideas, mystery, outlines, perseverance, productivity, rewrite, screenwriting, script, self-confidence, spec, story, storytelling, westerns, writing
How it all starts. Again.
How it all starts. Again.

The original plan was to have a first draft of the low-budget comedy done by year’s end.

But just as I started (2 whole pages written!), a few more sets of notes came in for the western, which were added to the rest accumulated throughout the year.

I’ve written here before about how this script did not get the results I was hoping for. If I didn’t do something about it, that wouldn’t change.

As much as I love this script, the plain and simple truth is that it’s weak as it reads now. In the words of one of my note-givers, “it’s good, but has the potential to be a lot better.”

Among the comments in the collected aforementioned notes were several “What if…?” and “How about…?” questions. The general consensus was that parts of the story needed further development, and these suggestions might be worth considering in order to make that happen.

It was drastic measure time, which also meant making some really big decisions. Do I keep plugging away on the comedy just to get it out of the way? Do I attempt a major overhaul of the western’s story? And if I did that, how much of it would actually change?

There was no getting around it. It had to be different. Time for a new approach and new ideas.

So I’m rewriting it. In the truest sense of the word.

The concept is still the same, but the execution is what will be different.

Talk about daunting. Taking something you’ve practically obsessed over, jettisoning a sizable portion of it and starting anew. There are few things as intimidating as that blinking cursor at the top of a blank screen. It just sits there, taunting you, as if it were saying “Go ahead. Show me what you got.”

But here’s the silver lining: rather than abandon everything from every previous draft, I can pick and choose from of all of that material, which is now available for reworking, reshaping, re-whatevering.

Even more of a bonus: looking over all those notes on the western made me think something similar was in order for the mystery-comedy. So I’m working on a major rewrite of that too. I don’t know how I’ll proportion my time and focus between the two, but confidence, hope and ambition are all at significantly high levels as a result.

-And now, time for an IMPORTANT ANNOUNCEMENT!

Since the rewrites will be keeping me busy over the next two weeks, this will be the last me-centric post of the year.

But don’t despair. Starting this Monday, and continuing EVERY WEEKDAY through January 2, a new post will be available for your reading enjoyment.

That’s right. Ten whole days of quality material to keep you company through the holiday season.

I think you’ll like ’em.

Ask a One-person Multimedia Empire Script Consultant!

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Pilar Simpsonized
This is what happens when you offer me a choice of photos

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today’s spotlight is on Pilar Alessandra of On The Page.

Pilar Alessandra is the director of the instructional writing program On The Page,® host of the On the Page Podcast and a highly sought-after speaker and script consultant who’s trained writers at Disney, DreamWorks, ABC, the AFM and around the world. She is also the author of The Coffee Break Screenwriter and The Coffee Break Screenwriter Breaks the Rules.  Pilar’s greatest accomplishment is the success of her students. They work on TV shows such as Little Fires Everywhere, The 100, Dear White People, Grey’s Anatomy and The Chi and have sold feature films and pitches to Netflix, Sony, Warner Bros. and other major studios. For more information about Pilar, her classes, consultations, book and podcast, go to www.onthepage.tv

1. What’s the last thing you read/watched that you thought was incredibly well-written?

A script called BULLIES by Mike Grebb, one of the writers in my writing groups. It’s dark, honest and incredibly well written, and was included on the 2014 Bloodlist for top horror screenplays.  And a former student’s script called RIP CURRENT, inspired by the classic SHANE, that takes place in the world of Mexican drug cartels. I loved how it captured the tone of an old western, while also updating the story. It went on to get the writer representation from Jeff Portnoy of Bellevue Productions.

2. How’d you get your start reading scripts?

I was one of those oddballs who actually loved writing term papers in college. A friend of mine knew that and asked me to read a few scripts for an independent company she was working for. When I found out this was a real job, rather than just nerdy fun, I sent in my coverage samples to Amblin Entertainment and they hired me.

3. Is recognizing good writing something you think can be taught or learned?

Good analysts have a strong story sense to begin with, but I they also need to keep learning about how genres and writing styles change. They need to be observers of human nature to truly empathize with and understand characters.

4. What are the components of a good script?

A fresh idea. A compelling story. Descriptive but concise scene direction. Authentic dialogue.

5. What are some of the most common mistakes you see?

Writing “movie” characters. Many writers actually do this well, but they’re borrowing behavior and voices from characters they’ve seen onscreen, rather than inventing new ones from their own imagination.

6. What story tropes are you just tired of seeing?

A man’s family is kidnapped or missing and he racks up a high body count getting them back.   Though to be honest, I wouldn’t mind seeing this with a female lead. Could be a fresh take.

7. What are the 3 most important rules every writer should know?

-There are less “rules” in screenwriting than you think.

-Learn what those are anyway.

-Then break one of them purposefully and artfully.

8. Have you ever read a script that was an absolute, without-a-doubt “recommend”? If so, could you give the logline?    

“Adding insult to his already tragic life, a man is terrorized by a small bird.” The script is called “The Starling.” I know it sounds weird, but it’s beautiful. It was written by Matt Harris, a student of mine. After receiving lots of attention over the years, it was eventually bought by Netflix for 20 million dollars!

9. How do you feel about screenwriting contests? Worth it or not?

Worth it because some agents and managers use the big ones to vet material. Worth it too because they’re writing contests, not selling contests, so you have a chance with a script that isn’t conventionally commercial.

10. How can people get in touch with you to find out more about the services you provide?

Check out www.onthepage.tv to find out about classes, consultations, online offerings, book, DVD and the “On the Page Podcast.” You can also e-mail me directly at: pilar@onthepage.tv

11. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Pumpkin, of course! It’s sweet and spicy. What’s not to love? (This is the best question ever.)