More work now, better results later

lalanne

It can be safely said the extensive overhaul of the outline for my pulpy sci-fi adventure story is just about wrapped up. Still have a lingering handful of small details in need of fleshing out, but I’m eagerly anticipating jumping into cranking out pages in the very near future.

Figuring all of this out – including several attempts on the beginning, and then working out the development of events over the course of the first act and the first half of the second act- took a lot longer than I expected, and definitely longer than I wanted. There were many times all I could think was “am I EVER going to figure this out?”.

A lot of writers feel that way while working on a project. We’re an impatient lot, and the ongoing struggle to find solutions doesn’t help. We want it already written. But learning how to do so effectively is necessary. How else will we improve?

It’s probably a safe bet to say that my development skills are stronger than they were – even compared to a couple of years ago, or else this overhaul wouldn’t be where it is now. Every story problem would require a lot of thought and mulling-over, and maybe I’d come up with a slapdash, roughshod placeholder of a solution – just to be able to move on.

A bad and counterproductive idea.

I like to put together stories with a lot of moving parts, and each one requires the same amount of attention in order to make the whole thing a smooth-running machine. If that means taking a little more time to do so, then so be it. I’d much rather make sure as I go along that everything works and connects the way it’s supposed to than have it come to a screeching halt because of something I overlooked or forgot about, or even worse, felt was “good enough for now”.

An added bonus to all the work on developing this story in the outlining phase is that since I’ve already written down what’s supposed to transpire in each scene, including the purpose and the conflict, it’ll make it easier (and in theory, a faster process) to transfer all of that to the actual pages.

Once I do start on pages, I can only hope to see a slight increase in my daily output. After having gone through the outline a few times, editing and tweaking as I go, I’m getting a stronger feel of flow for the story, seeing ways to incorporate more development for the characters, and just an overall sense of “I like the previous draft, but this one feels so much closer to what I set out to do”.

And I most definitely would not have gotten to this point if I hadn’t put in the time and effort to make sure every single part of it did exactly what I needed it to.

Perplexing puzzle pieces properly placed

puzzle

Hope you enjoyed the recent interviews (this one and this one). While I truly enjoy being able to promote another writer’s work, I admit to having somewhat selfish motives – progress on this outline overhaul had slowed, and I was feeling frustrated about it. Anything to get my mind off it was welcome, and those interviews fit the bill.

Don’t get me wrong, I’m extremely happy to have done them and am glad the interviews got the responses they did, but now it was time to turn my focus back onto myself.

When I took on this project just after the beginning of the calendar year, I figured this part of the process would be smooth sailing, and there was no reason I wouldn’t have been able to crank out a new draft by about this time.

Ha, ha! Silly writer.

When one sets out to completely redo a project, there’s a teensy-weensy chance it could take SIGNIFICANTLY LONGER than expected?

Shocking, but true. Exhibit A – yours truly.

The past few weeks involved deconstructing the story and attempting to put a new one together. Some similar elements, but many new ones. Every time I’d come up with an idea, I’d go about trying to incorporate it into what I had. End result – a lot more misses than hits.

This is where things started to get interesting.

I realized I was still clinging to too many components of the previous draft; the screenwriting equivalent of a new coat of paint on a house in need of major repairs. So I brought in the wrecking ball and tore that thing right down to the foundation. I knew which details I wanted to keep, but now just about EVERYTHING needed to be drastically changed. Somehow.

To avoid falling into the trap of lingering previous draft details, I’d constantly ask myself that magical question of “How can this be totally different from what it was before?”.

I interpret the idea of “totally different” as “total opposite”. Any time things seemed too familiar, my internal editor would shout out “NO! Turn it around!”, and I’d go back and do a 180.

The story was THIS before? Well, now it’s more like THAT. That initial portrayal of the protagonist? You wouldn’t recognize them now.

The building blocks were being formed. Slowly, but steadily.

With the story gaining and building muscle, the same couldn’t be said for the characters. They didn’t feel developed enough. Why do they do the things they do, and how does it impact the story? Doesn’t matter who. From the protagonist and the antagonist to somebody who’s only in one scene, everybody’s a cog in this machine.

Just as an example, I already knew how the antagonist’s story ended, but still saw their “why they do this” and “how did they get to this point” as somewhat lacking, which created more obstacles.

Using those questions and this “total opposite” approach, I decided to do just that and work my way backwards. Start at the end and figure out what would have gotten us there, and what would have gotten to that, and so on and so on. For never having tried reverse-engineering a story before, the results were pleasantly surprising.

Then there was the protagonist. I knew what their external goal was, but the internal goal was a tougher nut to crack. I took a closer look at the emotional aspects of the story. How would this character react to what’s going on? Is it what I would do? Is it what somebody like them would do? Do their reactions and responses seem realistic (in the context of the story)?

I went through what I had of the story so far, and slowly began to see that I’d already set up important moments along their emotional journey, and what could potentially be part of it. A little fine-tuning and things really began to gel.

Tinkering. Rearranging of scenes. Gaps getting filled in. Long-discarded material finding reborn relevance. Unanswered questions (for both myself and the story) being answered. Ooh, I could spin this around, and the new version works even better than before!

A totally new draft of this script is taking shape right before my eyes, and on so many levels. I couldn’t be more psyched about it.

It’s been a while since I’ve felt that electric excitement of putting a story together. Didn’t realize how much I’d missed it.

Sure, it took me a lot longer than I wanted to get to this point (emphasis on A LOT), and I won’t even speculate as to how long until the outline’s done, but I’ve definitely made some solid progress over the past few weeks, and the momentum continues to build.

Full speed ahead, chums.

Outlines. Yes! No! Maybe?

fillion

Every writer has their own way of doing things, and each way is probably different – maybe a little or a lot – from somebody else’s. If it works for you, then by all means, have at it.

Just because your way isn’t how I’d do it doesn’t mean either of us is wrong; it just means we each have our individual approaches. I’m content with how I get a script written, and you can do yours however you want.

Some recent conversations with other writers, along with reading some interviews with professionals, really reinforced this mindset for me. Especially when it came to outlining your story.

Count me in the camp of those that prefer doing it, while others opt not to.

I’ve written before about how I put a story together, and I find it extremely helpful to make sure the outline is rock-solid (to me) before starting on pages. And as is often the case, there’s a strong possibility some elements of the story will change while those pages are being written. But for the most part, a good portion of my outline remains more or less intact.

Again, this is what works FOR ME.

Not really knowing how those who don’t like outlines operate, I admit to being curious/intrigued/impressed with how they do it.

Do they at least have some kind of basic structure in place? Do they just sit down and start writing? Do they know where things are going? Is it all about feeling spontaneous and just jumping right into it?

All I’m asking is – How do they do it?

One pro said something along the lines of “outlining removes the element of surprise”. Honestly, I’m not really sure what to make of that. I’m fairly certain they don’t mean “didn’t see that coming” – or do they?

Others have commented that “outlining a script takes away from its organic nature”. (Again – paraphrasing.) Not sure how that would work either. If the story’s put together in the most effective way the writer can make it, with a solid structure that flows along nice and smoothly, and with three-dimensional characters, wouldn’t that fall under “organic”?

Like I said at the beginning, if you don’t like to outline your story, don’t outline your story. If that’s how you do it, great. All I’m saying is it’s not something I could do, nor would I expect either of us to suddenly change our methods.

Would I ever give it a try? Probably not. I’d be more concerned the end result would be a big mess. I enjoy taking the time to put things where I think they should be, from both the storytelling and screenwriting aspects.

How about you? Pro- or anti-outline? Or somewhere in the middle?

I know the rules, and do not hesitate to break them

breaking free
Took a while to be able to do it, but well worth the effort

Used to be that when I would outline a story, I’d try to be as spot-on about hitting industry-recommended page numbers as I could.

Statement of theme on page 3, inciting incident on page 10, etc., etc. That’s how I learned it, so that’s how it must be.

These days? Not so much.

I don’t go crazy, you understand. No scenes lasting 10 pages or anything of that nature.  More like “this happens…around here-ish”.

When I first gave it a try, my immediate thought was “Is that going to be a problem?” It had become so ingrained into my process that this was how it was supposed to be, and any deviation from that was wrong.

Then my writer’s sense of craft kicked in with a hearty “Nope. Have at it, kid”.

As far as I know, the screenwriting police (is there such a thing?) aren’t going to shut me down because something doesn’t happen where THE RULES say it should. I’d rather focus on telling an engaging story with an intelligent plot and well-developed characters than worry about this kind of pettiness.

And honestly? It’s incredibly liberating.

I’m much more interested in telling the story in a way I deem appropriate, rather than drastically cutting something or even cutting it altogether just to make sure the beats happen on the designated pages.

So if my opening sequence runs a page or three longer, so be it. Does it work against me? I don’t think so. My writing usually moves at a good pace, so if something happens a little sooner or later than you expect, and if I’ve done my job in really grabbing your attention, chances are you probably won’t even notice it.

Unless you’re a real stickler for that sort of thing. Most of the writers who read my stuff aren’t; they’re more interested in reading a good script.

-Through September 30th (that’s this Sunday!), the fine folks at LiveRead/LA are offering the discount code MAXZ15 for 15 percent off their script services and the fee for their contest where your script could  be one of two read live by professional actors in Los Angeles in October. Following the read (30 pages max), feedback will be provided, including from veteran production exec & producer Debbie Liebling – Comedy Central, Fox, now working with Sam Raimi. Writers from everywhere are encouraged to submit. The event will be livestreamed, so if your script is chosen and you can’t attend, feedback will be provided live via Skype.

-Filmmaker Scott Kawczynski is running a crowdfunding project for his animated film Light Work. It’s a pre-sale, so even for $1, you can watch the film. Donate if you can!

Be the word

quadruple threat
An early inspiration for my efforts (image by Hirschfeld)

Apologies for the lack of a post last week. We had to travel to a different time zone for a family function, and the jet lag really took its toll on me. It’s tough to compose something when you can barely stay awake.

But I’m back, rested, and ready to get back to work.

Among the items on the “list of stuff that needs attention”:

-continue working on the horror-comedy outline

-work with latest batch of notes on the comedy spec. Hoping to have that latest draft done sooner than expected.

-research potential representation firms to query

-look into setting up at least one networking event for SF/Bay Area writers. Previous ones were pretty successful, and are great for establishing connections.

-Among the comments that came in for the comedy spec was how it might benefit from a table read. Never did one before, so investigating setting one up. Anybody out there who’s done it?

There are a few other items going on, but those are the dominant ones for now. At first glance, it might seem like a lot, but it doesn’t feel that way to me. They’re all just parts of the machine that is me working on making a career out of this.

I think the biggest factor here is time management. I do what I can to allot a certain amount of time per task. Work on my own stuff for an hour or two. Spend some downtime at work researching reps and prodcos, then send out some queries. If an idea hits when I’m not actually writing, I jot it down immediately – mostly because I don’t trust myself to remember it a few hours later.

One caveat – If I have to do notes on a friend’s script, all attention is diverted to that. If they were reading mine, I’d want them to be just as focused on my script, so the least I can do is return the favor.

Now, I totally get that no two writers have the same schedule, so everybody will tackle things their own way and at their own pace. Maybe you can only spare an hour a day for anything writing-related, or you get up earlier than you need to because that’s your designated writing time. Any and all of it’s fine. You do what works for you.

The important thing is to be doing something. Anything that helps you along.

Also remember, and I can’t stress this enough – everybody’s path is different. What works for that other person might not work for you, and vice versa. Don’t stress out over feeling like you’re running behind. The only person you’re competing against is you.

Not sure where to start? Easy. Be a writer and write down what you’d like to accomplish. I suggest starting small – list three things you could do today to help yourself out. Write three scenes (or three pages). Send out five query emails. Contact the writer of that logline you liked in that online forum.

Get into the habit of giving yourself stuff to do, and there’s a good chance you’ll be pleasantly surprised at how much stuff is actually getting done.

By you.