writing

Gun the engine, pop the clutch and let ‘er go!

Maximum Z action, chase, problem-solving, scenes, screenwriting, script, Sex in a Sub, story, William Martell, writing, YouTube

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.

The health benefits of writing organically

Maximum Z continuity, creativity, editing, ideas, originality, outlines, plot, rewrite, scenes, screenwriting, script, story, structure, writing
I'm a much better writer than a gardener
Not necessarily THAT kind of organic

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).

It must be true. My business card says so.

Maximum Z analysis, blog, feedback, message boards, networking, research, salesmanship, screenwriting, script, Twitter, Uncategorized, writing
So as to remove any further doubt
So as to remove any further doubt

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.

The fat that must be trimmed

Maximum Z characters, conflict, editing, feedback, half-marathons, outlines, reading, rewrite, running, screenwriting, script, story, storytelling, subplot, writing
Personally, I prefer a red pen and the 'delete' key
Personally, I prefer a red pen and the ‘delete’ key

Steadily working my way through the coveted territory of Act 3, although the wrapping-up of some subplots still needs some work. Nothing I can’t handle.

Throughout this whole process has been an ongoing tinkering with what was there before. Some items have been cut (necessarily so) while some have been expanded (also necessarily so).

Among what had been cut were a trio of characters who only existed in a handful of scenes in the third act. The only reason they were originally around was to provide conflict with the main character, but didn’t really serve much else of a purpose.

So they’ve been cut, with another character’s part slightly modified and expanded to take their place.

This goes way beyond killing one’s darlings. It’s about making the story as lean and streamlined as possible, and if that means cutting characters, scenes or even sequences, so be it.  You do what’s necessary.

But this is also where it can get tricky. How do you know what should stay and what should go?

Unfortunately, there’s no easy answer. But you can learn by constantly writing, rewriting and getting feedback. It’s a skill that takes time to develop, so don’t rush it.

(You could read scripts, but those are often the finished product. You won’t know what it looked like before.)

A good rule of thumb: ask yourself as you write and edit – “How much of a difference will it make to the story if I take this out?”

Chances are once you make those cuts, you won’t even miss what’s been taken out, which means it probably shouldn’t have been there in the first place.

-A total self-indulgent announcement: I ran the San Jose Rock & Roll Half Marathon on Sunday, thinking there was no way I could beat my previous best time ever of 1:53:07, set back in August.

But somehow, despite warm weather and the occasional feeling of “Jeez, when is this going to end?”, I shaved almost 2 minutes off and finished at 1:51:11. Totally didn’t see that coming.

With no races scheduled in the near future, I don’t want to get ahead of myself and even consider the possibility of hitting 1:50.

Although I’ll admit the thought does occasionally cross my mind.

We all had to start somewhere

Maximum Z screenwriting, script, story, storytelling, writing
And....go!
And….we’re off!

Today’s topic: your very first script.

Yeah, that one. The one you’re embarrassed to even remember. The one with all the rookie mistakes.

The one that set you on this journey.

Here’s mine.

Title:   THE CRIMSON CLOAK

Genre: Comedy

What it was about: Set in 1950’s Hollywood, a writer on a popular kids TV show mistakenly believes the sponsor is going to kill a megastar live on the air and goes all out to stop him.

Tell-tale signs this is a first script? Way, way too much expository dialogue, including a lot of on-the-nose lines. Flimsy character motivation. A lot of writing-directing.

Would you be willing to rewrite it now? Definitely.

Addendum: Despite all of the problems this script had, it managed to be a top 10 percent finisher in the Nicholl for that year. I have no idea how that happened, but this, combined with a professional writer telling me “You’re a very talented writer,” were a great start to my writing career.

What about you?  Don’t be shy. No judging here.