Why so hostile?

Angry voice!
Angry voice!

I’ve been making an effort over the past few weeks to build my network of writing acquaintances, which has involved connecting on assorted social media networks.

Several of these include groups of like-minded people that offer up the opportunity to ask questions, get feedback, etc.

One of them was about loglines.

Feeling fairly confident but open to suggestions about the one for my western, I typed it in, hoping somebody might have some helpful comments.

Within minutes, the response came in: “…or? What’s at stake? What are the consequences?”

Hmm. Well, her train’s been stolen, which…puts her livelihood at stake?  And it’s going to be used in a major heist, so the consequences are…widespread? I’ve always hated this part. Maybe I’m not giving enough information?

I wrote back: “open to suggestions.”

Past experience with logline feedback via online forums, while occasionally frustrating, has sometimes yielded positive results.

Sometimes.

A few minutes later: “I’m a producer and script consultant, not a psychic. If I knew what the story was about, knew the protagonist’s motives, knew what the antagonist was doing and why, and knew what was at stake and the consequences of certain actions, I would make a suggestion. However, with so little on offer, there’s little I can do other repeat what I’ve already said.

I’m not arguing anything after the word ‘psychic’. It’s not easy to get all of that across in a logline. It’s much harder than most writers realize.

(Side note – I love it when somebody backs up their comments with the proclamation of their qualifications. As expected, a quick internet search of this person’s “producer and script consultant” credentials yielded both jack and squat. It took a lot of effort to not ask them for more details.)

Desperately seeking resolution, I offered: “Would you be willing to take a look at the 1-page synopsis to get a better understanding of the story?

Soon afterward: “based on your logline, no”

And that was that.

While I didn’t have a problem with the actual advice, there just seemed to be this overall tone of angry condescension in their text. “Grr! I know what I’m talking about! My advice is infallible and you’re an idiot if you don’t listen to me! Grr! Argh!” Maybe I was just reading too much into it?

Honestly, it kind of nagged at me for the rest of the day. I always thought the point of these groups was to help each other. Sure, sometimes people just don’t get it, but I’m more likely to appreciate your comments if you seem willing/interested in actually helping me.

Later in the day, somebody with no connection to me whatsoever called this person out for being unnecessarily cruel (a bit harsh, but I understood where they were coming from). I made a point of staying totally out of what soon became a snippy back-and-forth of “I’m right, you’re wrong”.

So much for taking part in that group again.

Still seeking some kind of help, I tried again on a different forum, but approached it from a different angle.

I listed the logline plus some key story details that might help, adding how I was seeking some bolstering in terms of including stakes and consequences. (The original responder may have come across as an asshole, but I didn’t think their advice was wrong.)

There was a significant difference in the responses. A lot were not only helpful, but practical and encouraging, including this gem – “I love this logline. If I were a producer I’d want to read it. Hell, I still want to read it, just because it sounds like fun.”

I felt a little better, had what I felt was a stronger logline, and a few requests to read the script. Nice.

As part of that aforementioned back-and-forth, my original responder said they were just preparing new writers for the kinds of responses they should expect from the industry if they submit “subpar material”.

While I can understand that kind of thinking, it seems that people are more likely to heed your advice or suggestions if you actually come across as helpful, rather than sound like we’re wasting your time and the last thing you want to deal with right now.

But then again, I’m just a nice guy to begin with, so what do I know?

Roll up for the My Writing Process Tour!

Sorry, no walruses involved
Step right this way! Sorry, no walruses involved

I’ve been invited to take part in The My Writing Process Tour, which is kind of a blog/chain letter thing. One blogger asks another to take part and answer some insightful questions, then link to writers/bloggers we’d recommend.

I was nominated by Henry Sheppard, aka Adelaide Screenwriter, from the Australian metropolis of Adelaide. He’s always offering up some fantastic material, including articles, interviews and shorts. Definitely worth checking out.

As for me…

1. What am I working on?

Three items currently hold my attention: revamping the outline of a pulpy adventure spec, the rewrite/polish of a Christmas-themed mystery-comedy and resuming the hunt for representation.

2. How does my work differ from all others of its genre?

Even though I’ve written in several genres, the one thing I always try to convey is a sense of fun and excitement. It takes a lot more effort than people realize to really engage a reader that way.

I want you to enjoy the story beyond just “this is good writing” and more like that amusement park thrill ride you rush to get back in line for as soon you get off.

3. Why do I write what I do?

My formative years were the late 70s/early 80s, so I had the benefit of being heavily influenced by the likes of STAR WARS, RAIDERS OF THE LOST ARK and BACK TO THE FUTURE. To me, those are textbook examples of what smart storytelling should be, and it’s what I strive for in my own work.

I’ve stated before about being a fan of the genres I write, so not only am I trying to write something I’d want to see, but I try to create something I haven’t seen before.

4. How does your writing process work?

It all starts with an idea. Is there a story behind it? If so, what happens over the course of that story? How could I tell it in an original way?

Once I have a general idea about that story, including knowing how it starts and ends, I set up the plot points (statement of theme on page 3, inciting incident on page 10, etc), then fill in the gaps between them.

If it’s a genre-specific film, I try to incorporate elements that are part of that genre while trying to avoid tropes, or at least approach them from a different perspective.

I do a majority of my work in developing the outline, and it makes a huge difference. It gives me a better overview of the whole thing so it’s easier to keep track of character development, storylines, subplots, setups and payoffs. I won’t even consider starting on pages until I think the outline is solid.

Because of my schedule, I write when I can. When it comes to pages, I try to produce at least 3 a day. Sometimes it’s more. It’s gets easier the more you do it. They add up fast, and before you know it, you’ve got a completed draft to go back, edit and rewrite.

I’m also extremely fortunate to have several friends and trusted colleagues I can turn to for feedback. They pull no punches in telling me if something doesn’t work.

Lastly, I’ll rewrite and polish the script until I think it’s good to go.

Over there on your right is a list of blogs I think make for some excellent reading and advice. I’ve added three definitely worth checking out:

The Single Screenwriter by Christie LeBlanc

Writer of Fine Things by Evan Porter

The Screenwriting Process from James (don’t know his last name) in the UK

Bonus! If you’re looking for some reasonably-priced professional analysis for your script, you might want to consider:

-Doug Davidson’s Four Star Feedback. Doug is the only writer to win a Nicholl Fellowship with an animation script (2004), but he happily covers all genres.

-Andrew Hilton aka the Screenplay Mechanic. His services have garnered extremely high praise on the Done Deal Pro forums.

Thanks for reading!

Damn you, Seth MacFarlane

Let us sincerely hope the sun has not set just yet
Let us sincerely hope the sun has not set just yet

If ever there was a need for a man in a white hat to ride in and save the day, now would be a good time.

First THE LONE RANGER is the mega-bomb of 2013, followed by the much-heralded crash and burn this weekend of A MILLION WAYS TO DIE IN THE WEST.

Mea culpa – I’ve not seen MILLION, and based on what I’ve read, have no real desire to do so. It doesn’t bode well when a lot of the reviews generate more laughs than the trailer.

The western just can’t catch a break. Every once in a while you get something incredible like TRUE GRIT, 3:10 TO YUMA or DJANGO UNCHAINED. Jeez, even RANGO had a little redeeming value. Films like these come along and hope grows in our hearts, but then we get dreck like JONAH HEX or COWBOYS & ALIENS, and back to movie jail goes the western.

I had no real hopes for Mr. MacFarlane’s latest, but at least he was attempting to do some kind of western. Granted, it was trying to be this generation’s BLAZING SADDLES, but apparently failing miserably.

This goes beyond another nail in the coffin. At this point the coffin’s already in the ground with a few shovelfuls of dirt on it.

As a writer offering up a totally kickass western spec, my hopes for success seem to diminish just a little bit more with this kind of news.

I can imagine every potential recipient recoiling in fear. “A western? Eek!” followed by the frantic pressing of the ‘delete’ key.

Contacting a friend repped at a high-profile agency, I asked if anybody there might be open to reading it.

“I wrote a western, and they won’t sell it,” was the reply. “They don’t believe there’s a market for them after THE LONE RANGER.”

Well, sure. Because every western is going to be an overpriced, convoluted bloated crapfest.  It doesn’t help that a lot of them actually have been exactly that.

Why have so many recent westerns been bombs? Wish I knew.

Skimming the credits of some of the great westerns of the past shows that the people who made them had a real understanding and appreciation of the genre – John Ford, Howard Hawks, Clint Eastwood, just to name a few. And it shows in the finished product.

Hopefully somebody else will give it another go in the near future, sooner rather than later, and know how to do it right.

Did I mention I’ve got a totally kickass spec?

Wanted: wonder, fun & excitement

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

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.