development

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.

Time unintentionally taken

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When I started working on the new spec a few months ago, I was hoping to have a solid outline done by the end of the year.

But the story is proving to be more complicated than I originally thought, and I’ve come up with some ideas that would help not only the story but to also showcase the “different” in the Familiar But Different aspect when it comes to the films that inspired it.

And on top of that, I’ve been busy with other stuff, so development on this project has really slowed down. I’m still working on it, but slightly annoyed that this is happening in the first place.

Part of it is my strong desire to get this thing written. I’m really psyched about it, but I also want to do as much outlining and figuring stuff out before moving onto pages.

There’s also the previously-alluded-to going for “familiar but different”. There are scenes and sequences in this story that require a strong sense of originality so as to avoid being interpreted as me being a lazy writer and just ripping off stuff from those other films. That is something I definitely want to avoid.

Thus, my continuing struggle to put this one together.

I initially felt embarrassed and a little ashamed about being so far behind schedule, but this is what putting this story together requires. When I expressed this to other writers, I was reminded that everybody makes progress at their own pace (“As a runner, you know how true that is.”), and it was also pointed out that several other writers in our community spend a lot of time writing and even more time rewriting their stuff.

I was told I shouldn’t feel bad about not being as productive or prolific. I’m doing the work at the pace that works best for me, and that’s the important part.

I also have to keep in mind that my animated script began several years ago as just jotting down ideas, and then gradually evolved into what it is today – including countless rewrites and polishes. Even today I’m still waiting on notes that will be applied to the next draft.

I know I’ll get this one done, and of course wish it wasn’t taking so long, but that’s just the way it is. I’m still enjoying putting it together, and confident I’ll be happy with the end result (and all the subsequent drafts that follow it).

A little re-educating never hurts

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I’d already been working on the new spec for a bit when a friend offered up the chance to be a beta tester for his new screenwriting course.

It offers a lesson a day to help you get your first draft done. He admits the course is geared more towards newer writers still learning the ropes, but thought I might enjoy it – as well as provide feedback about my experience with it as needed.

I figured “Why not?” and signed up.

Just a few days in and I like how it’s going.

I’m following the lesson plan, which so far has involved the very basics – What’s your idea? Which genre is it? Tell us about your protagonist. Do you have a few ideas for the title? What’s the logline?

It would be really easy to blow all this off and just jump ahead, but I said I’d adhere to the guidelines, so that’s what I’m doing.

In some ways it’s helping take some of the pressure off and avoiding the trap of the whole “just write it!” mindset. Taking it nice and slow, and being slightly more reflective than usual is reaping some benefits. Getting the more manageable tasks out of the way has also resulted in a few more bursts of creativity – which is especially helpful as I continue to work on coming up with story ideas.

It’s almost zen-like in the approach.

I also like the accountability factor. It’s great for me to work on this, but I want to help my friend make the course as effective as I can, which is why I’m being diligent about completing each day’s lesson. I’d call that a win-win.

This is a 60-day course, and I’m still in the single digits and about to get into the outlining phase. Like I said, I’d already been working on this, so I have a lot of the first act in place – it’s the second act that’s proving to be the challenge.

But I’m not stressing about it. One lesson/task a day equals slow but continuously steady progress.

If things work out the way the course intends, then I should have a pretty solid first draft in just under two months, which is fine by me.

Then the rewrites begin, which will probably a totally different course.

The gears they are a-turnin’

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Another shorty today, but it’s a good ‘un

Still trying to figure out the story for my new spec, but it’s slowly coming together. Will probably take longer than I’d like, but making a point to not rush through this.

Got the concept, a few scenes and plot points in place, and I know the ending.

Bonus – placeholder title replaced with something better/stronger. For the time being, anyway.

Now I just need to focus on everything else and I’m all set.

Easy peasy.

Taking a few days off from the daily grind, so next week’s post will most likely be out of the archives, but the creativeness never stops.

Later, gators.

-Also wanted to express a huge thanks to all my writing chums who helped me navigate my way through a rough week. Consider me thoroughly grateful for all the ongoing support & encouragement.

FBD is a BFD

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Working on this new script idea is proving to be quite a challenge. It’s still in the very early development stages, so any and every idea is being written down for potential use. No doubt some will stay, some will be trashed, and some will be altered/revised/modified to varying degrees.

Adding to all of this is that a big part of the story is similar to parts of a very beloved and well-known film – so similar that it’s one of my comps – so I also need to come up with ideas so my story safely falls into the category of “Familiar, But Different” – FBD.

It’s my goal to have this story be reminiscent of that other one, but not so much that it feels like I’m totally ripping it off. I’ve read a lot of scripts that fall short of that, so doing what I can to avoid falling into that trap.

This film also has a lot of iconic scenes, so it’s even more important I put my own spin on the concept to really hammer home its FBD-ness. The absolute last thing I want is for somebody to read this and think “There’s nothing new here”.

A key part of this is breaking down the components of the original film – not just the story, plot and characters, but seeing what worked, how the various storylines and subplots were laid out AND how they were connected. I can then use all of that as a springboard to putting my story together, and then fine tune as necessary.

Challenging, but not impossible.

Great as it would be to have the final result ready now, finding a new way to tell this familiar story is part of what I enjoy about doing this. I like to call it “go for the hard turn”; Just when you think things are going to go a certain way, there’s a yank on the steering wheel and all of a sudden things are heading in a whole new direction that makes you want to keep going.

One thing I’m fairly certain will play a factor in putting this together is that I’m just enjoying working on it. I don’t think there’s anything like it out there, so there’s a certain thrill to exploring the unknown, so to speak. It’s a priority for me that when it’s totally done – no matter how long that takes – it makes a strong impression for both the story it’s telling and how it’s written.

Even though it’ll take a while for me to figure it out, I’m confident I can make it happen.