It is most definitely NOT a sprint

I haven’t written about it in a while, but one of my other interests is running. It’s inexpensive, good exercise, and I’m fortunate to live in a place well-suited for it.

Added bonus – plenty of time to think about whatever script I’m working on at the time.

However, the passage of time and some good old wear-and-tear are starting to take their toll. My pace is a little slower than it used to be, but I don’t mind.

I especially enjoy half-marathons. 13.1 miles is a good, solid distance. In the Before Times, I’d run about 6-8 a year.

This year, kinda-sorta. All but one of the races I’d signed up to do this year were cancelled. Race organizers, however, were undeterred. Runners were given the option of doing the races virtually, as in “you run the same distance, but on the route of your choosing, then send us your time and a map tracking your route, and we’ll send you your shirt and medal.”

With all of this going on, one of the things I’d always wanted to attempt was running a full marathon. 26.2 miles. Running a half wasn’t too hard, but taking on a full seemed much more formidable.

But the biggest challenge was I wanted to see if I could do it.

So I trained. A lot.

This is also where that part about wear-and-tear really started to make itself known – primarily in my heels and ankles.

But I kept at it, always trying to push myself a little more each time. I was confident, but still plenty nervous.

As the days wound down to Race Day, my anxiety levels were growing. The biggest question on my mind was “COULD I DO THIS?” My family were as supportive and encouraging as possible, but in the end, it was all me.

So I started out. The app in my phone announced at the onset that “tracking would continue for 26.2 miles”, which is quite intimidating during those first few steps.

“It’s the distance, not the time,” I reminded myself.

Off I went through the pre-dawn streets. Sunrise was still about 80 minutes away, and save for some hills and a bridge colored international orange, it was a pretty flat route.

The miles ticked away. I got to the halfway point, feeling pretty confident the second half might not be as challenging as expected.

Mile 19. So far, so good. At this pace, maybe an hour fifteen to go.

Mile 20. The wear-and-tear decides to kick in. For my heels and ankles. Steps got a little bit tougher to take. Then a stabbing pain at the base of my left shin. That doesn’t seem good.

I wanted to keep going, but was more concerned about inflicting further damage, so I chose the safest option: I stopped running, and walked. Not what I wanted, but at least I was still moving.

It’s the distance, not the time, remember?

I got to Mile 24 and thought “maybe I can run these last 2.2 miles” and ran for about 4 steps. Nope. The walk continued.

But I kept going, and eventually did cross the virtual finish line, with a time of 5:11:33.

Not the results I was hoping for, and despite some unexpected problems to deal with, the important thing was I DID IT.

One of the most apt metaphors about screenwriting is “It’s a marathon, not a sprint.” It takes a REALLY long time to be able to do it, especially properly, so you need to keep working at it, constantly trying to do better.

The journey to finishing a script, let alone establishing a career as a screenwriter, might not be the one you anticipated. Everybody moves at their own pace, so don’t be discouraged if it seems like everybody but you is moving forward by leaps and bounds.

The important thing is to focus on becoming a better writer and making your script better. Work on crossing the finish line that’s waiting for you, and you alone.

Giving yourself a medal, however, is totally optional.

Knew this wasn’t going to be easy

wile e coyote

Many, many years ago, while attending the Screenwriting Expo in the City of Angels, one of the seminars I went to featured an “industry professional” as a speaker. I put that term in quotes because I couldn’t tell you who it was or what they did. Maybe a writer-producer or something like that. It was good enough for the folks running the Expo.

There were probably 20 or 25 of us in the audience. This guy walked to the front of the room, and the first thing he said was, if you’ll pardon my paraphrasing:

“I don’t know who any of you are, how experienced you are, or how may scripts you’ve written, but I can guarantee that just about all of you will fail at this.”

Well, ain’t that an encouraging lead-in. Everything he said after that is pretty much a blur, because I found it to be…

Shocking? Most definitely.

Disheartening? Pretty much.

Accurate? Maybe. But he was speaking from his experience. No doubt he’d seen an endless stream of writers come through, give it their all, and despite their efforts, subsequently crash and burn.

It’s easy to overlook the fact that this was well before you could make a movie with your phone and a laptop. Resources and DIY filmmaking opportunities were much more limited than they are now.

His comments really struck a nerve. Is this what I, along with everybody else in the room, should think? Were we just wasting our time? Were our chances THAT small? Should we just give up and go home?

I couldn’t speak for anybody else, but I had a little more faith in myself than he did.

Like I said, I forgot everything after his opening – the sooner I got him out of my head the better – and gradually replaced it with a few thoughts of my own:

-Yes, this is a HUGE mountain to climb, let alone get to the top. Is that intimidating? Hell yes. Is it going to stop me from trying? Hell no. Much as it sucks, it’s better to try and fail than to give up entirely, so I’ll keep trying. As long as it takes.

I’ve said it before, and I’ll continue to do so: I really like doing this, and even though I’ve endured my fair share of disappointments, I keep going – because I like the process of writing.

It’s taken me a long time to develop my skills just to get to this level, and I know there’s  room to keep improving. The challenge to myself and my writing abilities is one most welcome.

-Do I have a chance of eventually being able to call myself a professional writer? Hard to say. Some might say I already am, but that might be an individual matter of perspective. For me, until I see my name onscreen accompanied by “Story By…” or “Screenplay By…”, it doesn’t apply. my efforts will continue undaunted, unabated and undeterred.

Count me among the writers who are content to just be working. Sure, a huge paycheck would be great, but I’m also cool with writing a low-budget horror, or taking on an assignment, or doing an uncredited rewrite. IT’S ALL ABOUT THE WORK. The more I get to do it, the more I’ll enjoy it.

-For a long time, it was always “I need to find that somebody who says ‘yes’; somebody to open that door for me”, and to a certain extent, that still rings true. Getting representation, meeting with REAL industry people, and so forth.

But in the meantime, there’s absolutely nothing stopping me from making my own stuff. For the past few months, I’ve been dabbling with writing short scripts. Five to 10 pages, a handful of characters, one to two locations. Something that presents not only my writing skills, but also that I know how to tell a story in the most visual way possible.

Added bonus – a ridiculously short production time. It could be made over a few days (or a long weekend) with a minimal crew.

Feedback and notes from writing colleagues who’ve also made their own short films have been helpful and encouraging.

All of this, of course, will be a little more feasible once society slowly returns to “normal”. Until then, I’ve got plenty of time to prepare. Why not start creating our own opportunities?

-As much as I dream about all of these great things happening, I’m also a realist. I know that the journey to achieve this kind of success is a very, very long and tortuous one. Disappointment abounds.

I’ve no intention of giving up, no matter how frustrating things get. And there will be A LOT of frustration.

This is what I want to do, and despite all the negatives, I still enjoy doing it.

Thus the soldiering forward continues. Shoulder to the grindstone and all that…

I tried. I really did.

bulldog flop

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.

Wrong again.

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.

Now go wash your hands.

My, what a pleasant scent

jimmy stewart flower

It’s a been good week around Maximum Z HQ. A very good week, you might even say.

Got a couple of read requests, including one several months after the initial pitch, and my western advanced in the first round of a reputable contest.

On the actual writing front, made some good progress in the latest overhaul of the sci-fi adventure outline, plus got a last-minute invite to come up with a story idea for a friend meeting with a filmmaker looking for potential projects.

All in all, not too shabby.

Do I wish every week could be this fulfilling and rewarding? Most definitely.

Will they? Heavens no. But that’s expected. It’s the just way it is, and I accept that.

Everything that happened was the result of me putting in the time and effort. Writing, rewriting, researching who’d be most receptive to queries, figuring out which contest was most worth entering, and so forth.

I just happened to be fortunate that a lot of them are paying off very close to one another.

I also realize that each read request could results in “thanks, but no thanks”, my script doesn’t advance any further in the contest, and the filmmaker doesn’t like my idea.

Disappointing, sure, but it won’t slow me down, let alone stop me. I’ve got too much else going on to worry about it.

While the road to screenwriting success may be dotted with potholes, sharp objects and people who shouldn’t be allowed behind the wheel to begin with, every once in a while you get a long empty stretch of green lights and smooth pavement. It may not last long, but it’ll might make you appreciate it even more.

So when you have a brief window of time where it seems like everything is actually going your way, savor it knowing that YOU EARNED IT. And definitely spread the word to your support network – they’ll be thrilled (just like you’d be if it were them).

Use the emotions and sensations you’re experiencing during this happiest of times to keep you going when every response you get is “NO” and the dark clouds return.

But also keep in mind that it won’t always be like that. This path is full of highs and lows, mountains and valleys. The important thing is to enjoy the journey and keep pushing forward.

As we head into the weekend, I’ll take a moment to review the past few days and think “This was nice.”

And then get right back to the grind, once again hoping for the best.

Q & A with Bob Saenz

BobNHS

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Bob Saenz is a screenwriter, actor and author. His produced works include Hallmark’s Help for the Holidays, Rescuing Madison, Sweet Surrender, On the Twelfth Day of Christmas, Sound of Christmas, The Right Girl, Christmas in Love,  the theatrical Church People, and the black comedy thriller Extracurricular Activities. He does rewrites and polishes on film and TV projects for Producers and Production Companies. His screenwriting book THAT’S NOT THE WAY IT WORKS was released in 2019.

His acting roles include a 6-year run recurring character run on the TV show Nash Bridges, Hallmark’s Valley of Light, Francis Ford Coppola’s Jack, David Fincher’s Zodiac, Finn Taylor’s Unleashed, Church People, and The Village Barbershop, among dozens of others. He was a radio DJ on KYCY-FM in San Francisco, played the last 10 years in the 60’s rock band The BSides, and has done voicework on video games, documentaries, and commercials.

Editor’s Note – I’ve had the pleasure of knowing Bob personally for a few years. His insight and advice has proven invaluable to helping me become a better writer, both in terms of craft and career.

What’s the last thing you read or watched that you thought was incredibly well-written?

A spec script by a writer named Rene Gutteridge called Where the Wind Comes. Maybe the best spec I’ve ever read. Just spectacular. Was emotionally affected by it. Stunning.

What was the inspiration/motivation for your book That’s Not The Way It Works?

Two things. One, I’ve been teaching and speaking at writers’ conferences all over the country the last few years and everyone who was there speaking had a book, except me. I complained to my wife about it and she said, “What’s stopping you from writing one?” So I did.

Two, there’s not a single one I could find out there that spoke plainly about the business of being a screenwriter.

With so many screenwriting books out there, what is it about yours that makes it unique?

The tone. It’s conversational. My experience. It’s filled with what I have learned actually succeeding at it. With more than a dozen films produced, I used all that experience to write about what I know. And, I talk first hand about the business of screenwriting. What the writer needs to know about that part of it, which is just as important as writing a script, and how to approach that.

While the first half of the book is about the actual writing of a script, the second half covers the not-as-discussed “what happens AFTER the script is written (i.e. the business aspects)”. What advice would you give to writers who want to learn more about this?

As I say in the book – find out that it’s not easy, it’s not instant gratification, and you have to work at it. Hard. You can succeed; it just takes time and a business plan. I think the book helps with that. Realizing that writing a script is only the beginning of your journey is a BIG eye-opener for most writers who dream of doing this.

Yes, the script needs to be something people would want to choose to see and has to be good, but that’s not the end of it.

The book has a great chapter about dealing with rejection. What are some key takeaways and advice you’d offer to writers?

The main takeaway is that rejection isn’t personal. Producers and reps don’t care enough about you to make it personal. It’s ALL about the content. Whether they love your script and not or can use it at that time or not. There are hundreds of reasons to reject a script… you have zero control and it’s not personal. Even the most famous screenwriters get rejected on a regular basis. It’s an everyday occurrence. You have to learn to live with it or it’ll destroy you.

Another important issue writers tend to overlook is the need to effectively market themselves in addition to their script. While the chapter about what NOT to do is entertaining (and a bit eye-opening), what are your suggestions about what writers SHOULD DO?

Use the avenues that producers and reps have opened to the writer. Querying. Something that is an art unto itself and something I delve into pretty deeply in the book with a whole section on query letters.

Networking. There’s a huge section in the book about this.  The dos and don’ts. One thing to always remember about networking: It’s about building relationships, not using people. People who can help you absolutely know the difference and will run away from you if you try and use them.

Contests. The Nicholl and Austin are the ones who will pretty much always get you reads in LA if you final or win them. I’ve had friends get their films made doing well in both of these. Neither are easy to do well in because of the sheer number of entries, but they can pay off.

The last way is through referrals, especially to get a rep. If you know a producer or director or star who will refer you… but again, this goes back to networking and having the great scripts to back it up.

What do you consider the components of a good script?

The most important thing is a great story. It also has to be lean and mean. Brevity and white space are your friend. You aren’t writing a novel. You want just enough in there to have the reader see the film in their head and to be able to fill in what they want to as they read, engaging them in the story that way. Again, a big section in the book about this.

I will say this: Producers are ONLY looking for STORY. Screenwriters can never forget this. Don’t over-complicate the read. You can write a complex story without making it hard to read. Oh… spelling and grammar are important, too.

What are some of the most common screenwriting mistakes you see?

The main one? Choosing the wrong story to tell. Telling a story no one wants to see. Whether it’s not sustainable, not interesting, ridiculous, something that’s been done a thousand times before, something you can see every day in TV reruns… there are a million reasons NOT to write this kind of story. You need to go through a pretty thorough checklist (in the book) and make sure it’s a viable story before you do the time consuming hard work it takes to write a good script. Why do all that hard work on a story that’ll be Dead On Arrival?

Another big mistake I see all the time is writers not doing their research about the topics they choose to write about. Writing things that would never ever happen. You have to ground your script in the reality of the subject matter before you take liberties with it.

What are some key writing guidelines every writer should know?

-AIS – Putting your Ass In the Seat. You have to be disciplined. Producers expect you to be disciplined. Good to start doing that at the beginning.

-Never give up. This is so hard to do, you’ll get discouraged on a regular basis. It’s a lot easier to give up than to stick with it because it takes years to succeed in. Notice I didn’t say it CAN take years, I said it TAKES YEARS, because in every case, it does. You aren’t going to be the exception.

-Don’t cheat on research. Take the time to actually learn about the things you’re writing about. Go out and learn them. A big section in the book about this.

-Again…. for emphasis…. choose a story that is viable for producers and audiences. Don’t just pull something out of the air and write it.

-You’re not writing a novel. Leave everything that isn’t directly hooked to your story or plot points out of your script. One rule of thumb? You know all those people listed in the credits of a film? It’s your job to do everything they don’t. You aren’t a costume designer or a casting agent or set designer…. or… any of them. They don’t ask to write the story, you don’t try and do their job.

You’ve managed to establish and maintain a writing career while living outside of Los Angeles. What are some of the pros and cons about it you’ve experienced?

Pros: I don’t live all that far away (400 miles) and can be at any meeting on a day’s notice, so it’s been fine for me. I am in LA multiple times a year, sometimes for more than a week at a time. It’s expensive… but also my choice. There’s a section is the book about moving to LA and when to pull the trigger and do it if you need to.

Con: I’m not in LA networking all the time. Out of sight, out of mind is a real thing. Not worth moving there for me, though.

Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Peach. Nothing else comes close.

peach pie