Finding the right next one

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Progress continues for developing the story of the new spec, with a few important details solidifying, along with weighing options for the overall setting (Is it too familiar? If it changes, how much will that affect the rest of the story? Is that a good thing?)

But the one thing really coming into play this time around is figuring out the best way for one scene to lead into the next – to the point that it needs to seem like it was only logical that this next thing is the only thing that could have happened, and so on and so on. It’s challenging.

This is where watching films and reading scripts really comes in handy. Taking a look to see how other stories have accomplished this can make quite a difference. Granted, a lot of the scenes involve being set up earlier in the story, so not only is there a payoff somewhere down the line, they also tie in to how the story is developing AND move things forward.

A leads to B, which leads to C, which leads to D, etc., etc.

It’s also important to stress that the events of the story need to flow organically. B needs to be the only thing that could have followed A without it feeling forced or “this happens because I need it to”. Making sure of this is a big contributing factor to all the time being spent on the story.

I’ve discussed this with several other writers, and many said this is a positive thing. Putting so much effort into this now leans towards the story’s foundation being pretty solid, and establishing that steady A-to-B-to-C movement will help things flow.

Something else I’ve noticed in a lot of the films and scripts is that the scenes are VERY TO THE POINT. There is no time wasted whatsoever. The scene starts, they get to the point asap, then move on to the next one. I’ve seen the opposite in a lot of scripts, including some earlier drafts of my work. I’ll be making sure this doesn’t happen this time around.

Even though there is still a lot to figure out for this story, there’s also a lot coming together – at a slightly faster pace than usual, which is something I’m not used to. There’s even been a random moment of clarity or inspiration when I’m not expecting it, which is always great.

My automatic reaction to when that happens is “does this work within the context of the story and accomplish its purpose?” and if not, is there a way to adjust it so it does? Even if I end up not using it, it might still have the potential to be used in one form or another somewhere else in the story (or in an entirely different script).

And what might be the best thing of all is that I’m simply having a great time putting all of this together. Like I said, it’s challenging, but still fun. Wish it could go a little faster, but I think it’ll be worth the wait.

One inch at a time

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A lot of my time lately has been jotting down ideas – and lots of ’em – about the new spec. Some random, some of a “this leads to that, which in turn results in this” nature.

As I recently said on social media, it’s a big beautiful jumbled mess, and I’m absolutely thrilled about it.

Just a few weeks ago I was stressed there wasn’t enough to the story, but then the gears started turning and the ideas started coming, and it was off to the races.

Since then, I must have filled in at least half a dozen pages in the notebook for this project with every single thing that popped into my head about it. Even more surprising is how much of it came from out of the blue – all kinds of stuff that never would have occurred to me before. Can’t really say that some kind of ‘on’ switch was tripped, but something was ignited somewhere.

Not only are ideas covering aspects of the story making themselves known, but so are ideas about the things you don’t see onscreen – emotional beats, character development, and so forth. It begs the question – what took it so long to show up?

There’s a lot to go through, and confidence levels are running high that there’s more on the way. There’ll be a lot to sift through to figure out what to keep and what to put aside for potential use at a later time (or another script).

This may be moving at a slow pace, but it’s definitely starting to take shape. What that shape is remains to be seen, but I like it.

A lot of moving parts

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Progress on the new spec has been slow but steady-ish.

Biggest development was finally figuring out the reason why my antagonist is doing what they’re doing, and that in turn will have an impact on the rest of the story. Still working out some of the details about the subplots connected to that; some directly and some not so much.

As I work my way through all of it, more subplots for the overall story are popping up. It’s gotten to the point that I’ve put together a pair of lists – one for the protagonist and one for the antagonist, each listing their respective subplots (along with some important details about their storylines).

Both have grown exponentially, and I have to be careful not to overdo it. I don’t want things to get too confusing. The last thing I want is a reader to stop and ask questions, or have something left unexplained. Things need to be easy enough to understand, but not too simple. I try to make sure everything plays a part.

Honestly, this is one of those parts of the process I enjoy – just figuring stuff out. It’s a challenge, to say the least, but it’s oh so worth it to take the time to make sure all the pieces fit together the way they should. This probably explains why the development and outlining take me so long – trying to get everything organized and set up in the right places.

As I work my way through all of these potential ideas, there’s a good chance a lot of them will be dropped – wouldn’t be the first time – but it’s easier to cut and revise than to try and jam something in that feels forced. Sometimes I get lucky and discover a viable connection set up earlier in the story, which is more likely serendipity than me being exceptionally cunning.

A reader on my fantasy-comedy had commented there was a lot going on over the course of the story and they were wondering if I’d be able to pull off keeping things organized. But when they were done, they admitted to being impressed with how all the subplots played out both individually and how they all came together in Act Three. They could tell I’d put in a lot of effort to ensure that happened.

That’s what I’m going for with this one. There really is a lot going on for this story, which is why I’m really taking my time to figure everything out so it all works the way it’s supposed to.

The joy of a crowded reading queue

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In addition to all the work on my scripts, the short film and the recent writing conference, I’ve been making more of an effort to read more scripts. Fortunately, members of my network of trusted colleagues continue to come through and provide me with a constant supply of quality material.

It may be part of a swap, or they ask me to read their latest draft and give notes, and sometimes it’s just for hell of it.

I try to read one per week, preferably in one sitting, but that’s a time management thing. Not having to do notes really speeds things up.

The latest lineup includes two pilots, two features, and the manuscript for a book about screenwriting – all from writers I know, and another writer sent me three scripts from an established pro; one in production, the second just announced, and the third in development.

Sometimes I’ll track down the script for a film I really enjoyed and want to see how the writers had it on the page, and then see how it compares to what’s onscreen. I’ve also started compiling a list of scripts I’d love to read.

Reading scripts can be incredibly helpful. Seeing how somebody else put their story together along with how it reads on the page can influence your own methods. Not that you should try to copy them, but it helps you hone your skills and craft to make your writing more effective, as well as establishing your writer’s voice.

Speaking of voice – check out scripts by Shane Black, Quentin Tarantino and Brian Duffield as shining examples. Great writing, each with a distinctive voice that really engages and involves the reader.

Reading scripts can also help motivate ideas. If I’m feeling stuck, I’ll watch a scene that’s similar to what I have in mind, then find the script to see how it reads on the page, then figure out a different way for mine to go.

I’d forgotten how satisfying it is to take the time to read a script. Doesn’t matter whose it is. Good writing is good writing, great writing is better, and a solid, well-written script is the best.

Slow and steady and all that

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Quick update – no post last week because I was getting ready to run the Writing For Hollywood track as part of the San Francisco Writers Conference. Time got away from me what with all the planning and coordinating. Even though I was miffed about not posting, having a phenomenal day of panels with some savvy screenwriting & filmmaking pros was a nice consolation prize.

FYI – I’ll be doing this again for next year’s conference, so if you’re interested in attending, there’s a link on the homepage to find out more.

So with the conference out of the way, it’s back to work on a few projects.

-had a great meeting with the director of my short film. The crowdfunding should be launching in early/mid-March, with a projected shoot in early/mid-June. Doing what I can to make that happen. Watch this space for more details.

-had a pair of great Zoom calls with some writer chums to discuss my new spec idea. Both had some excellent suggestions. I’d been feeling stuck on the story – especially for Act Two – and it was quite helpful talking things out.

Once again I find myself writing ideas down and constantly thinking “How about THIS?” Right now it’s mostly a big jumble of ideas and concepts, but something is definitely starting to take shape. I’m not as stressed about it as I was. This is that part of the process that’s equal parts thrilling and frustrating, but the important thing is that it’s getting done.

And the more I work on it, the more hopeful and confident I get about it.