To say the past few weeks have been interesting is putting it mildly. Like pretty much everybody else on the planet, many parts of my life are a lot different now. Adjustments are being made. I sincerely hope you’re doing everything you can to stay safe and healthy.
One of my constants during this time has been to write. Unfortunately, with everything going on, I haven’t been able to be as productive as I’d hoped.
Remember way back to around the beginning of this month when I said I was going to really push myself to have a completed new draft of the horror-comedy by the end of the month?
Side note – that was just a few weeks ago. Feels MUCH longer than that. Oy.
Full disclosure: ain’t gonna happen. Not even close.
A LOT of time was spent revising the outline. Copious amounts of cutting, editing, and idea-developing took place. Since a big part of this was to reduce the potential budget to make it more financially appealing to anybody interested in actually producing it, large swaths of scenes and sequences were ceremoniously shown the door.
The number of characters and locations were drastically reduced to as few as the story would allow. Emphasis on drastically.
Keep in mind that all of this was going on as the tendrils of COVID-19 continued to spread across the globe at a rapid pace. My sweetie’s office shut down until further notice. Ms. V’s school closed, first for two weeks, then another two. (Fortunately, all of her classes are continuing online.)
I’d even been sent home from work for a non-corona condition, and was then told to stay home for the next week and a half. I was back in the office this week, but management opted to keep everybody safe and set us all up to work from home. You’d think this would be a golden opportunity to see some major productivity, writing-wise.
Still had to work the day job, but just from home. The rest of the day involved dealing with a lot of the everyday routine, albeit very, very modified. Writing time had become very limited, sometimes practically non-existent.
But I did what I could. Even just writing a little is better than not writing at all.
As the days went on, my output had seen a significant decrease. I had to face the sad truth: this script was not going to be ready when I hoped it would.
Disappointing, but you gotta admit we’re all operating under some totally new circumstances. I don’t think anybody had “productivity down due to self-isolating during a global pandemic” on their list.
Even with a few minor details in the outline still in need of figuring out, I wanted to feel like I was moving things forward.
So I started on pages, knowing I’d be going back and rewriting them anyway – which has already happened with some minor edits and tweaks within the first 10.
I admit I would have absolutely loved to announce on March 31st that I had a completed draft, but that won’t be happening. Instead, I’ll say there’s no need to rush and that this thing will be done when it’s done.
In the coming weeks, as I settle into my new routine, I’ll do what I can to ramp up my output. This thing WILL get written.
It’ll just take a little longer than I’d hoped. Normally I’d say “last day of April”, but it’s probably better to not stress myself out over the idea of NOT hitting another deadline.
Before I forget – an added bonus of all this – once again reveling in the sheer joy of writing something new.
Well, almost new. But you get the point.
Can’t stress this enough. Stay safe and healthy, chums.
After a rough couple of days, I’ve opted to put the revision of the sci-fi adventure outline on hold and redirect my focus to a new draft of the horror-comedy.
Lots of changes in store for this one, most of all making it as cheap to produce as possible. Several characters cut, locations drastically slashed, overall production costs severely reduced.
What was once a low-budget story taking place throughout a small town has now been shrunken down to an ultra-low- (possibly even micro-) budget story with a majority of the action on a forest road, and in and around an isolated house.
In some ways a challenge, but also somewhat liberating. Also a major plus – so much usable material from the previous draft – including a line or two of description that’s been expanded into a plot-propelling sequence.
I’m slowly working my way through the outline, with the intention of getting to pages within the next week or so. One option is to type up pages for what I’ve already got in the outline, edit those, then work more on the outline, then pages, and so on and so on. I’ve done it before, with tiring but pleasing results.
No matter how I approach this, the ultimate goal is to have a completed draft (or as darn close to it I can get) by 31 March.
The ticking of the clock rings like thunder in my ears.
A lot of developments on several fronts around Maximum Z HQ this week. Don’t want to go into much detail, but among the highlights:
-outlined a horror-comedy short, and have now moved on to writing it. Seriously considering making it, so watch this space for further developments.
-working on the short, plus some inspiring and motivating comments from a few colleagues, makes me weigh the option of revising the horror-comedy spec I wrote last year. This would be done with the intent to lower the potential budget – smaller number of characters and locations. Defnitely doable.
-I’ve always been a fan of the The Flash TV show, and came up with a story idea I think would be fun to see. So, I’ve decided to attempt to write a spec episode about it. Since I’ve never written for TV before, this will be quite the learning experience.
-forgive the self-promotion, but my western took the top spot in its category for Creative Screenwriting’s Unique Voices contest. I’m quite thrilled, and even if it doesn’t take the grand prize, it’s still something I’m very proud of having accomplished.
-Here a few external items of note:
-There are lots of screenwriting retreats, but how about one at a 5-star game lodge in South Africa? Networking. Mentoring from industry professionals. A safari. All the details at scriptoafrica.com.
-Chris Gore of Film Threat has launched a crowdfunding campaign for his documentary project ATTACK OF THE DOC. If you were a fan of G4TV and/or Attack of the Show, this sounds right up your alley. Donate if you can!
-last, but not least. Yours truly is one-third of a trio of hosts of the new Creative Writing Life podcast, which offers up our thoughts on all sorts of writing and writing-related topics. Co-hosts include author/friend-of-the-blog Justin Sloan and author P.T. Hylton. As of this writing, it’s on Spotify, and we’re working on getting it onto iTunes. No matter what platform you use, feel free to give it a listen!
Hope you have a great weekend. Go write something.
Chris Mancini is a Writer, Director, Comedian, Author, Producer, Podcaster, and Parent, which also makes him very tired. He has also written, directed and produced on everything from soap operas to parenting books to horror films, which are all more closely related than you think.
A strong advocate of podcasting, Chris is also the co-founder of Comedyfilmnerds.com with Graham Elwood. The site features a podcast with over 6 million downloads and features comedians and filmmakers talking about movies. His scripted horror anthology podcast Conversations From The Abyss is now in its second season. Chris was also one of the founders of the Los Angeles Podcast Festival.
What’s the last thing you read or watched you thought was incredibly well-written?
The two extremes would be Avengers: Endgame, because it was the culmination of years of storytelling, and Paddleton because it was a small two actor character piece that just sucked you in. The relationship and the drama of the two leads and their interaction was incredibly engaging. Mark Duplass and Ray Romano did an amazing job.
Were you always a writer, or was it something you eventually discovered you had a knack for?
I’ve wanted to be a writer since I was 16. I submitted short stories to magazines. Yes, that was a thing. Ironically, I got published first with non-fiction. I was a journalist for a local newspaper for a while (also a thing), starting at age 18.
What are some of your favorite comics and/or webcomics?
I really enjoy Hellboy. I also like anything by Neil Gaiman, and grew up on a healthy dose of Spider-Man and Daredevil. I actually remember when Spider-Man first got his black costume. It was an alien symbiote that came out of some weird machine during Secret Wars. I remember not being happy because I always liked the red and blue one. But you get over these things. I am also reading a lot of kids’ comics with my son, like Cardboard and Amulet which I am really enjoying.
How’d you get your start writing comics?
I kind of made it happen on my own. I’ve always wanted to write comics, and I had a story I thought would be perfect for the medium. I met Mark Waid through a mutual friend and podcast fan and he championed it. So I found an artist I loved and kickstarted it. I was able to fund it thanks to the generosity of the fans and then Starburns Press picked it up. I am very happy to be over there, and I think it’s a great fit for the book. I just got my first offer for a short piece in their next comics anthology. My first comics writing assignment! I’m hoping for many, many more. I would love to write more comics.
A lot of people hear the term “comic book writer”, but don’t really know what the job entails. How would you describe it?
Interestingly, since I have a background in indie film what you’re really doing as a comic book writer is writing and directing. You’re writing the script but also describing the action, pacing, and what goes in each panel. Basically you’re storyboarding like you would for a film. In indie film you have to wear a lot of hats, but with comic book writing you’re not just writing some abstract script. You’re describing each panel and basically directing the book. That’s why it’s so important to have a great artist to be paired with like I was with Fernando Pinto. Eventually you develop a shorthand and it gets quicker.
What inspired you to write your graphic novel Long Ago And Far Away? What was your process for writing it?
I’ve always loved fantasy stories, and growing up was a sucker for the stories about kids from our world who go into a fantasy world to save the day, like The Chronicles of Narnia. But I always thought about what would happen when those kids come back to our world and become adults. How would it have affected them? And then what if they had to go back into that world as an adult? The process was very, very long. I had the story a few years ago and it was in and out of development at various companies as an animated show, etc. But it never moved forward. But it was the kind of story that stays with you, and insists on being told. We all have stories like that; ones that won’t let you go. So I thought that a comic book would be a great way to tell the story. And I wouldn’t have to worry about there not being enough money for computer effects.
LAAFA was funded via crowdfunding. With a lot of comics creators taking that route to self-publish, is it something you’d recommend, and what are some tips you’d offer?
I recommend anyone who wants to create to just get out there and make it happen, any way you can. If someone buys your idea or hires you, great. But more often than not we have to greenlight ourselves. So if you’re a filmmaker, make a short film. If you’re a novelist, self-publish. If you want to make a comic, you need to raise enough money to pay the artist and make the book. But it can be done. Just know that crowdfunding is a full time job for that window of raising money. Don’t just think you can put a project up and money will magically appear. You have to promote, get endorsements from other artists, and also promote. Did I mention promoting?
You’ve also had experience writing for film, both narrative and documentary. How do you compare writing for the screen to the comics page?
I really, really, love it. It’s like filmmaking with an unlimited budget. No one comes back and says “we don’t have the budget to blow up Manhattan” in a comic book. If it can be drawn, it can be in the story. As far as story goes, film story progression and storyboarding can be really instrumental in writing for comics and guiding your panels.
A key component of writing (and not just for comics) is to make the stories and characters relatable. What sort of approaches do you take to accomplish that?
Characters we create often have traits of ourselves or people we know in them. That grounds them and keeps them believable. Even when it’s a supervillain, there’s a relatable trait you can give him or her. I always try to figure out what kind of character they are by how they would react in certain situations. Character reactions can convey lots of information about a character. As far as the story goes, keep the story progression organic. It should only have crazy twists in it if you were slowly leading up to them all along. The best narrative twists are the ones the audience didn’t see coming, but in hindsight were justified from the very beginning.
What are some key rules/guidelines every writer should know?
Write what you know.
Make the story personal, regardless of the genre or scope of the story.
Get help from other writers, and help them in return.
Don’t write for free for millionaires. If someone is serious about your work, they’ll make a deal with you.
Don’t neglect your body. Take time to exercise and unplug. It will help your mind focus and clear your head, which will improve your writing.
I really want to focus on writing right now, so I’m taking a break from stand-up, but may return to it at some point.. While I do the Comedy Film Nerds Podcast with Graham Elwood every week, I also have a scripted horror anthology podcast called Conversations From the Abyss that just finished its second season. I’m also hoping to get my next comic project going called Rise of the Kung Fu Dragon Master with the same team. It’s a martial arts/fantasy/comedy about a small time crook in Los Angeles who gets mixed up in a perennial battle between good and evil from ancient China. I also have various TV and film projects I’m developing and hoping to get into production.
How can people find out more about you and your wide body of work?
My website has links to my books and movies, including Ear Buds: The Podcasting Documentary. There are also links to the podcasts and my demo reel.
Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
Peach. ‘nuff said.
Here’s an episode of the Comedy Film Nerds podcast where Chris goes into an extensive recounting of his experience with his film Asylum. HIGHLY RECOMMENDED for aspiring filmmakers, plus it’s just an extremely entertaining tale. Well worth the listen.
Well, here’s the good news: the first draft of the horror-comedy spec is done. Clocking in at a somewhat respectable 89 pages. Not too shabby, but I honestly expected it would be closer to 95.
Which, combined with the notion that there really isn’t any bad news in this scenario, which is nice, leads me to the whole point of today’s post.
Time for a little post-game analysis and strategizing.
Am I thrilled that I got this draft done in something like 4-5 weeks? Most definitely. I wanted to be able to say I typed FADE OUT by the end of the calendar year, and I did exactly that.
Am I happy with how it turned out? Mostly, but more on that in a minute.
Even after my “thorough” plotting and planning of the outline, the script simply isn’t where I want it to be. For now. After all, this WAS a first draft, which will usually be vastly different from each and every one that follows.
I imagine that mindset also applies here.
Even as the pages were being churned out, I kept realizing there were story elements and developments I’d wanted to include, but they’d inadvertently fallen by the wayside. My “thoroughness” had only gone so far.
But there’s hope for me yet. I devised a handy-dandy set of guidelines and questions to use for each scene, so all the things I’d missed this time around won’t suffer the same fate in draft number two.
My younger self would do a fast 180 and dive right back into the rewrite. Current self? Not so much.
Instead, I’m opting to put this draft into the proverbial desk drawer and just let it sit there for a few weeks. The next time I give it a good look-see will probably be in early January.
Full disclosure – some new ideas and fixes for this script came to be while it was being written, but trying to incorporate them would have complicated things more than I wanted, so I simply created a list and kept adding to it when applicable. No doubt it will be extremely helpful when the rewrite begins.
There’s also a strong suspicion that all those changes will result in the next draft being closer to the more-desired 95-100-page range.
In the meantime, I’ve got quite a bit of a backlog of material to work through, ranging from working on some of my other scripts to reading and giving notes. The hope is to shrink that backlog to the point of non-existence, or at least mighty darned close to it, by the time 2019 rolls around, thereby enabling me to jump right into this rewrite.
Exciting times are just ahead, chums. And coming up fast.