Perplexing puzzle pieces properly placed


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.

Making it not what it was before

Well-known material, executed in an entirely new and original way

The key word for this overhaul of the pulpy sci-fi spec is exactly that: an overhaul.

And a really big one at that.

One of the notes I got on the previous draft was “It’s a fun story, but there’s still a feeling of ‘we’ve seen this before'”.

What a powerful motivator to really shake things up. The last thing a writer wants to hear is that their work is predictable or just filling in the blanks for a template with this kind of story. Readers and audiences want originality, so that’s what we need to give them.

Regarding this story, while the overall concept and primary plotline are still the same, a good majority of the rest of the details have changed in some way or another, with no doubt more to come.

Even though I’ll jot down ideas for particular moments, scenes or sequences occurring throughout the story, I gather them up and then write/develop them in a linear manner – working my way through the story from start to finish. A leads to B, which leads to C, and so on and so on. Not everybody’s style, but it work for me.

It’s probably safe to say I worked my way through at least four or five versions of Act One before arriving at its current version – the one I felt was the strongest. And even that’s been tweaked here and there since then.

Despite having a hard copy of the previous draft readily available – more as reference material than anything, a key part of this process has been for me to NOT look at it – especially when I was feeling stuck. My objective is to keep trying something really different, and sneaking a peek at what I’m trying to avoid won’t help. If anything, it would probably point me in a wrong direction.

I’ve written before about a writer should do what they can to avoid having the reader/audience know what’s going to come next. Such is the case for this rewrite.

As I work my way through, it’s with a mindset that looks at a scene or sequence as a whole, along with “what’s the most likely thing to happen here?”

That’s followed immediately by “what would be the total opposite of that?” or “what would be completely and totally unexpected here, but still works within the context of the story?” Really striving towards taking a new approach is yielding some positive results. It’s quite a thrill when an idea pops out of nowhere, and it works even better than expected.

Added bonus – by forcing myself to come up with new ideas, there’s less need for me to keep the hard copy of the previous draft nearby. The more I avoid looking at it along with figuring things out for this draft, the more changes it produces. All that being said, I’ll still hold onto it, since there’s always a chance I might need something in there, but with the story constantly changing, even that’s becoming less likely.

The whole point of overhauling this story is to take what I had before and put an entirely new spin on the initial concept. I have a pretty good idea of what needs to happen, what I’d like to happen, and that big nebulous category of what could potentially happen (still working out the kinks on that one).

The road between what I started with and what the end result will be is without a doubt one that’s going to be very long, very twisted, fraught with hazards of numerous kinds, and might, at times, seem to go on forever.

Sounds like quite a hellish journey. And I’m loving every step of the way.

Wiping the slate clean

There’s something appealing about clearing all that clutter away

One of my biggest and constant issues when I engage in a rewrite is HOW MUCH ACTUALLY GETS REWRITTEN?

As much as I love the previous draft, my ability to simply discard that which has come before always gets a solid and thorough workout. I usually start out thinking “I only need to change these few items”, which naturally quickly changes to “Keep this, this, and this, and get rid of everything else.”.

The more I work on the overhaul of the pulpy sci-fi spec, that latter thought is becoming more and more prevalent. Just a handful of parts are being kept, while others fall somewhere in the range between “totally discarded” to “hold onto that for later”.

I went into this knowing it wouldn’t be a light project, which it most definitely hasn’t. It’s very safe to say it’s rapidly become a major operation, both in the medical and organizational senses of the word.

And as far as I can tell, significantly for the better all around.

The more I work on this, the more it becomes noticeably different from its predecessor. This is probably an appropriate place to say that even with all of the changes, the key story elements and plot points have remained the same. As was my intention.

Quality notes from my circle of trusted colleagues have played a major factor throughout the whole process. Many enjoyed the story, and each person had valid comments that raised some important questions and comments: could the hero’s backstory be more original and less cliched? What if the antagonist’s motivation also involved _____? And the always popular “You do realize that’s not scientifically accurate, right?”.

(Full disclosure on that last one – yep. I did. But it works within the context of the story, and this definitely isn’t the kind of story to be nitpicky about.)

With so much of the previous draft being torn down and tossed away, the rebuilding process has been slow, but steadily productive. It’ll most likely take longer than expected, but I’d rather spend the time now figuring things out than find out later that they don’t work and have to go back and do it all over again.

One of the most encouraging comments from the notes was “Words to sum up the script – Big. Fun. Action.”

That’s been my mantra for this whole process; just amped up a bit.

Bigger. Funner. Actioner.

Even though “actioner” is technically a noun, in this scenario, I’ll assume you get the gist of what it’s implying.

A sensation most euphoric

hepburn jump
Just a few more jumps, then back to work

The early months of this year, or at least the first one – for now, are all about taking some of the scripts I worked on last year and doing what I can to make them better.

Based on some notes, a quick polish was completed on the dramedy. I like how it turned out.

Next up was the pulpy sci-fi. It was a total blast to write, so a new draft felt in order, and inevitable. This seems to fall square in the category of “genre stuff I’m good at writing”. You can imagine what a shock/surprise it was to discover the last time I’d worked on this script was late summer of 2017, so it’s had plenty of time to simmer.

I don’t know how it is for other writers, but after I complete a draft or two, the story as it reads on the page seems a bit more…maybe “cemented” is the proper word? It’s tough for me to change things up. Tough, but not impossible. If I can come up with something that does the job better and in a more creative and original way, that’s fine by me.

I wanted to really change things up for the better with this story – especially regarding the protagonist. The most prevalent comment from my readers was “more depth”. The way the hero is written now just isn’t enough.

The gears began to turn, and my self-imposed resistance against changes, especially drastic ones, began to fade. As much as I like the current draft, why shouldn’t I challenge myself to make it better – no matter what that required?

I’ve written before that you can’t force creativity, but sometimes you can at least give it a little nudge in the right direction. Start the ball rolling, so to speak. I find the best way to do this is simply by asking myself questions, such as…

-The protagonist is LIKE THIS. What would be the total opposite of that? Or something unexpected?

-Here’s an important STORY POINT,  but its current form just isn’t as effective as it could be, or have the impact it should. What’s another way to present that? What would be another way from that one?

-Several readers commented how they felt the protagonist’s backstory seemed incomplete, and could really use some reinforcing. Rather than clinging to what’s there now, what if a 180 approach was taken, and THIS happened instead?

The number of possibilities continued to grow – for the better. Previously unobtainable solutions were becoming easier to find, and would then be shaped and molded to fit within the contest of the story.

A stronger, more relatable and most importantly – original – way to achieve the desired results for the protagonist’s development was forming, and the added bonus of some  great opportunities to show the hero’s emotional arc!

The fuse had been lit.

More and more questions were posed, pondered, and answered, including an alarming number that could be summed up with “that’s good, but not good enough”. Combined with my willingness to jettison parts of the current draft, a totally new approach began to take form.

As expected, this will require an openness and willingness to totally jettison and replace big chunks of the current draft. Rest in peace, my darlings. (There’s a good chance a few instances of reincarnation may take place somewhere down the line)

Suffice to say, I’m absolutely thrilled about all of this.

When something really clicks for a writer – and I mean REALLY clicks – it’s as if a tidal wave of adrenaline and endorphins are flooding through your system.

That being said, my process of plotting, rewriting and revising is well underway. It’s a big job, but I’m feeling quite confident about how this rewrite is developing.

Consider me definitely ready and eager to take it all on.

Stuffed just a tad beyond capacity

marx stateroom
All my script needs now is the line “…and a dozen hard boiled eggs.”

As the dog days of summer lazily drift on by, each of those days sees me dedicating a portion of it to working on the next small section of the horror-comedy outline. So far – it’s coming along nicely.

For now, it’s just filling in the blanks between primary plot points. Not counting those, I tend to think and plot things out in a linear manner; going from A to B to C and so on, rather than A to B to J, and then maybe filling in that stretch between D and F. This approach helps with not only crafting the developments of the main storyline, but also the subplots and figuring out how all the interconnections work. Others may do it differently, which is fine. This way works for me.

What originally starts out as one to two sentences summarizing what happens in a scene quickly becomes lengthy descriptions, including specific character actions and snippets of dialogue. This has caused the outline to appear dense and bulky, or at least that’s how it looks at first glance.

At first this would appear to be a bad thing, but keep in mind that this is only the outline, so a scene write-up that appears as an impenetrable block of text here might translate to, say, half to three-quarters of a page, including dialogue. Not a bad exchange rate.

Just as an example, as a scene was playing out, it kept getting longer and longer, which would have run way too long for both script and screen. Realizing that simply would not do, I made some minor modifications and managed to break this exceptionally large scene into three slightly smaller ones. Each one still retains the point I wanted to make, as well as continuing to advance the plot, theme, and characters. A win all around.

The way I figure it, it’s a lot better to have an overabundance of material during this stage, and then be able to cut, trim, or maybe even add more where necessary down the road.

Another key part to all this development is making sure everything I come up with plays some kind of role in the overall context of the story. Call it the “keep only if relevant” rule. If there’s something on the page that has nothing to do with the story or the characters, then why have it there in the first place?