originality

One more hurdle hurdled

Maximum Z characters, cliches, comedy, contest, development, draft, feedback, ideas, notes, originality, productivity, pulp fiction, rewriting, scenes, science fiction, screenplay, screenwriting, script, sequence, spec, story, storytelling, tropes, writing , , , , , , , , , , ,
hurdles
On to the next one!

A little self-serving project status update for today…

Work on the comedy spec has been put on hold so I can polish up the pulp sci-fi in order to make a fast-approaching contest deadline.

Luckily for me, I’ve been very fortunate to get some high-quality feedback on it from trusted colleagues, and a lot of what they’re saying has been proving most helpful.

Several readers had the same comments about several sections. If one person had said it, their suggestion might be worth considering. Since it was a bit more than one, action had to be taken.

Among the notes was that a few scenes were simply too clichéd and unoriginal, and that their tropey-ness, along with being kind of dull, was more or less counteracting the high-octane action of the rest of the script.

Changes had to be made.

The objective of the scenes and sequences in question was still the same, but the execution needed some major work.

I went through several options with a mindset of “What haven’t I seen before?”, and came up with one I thought adequately fit the bill. That triggered a few more ideas, which upon a little more figuring out, could actually be connected to other parts of the story.

A little more tweaking and suddenly it all clicked into place. By having A happen, that would result in B, which leads into C, which both reinforced an integral part of the overall story while further developing a character several readers had felt was somewhat lacking in substance.

It was quite an exhilarating sensation.

There’s still more work to do for the script, but I felt quite psyched about having gotten this far, along with looking forward to implementing a few more of those much-appreciated notes.

Setting out in a new direction

Maximum Z comedy, creativeness, development, editing, ideas, originality, plot, rewrite, scenes, screenplay, screenwriting, script, story, storytelling, subplot, Uncategorized, writing , , , , , , , , , ,
hikers
Aha! Just the path we’ve been seeking!

As part of the overhaul of the comedy spec outline, I’ve been trying to come up with ways to make this draft significantly different from previous ones.

I’d managed to work my way through one of the subplots, and was now focusing on another one. But something felt very…off about it. It felt too preditable, in a tropey, tired cliche kind of way.

So of course, it had to be changed. But to what? That required a little more thought.

I tinkered around with a few ideas. Since this IS a comedy, what would be funny? That inspired some new trains of thought, with ongoing emphasis on “different”, “unique” and “original”. Finally, totally out of left field, one popped and stuck.

Boy, did it.

The more I thought about it and considered the possibilities, along with determining if it fit into the subplot and the overall storyline, the more it seemed to work. I honestly couldn’t recall seeing this idea in a script before.

Okay. This new idea creates a new objective for the storyline, so now it’s all about the “how things develop/how we get there”, PLUS figuring out how to present it in a way that’s original, unique, and funny.

Some more tinkering occurred, and it was all slowly coming together. There’s still some more work to do on this part and the rest of the script, and that’s totally cool.

The finished product will be significantly different from what it was before, and that’s really what this overhaul is all about.

Sometimes it can be tough for me to discard ideas and elements from previous drafts, but have found that totally wiping the slate clean and starting anew, or at least really pushing myself to come up with new ideas, is paying off much, much more than anticipated.

-Can’t let today go without acknowledging the ongoing and unwavering support I’ve received from the woman I’ve been extremely fortunate to be married to for the past 23 years as of this Sunday.

Writers – never, ever underestimate the importance of a partner who’s there for you through good times and bad. They are one of, if not your most valuable resource, and make sure they know how much you appreciate them.

Happy anniversary to my wonderful K. Love ya, baby.

That’s not the question you should be asking

Maximum Z characters, ideas, Netflix, originality, screenplay, screenwriting, script, spec, story, storytelling, writing, writing process , , , , , ,
classroom
Class, who can tell me what “familiar, but different” means?

I see variations on this question a lot throughout many online forums:

What kind of script should I write?

Seriously?

And I say that in the least condescendingly way possible.

It amazes me that somebody who wants to write a script has to ask what they should write. Shouldn’t you already know? Isn’t that why you’re doing this in the first place?

Then again, I’ve always been a writer, so it was never a question of “What do I write?”, but more of “Which one do I write now?” and “How do I write this so it’s good?”

But back to the topic at hand…

My immediate response to the question in question is “Write something you would want to see.” But that’s my approach. Others may take a different stance.

One caveat – make sure whatever you write is as original a story as you can come up with that contains original characters and situations. Do whatever you can to make it your own. Readers will instantly recognize if you’ve “borrowed” something.

I recently read a script that was a blatant rip-off of a well-known franchise. Did the writer know this when they wrote it? I don’t know, but the actual concept behind their story seemed unique unto itself, with lots of possibilities, so it was actually kind of surprising and disappointing to see them follow that well-trod path instead of seeking out something new.

Something else to keep in mind – using well-known characters not created by you is a very, very bad idea. A writer friend has a connection at Marvel Studios who handles the non-stop influx of unsolicited spec scripts. No doubt your Spidey spec is brilliant, but you’re seriously fooling yourself and wasting your time.

Wouldn’t you rather your script be known for offering up something new and unique?

A lot of newer writers see what’s hot at the box office and think “I can crank out something like that in no time!” Also a waste of time. Trends come and go very quickly. What’s hot today could be ice-cold tomorrow. And you probably think you’re the only one to come up with some variation on that current big idea.

You’re not. It’s even money deals involving clones of that idea will be announced in the near future, all while you’re still churning out pages.

DON’T CHASE TRENDS. You’ll never catch up.

A writer I’ve exchanged notes with concluded our most recent email conversation with “Also wanted to pick your brain. I want to write a script about ____ . It’s an idea I’ve had for several years, but I don’t know if anyone would want to see it.”

Their concept seemed good with lots of potential, but also sounds very similar to a recent series on Netflix, which I thought increased the chances of inevitable comparisons between the two. But if it’s a story that’s been percolating for that long and they feel really passionate about it, then by all means, have at it.

As a spec writer, you have the freedom to write whatever you want. I suspect a lot of us are inspired by the films we grew up watching up to the ones we enjoy now.  Start there and see where it takes you.

Strive for originality, chums.

Start with similar, venture into different

Maximum Z choices, concept, creativeness, creativity, ideas, inspiration, originality, plot, project, screenplay, screenwriting, script, story, storytelling, voice, writing, writing process , , , , , ,
path
With one you can play it safe, while the other offers up more of a challenge

In the handful of times I’ve helped out as co-writer or script polisher on somebody else’s project, there have been variations on the following conversation:

ME: And then THIS happens!

THEM: Oh, we can’t do that. ACTUAL MOVIE did the same thing.

ME: Not exactly. ACTUAL MOVIE did THIS, and what I’m suggesting is maybe at the very foundation the same concept, but if we did it THIS WAY so THIS HAPPENS, it would be entirely different.

THEM: But won’t people think we’re just ripping off ACTUAL MOVIE?

ME: First of all, ACTUAL MOVIE has been out for a while, and you’re at least a year away from having this thing done, so I highly doubt the first thing anyone’s going to think is we’re ripping off ACTUAL MOVIE. Second, this is exactly why I think THIS is how it should happen. True, both use the basic concept, but we’re putting our own spin on it so it doesn’t resemble ACTUAL MOVIE at all. They’re similar, if you could even call it that, but still different.

THEM: (thinks it over). Well, okay. We’ll give it a try.

And…scene.

I’ve read about this in articles and seen it firsthand while reading scripts, both times usually associated with newer writers. Somebody really likes how something happens in a film or a script, so then they go and have the EXACT SAME THING happen in theirs. I get that you liked that original, but why, oh why would you want to use it practically verbatim in yours?

Doing the screenwriting equivalent of a “copy, cut, and paste” will do you no good because it’ll be painfully obvious that’s what you did. You’re trying to tell an original story, and THIS is what you do?

If anything, people will definitely think you ripped off that original thing and berate you for your total lack of originality. Was that your goal? Probably not.

Time to get analytical. What was it about that particular something that really got to you? Why do you feel the need to have the same thing happen in your script? That’s the angle from which to approach it.

But this is also where the challenge begins. Once you identify that core detail, it’s up to you, the writer, to figure out a new way to use it in such a way that not only does it serve the purpose you need, but also pays homage to what inspired it in the first place.

You know where things are going, or at least where you want them to go, but now you need to tweak how they get there. Work those muscles of creativeness! Try something new! Don’t hesitate to jump off the beaten path into new territory! If anything, you might come up with an entirely new idea that accomplishes exactly what you needed, but just a totally different way.

Sure, there’s a very slight chance it could potentially remind somebody of ACTUAL MOVIE, but they’ll definitely remember that it came from yours.

Pacing & page numbers

Maximum Z characters, cliches, craft, dialogue, format, goals, objectivity, originality, pace, pages, patience, plot, reading, screenplay, screenwriting, script, story, storytelling, writing , , , , , , , ,
number-line
Looks like there’s a lot going on up ahead

When you start reading a script, you tend to recognize pretty quickly whether or not the writer knows what they’re doing. Their mastery of the craft (or lack thereof) will become soon apparent.

Bad formatting. Misspelled words. Unfilmables. On-the-nose dialogue. Cliches as far as the eye can see. Quite a checklist.

Find one or more of these early on, let alone just on the first page (which does happen), and there’s not much hope of improvement. You’re left with no choice but to force yourself to push forward. Maybe once in a while, you glance up at the upper right corner of the page/screen.

Your shoulders sag. “I’m only up to page ____? This is taking forever!” you exclaim. Making it to the end has suddenly become a question of “if”, rather than “when”.

Now let’s examine the other side, where the writer is in total control.

You encounter writing so sharp and descriptive, you can easily “see” what’s happening. Dialogue that’s not just crisp, it practically crackles. Characters who feel and talk like real people. All of it taking place in original and entertaining situations.

You become so wrapped up that you can’t wait to get to the bottom of the page so you can move on to the next one. And maybe once in a while, you sneak a glance at the upper right corner.

Your eyebrows shoot up. “I’m already at page ____? Wow, this is just zooming by!” you exclaim. You eagerly dive back in, more than ready to continue because you simply can’t wait to see what happens next.

Now here’s the big question for you, the writer:

Of the two experiences listed above, which do you want the reader to have when they read your script?

Do you want them to be bored and see reading your script as a chore that ranks up there with cleaning out the cat’s litterbox or listening to a timeshare presentation?

Or do you want them to be so involved, their attention so riveted to the tale being told in your script, that nothing short of a major crisis or natural disaster could tear them away? (Not to diminish the intensity or significance of major crises or natural disasters, but you get the idea)

It’s tough to be that objective when it comes to reading your own material. You think it’s good (“How could anyone not like it?”), but every reader has their own criteria for what works and what doesn’t. The challenge is crafting together a script so rock-solid that not liking it is not an option. Not sure if yours is? Seek outside opinions. Rewrite with the mindset of “how can I make this better?”.

As screenwriters, our primary goal is to tell an entertaining story. The last thing we want is for someone to be easily distracted by something/anything else when they’re supposed to be reading (and in theory, enjoying) our scripts.