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.

Pacing & page numbers

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.