Despite how it may look, I assure you everything is under control
I wouldn’t say the first draft is becoming bigger than I could have possibly imagined, but when a scene in the outline is 1-2 sentences, and it takes 2-3 pages to properly execute it, then chances are pretty good that overall page length is something to keep an eye on.
Fortunately, this is a first draft, so the primary goal for now is just working through the story and putting it all on the page. At the rate I’m going, I wouldn’t be surprised if this thing hits around 150.
Not an issue for a high-profile pro, but way too much for somebody like you or me. Would you want to read a potential 2-1/2-hour spec? Me either.
This is another item added to the mental scene checklist – on top of everything else, can this scene be written as short as possible and still do what it has to? (moving the story ahead, character development, etc.)
Take a look at this post by John August from 2007, which has also been turned into a very useful infographic every writer should print out and keep near their workspace.
I’ll worry about the numerous edits and changes that will no doubt be necessary later.
For now, I’m focusing on reaching the finish line, page length be damned (but still kept in mind).
When I start a new story, one of the first things I do is figure out the major plot points – statement of theme on page 3 (or at least thereabouts), inciting incident on page 10, and so on. After that, it’s coming up with the most effective way to get from one to the next. It’s how I’ve always done it, and it works for me.
One of the key purposes of the end of your first act is to get your hero off on their journey. This includes raising the central question of your story – will the hero accomplish their goal? For example, in STAR WARS it’s the scene after Luke discovers the smoldering corpses of his aunt and uncle. He tells Ben he wants to go with him to Alderaan, learn the ways of the Jedi, etc.
Since I’d started working on my western outline, a lot of the plot points were pretty firmly established. I knew what I wanted to happen and when. For the most part, they’ve stayed the same this whole time.
I filled in the gaps between those points with scenes and sequences that I felt did the best job of moving the story forward, including some that needed to have the proper amount of emotional gravitas.
Jump ahead to the present. The churning-out of pages continues. Some scenes are easier to write than others, but progress is constant. I work my way through Act One, wrapping it up with a sequence that really changes things around.
But then I realized Act One really ends in the scene right before it. This short, dialogue-free scene still moves the story forward, but has a more significant impact on the story itself – moreso than the rousing sequence that follows. The hero’s situation completely changes direction, and you can’t help but wonder how she could possibly accomplish her goal after this. No matter what, her situation is going to get worse before it gets better.
Working all of this out during the outline stage was a huge benefit. It seems very doubtful I would have discovered this if I had just dashed off a quick outline and dove into pages. Further proof why it’s important to take your time and fine-tune your outline.
So now I’m a few pages into Act Two and as this sequence kicks in, things get changed up even further. Only negative that came to light: my hero isn’t the one making things happen. She has to be more active and less reactive. I may spend a little time on it now, or come back to it during the rewrite.
And if I’ve done a good enough job on developing this outline, the answer may already be right there in front of me again.
Wanted to avoid the obvious reference to THE SHINING
About 2 1/2 weeks into this first draft. Page count somewhere in the low 30s, and getting ready to dive into a big action-packed sequence to wrap up Act One.
Not too bad.
Cranking out pages is anything but exhausting, especially when you’re enjoying it. Which I definitely am. I’ve been able to set aside time to write just about every day, and really like how it’s worked out.
But even though I won’t make any progress if I don’t write, sometimes a little break is kind of necessary. I actually don’t mind spending some time NOT writing. Blasphemy, I know, but think of it as recharging one’s creative batteries, for lack of a better metaphor.
(Besides, probably like almost every other writer, even when I may not be physically engaged in the act of writing, it doesn’t mean I’m not thinking about the project. Which I always am.)
Another important part of this is not to feel guilty about it. There’s no need. Better to step away from the laptop than to sit there and actually feel your brain cells burning out. We’ve all been there.
As long as you know you’ll throw yourself back into the grind in the near future.
So today, during that short stretch of free time I would usually set aside for writing, chances are I’ll most likely crash on the couch and finally watch another episode of that show I’ve been meaning to watch, or happily exercise my reflexes and hand-eye coordination playing video games. Maybe even a nap somewhere in there. All these choices! The mind reels!
Sometimes you just have to go back and do it again
Y’know one of the best things about putting together a story?
If something doesn’t work, you can change it (and most of the time, the change is for the better).
Most of the details in my western outline seemed pretty solid, and they were transferring nicely to the steady output of pages.
Then I got to the culmination of a big sequence – it involved a shootout. Something seemed out of place. I read the thumbnail sketch of the scene in the outline again.
Wait a minute. Where did the one character get a gun?
A quick check of some previous scenes. There was no opportunity for that happen.
So now I’ve got a choice to make: keep it as written in the outline, or try something different. Keeping it would mean going back and changing several scenes, which could also potentially slow the pace of the story. I opted for something different.
The end result was a shortened scene that retained crucial story and plot points, which gave them more of an impact. I also went with ending the scene ‘bigger’, keeping with the overall tone of the story.
There’s a good chance this will also result in having to rework parts of the big finale, but for now I like the way it plays out. Besides, there’s another chance for a rewrite for the better.
So even though you think your story’s ready to go, chances are more than likely you’re going to reach a point where something has to be changed, fixed, altered or just plain rewritten. Don’t see this as a negative – welcome the opportunity with open arms.
You want each scene to advance the story in the most effective way possible, and now you’ve given yourself the chance to do that.
Ask yourself if this is the best way a scene can be done. If not, what can be changed so it not only does what it’s supposed to, but does it better than your original version?
Then do the same for the next one, then the one after that, until you reach the end.
That’s what we’re told Hollywood wants. But the more I read the loglines or concepts of spec scripts that sell, there sure seems to be a lot more ‘familiar’ and a lot less ‘different.’
I mean, how many stories of an aging hitman/cop/gangster out for revenge or to settle one last score do we really need? Or a family/child terrorized/haunted by demons/evil spirits? Or a career-focused woman who would gladly throw it all away for a shot at true love? Or a man-child acting unrealistically outrageous?
And let’s not even get started on the Tarantino ripoffs. There’s only one of him, so stop trying to write like him. Please.
Every so often, something truly original will come along and capture the public’s attention. It’s labeled a success, and before you know it – BOOM. A deluge of poorly-written, second-rate copycats.
Thus the challenge all of us are facing – write something original. Something they’ve never seen before. Sure, you can incorporate familiar elements, but the tough part is putting your own spin on them.
I strive to write stories that are different. I want you to remember my script because of it’s originality (as well as being extremely well-written and entertaining, but those go without saying).
Take a good, hard look at your story. What makes it really stand out from the rest? If you can’t easily answer this question, then you’ve got some editing and rewriting to do.
Remember, it’s you versus every other screenwriter out there busting their ass just as hard as you to succeed. Harder, even.
Maximum Z 