Like origami, but with words

rhino

With the outline for the horror-comedy simmering away on the backburner, all attention is now being directed to a rewrite of the sci-fi spec. I was fortunate to get some solid notes on it, so the rebuilding process is well underway.

A big part of this involves cutting scenes and sequences, along with a whole lot of moving stuff around. Even with a hard copy of the previous draft in front of me and the current draft’s skeletal outline on my laptop screen, it requires a lot of planning things out along with a constant going back and forth between the two. To say the least.

Keep this scene? Or how about this one? Would this one work here, or here? Wait, do I even need this sequence anymore? Jeez, I totally forgot about that new scene that would set up the protagonist’s internal goal.

(Not my actual inner monologue, but you get the idea)

Simply put, there’s been A LOT of twisting, readjusting, manipulating and something comparable to “square peg + round hole + sledgehammer” to get this thing more streamlined and functional.

Going through all these motions has also revealed non-essential moments, or at least parts of them, dialogue that initially seems like it should stay in but really doesn’t need to, and a decent amount of literary fat that can easily be trimmed away. No fuss, no muss.

Despite the statements in the preceding paragraph, a majority of what’s already on the page still works. It just takes everything I’ve described, plus a little more, to get into better shape. A slow but effective process. As is usually the case for me, initially insurmountable, but gradually not too bad, and eventually being classified under “that worked out better than I’d expected.”

With any luck, the producing of actual pages will also go relatively smoothly.

One can only hope.

-Through September 30th, 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 an Industry Insider (last time was actor Jason Alexander. This time it’s 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.

What a pleasant surprise

killer joke

The past few days have been all about working through the horror-comedy outline. Lots of figuring stuff out, cutting, adding, tweaking, and so on.

Got through a sequence and was just about to move on to the next one, when I realized “this is too serious. The horror aspect is covered, but what about the comedy?”

I looked it over again, trying to think of what would work. What would be the most unexpected thing here?

Several options were weighed, and then one suddenly popped into my head. Something nobody would ever expect me to write, but I figured “why not?” My initial reaction was “It’s a little silly, but I like it.” Zipped through a quick rewrite of the sequence, followed by a little set-up work in the scenes leading up to it (to make it fit within the context of the story, of course).

I can honestly say reading the end result made me laugh. Out loud. And the more I thought about it, the more I laughed. Even now, it still makes me chuckle.

I think part of the appeal comes from the thought of “I can’t believe that I, of all people, came up with that joke.” I guess sometimes you never know what you’re truly capable of.

All I have to do now is the exact same thing for every scene and sequence throughout the rest of the script, and I’m all set.

No problem!

-mini bulletin board time!

-Author Brian Gallagher’s new book Doing Time in Hollywood: The Chronicles of a Movie Journalist by Day, Screenwriter by Night and His Quest for a Happy Medium in the Age of Outrage is now available. I’ve had some great online discussions with Brian about screenwriting, and he really knows his stuff.

-Author Robert W. Jackson is offering a very limited time offer on some of his YA books, so you have to act quickly. On Sept 15th, you can get his book Karistina and the Enchanted Kaleidoscope for free by clicking on the link. He’s hoping to do the offer again for a few days starting on the 21st, so keep a look out for it. He’s also offering his book The Tale of Hester for free Sept 15th-19th. This is the first of a series, so if you like this one, there are more to choose from.

 

Script? Boomerang? Bad penny? All of the above?

 

boomerang

I was recently reading a column that was about something like “what makes a writer a WRITER.”

It involved a lot of questions to ask yourself, like “are you somebody who just talks about writing, or somebody who actually writes?” or “do you write only when you feel like it, or do you write no matter how you’re feeling?” That sort of thing.

Another was “Are you a writer who keeps working on the same project over and over again, or are you constantly working on something new?”

That one really stuck out for me. I couldn’t help but wonder if I fell into that category – from both perspectives, with a somewhat concerned eye towards the first part.

In case you weren’t aware, I have a script I’ve been working on for the past few years. It’s gone through several significant rewrites, and garnered some moderate recognition along the way.

But here’s the thing. Every time I complete a draft of it, I say “Okay. That’s it. No more.”

And of course, a few months later, I get some notes on it from some very savvy writers and industry folks, and then go about figuring out which of those notes might work best in the next draft.

Full disclosure – I seek out notes because I want to improve the script’s chances as both a calling card and in the big contests. Placing higher than I have in the past would hopefully improve my chances of making some industry connections.

I could legitimately say the script is finished, but on the other hand, it could also stand a little more work. Just a little.

This is the basis for my line of thinking. Have I spent too much time on it? Sometimes it feels that way, but there are also the times I think “Just a few more little tweaks would really work.”

A possible counter-argument to this is the fact that this most definitely has not been the only script I’ve been working on this entire time. I’ve written four others, along with outlines for another two, not to mention the half dozen or so individual pages that consist mostly of loglines and a handful of ideas for scenes and sequences.

So although a lot of attention has been given to the original script, I’ve gotten in the habit of finishing a draft, and then working on one to two others before I come back to it.

“But why don’t you just stop working on that script entirely? Too much tinkering usually has the opposite effect,” some might say, and some have. I won’t argue that, but I can honestly say that by being very, very selective about which notes to use from each new batch, each new draft of the script has been noticeably better than the previous one. Problem is, it’s a slow and gradual process of improvement.

After this most recent batch of notes, there are a few spots in the script I plan on working on, but that won’t happen anytime soon. Current focus is fleshing out and fine-tuning the horror-comedy outline, followed by a rewrite of a sci-fi spec, and maybe then I’ll consider diving back into this one.

But the inevitable rewrite or two is still going to happen.

And hopefully that’ll be it – emphasis on hopefully.

Story first, jokes second

eio9Hs

Well, that was fun. A bit of an uphill battle, but I’ve survived.

The good news – the basic foundation for the horror-comedy outline is complete. Even though I had a pretty good idea of what was going to happen, it consistently went through a steady stream of changes, edits, tweaks, and so forth.

Let’s just say that what I ended up with is several versions removed from what I started with. For the better, I’d say, but still pretty darned close to keeping with the original idea. Even managed to come up with some new twists and wrinkles along the way.

Despite still considering the story as pliable as warm Silly Putty, it really is coming together and I’m quite happy with the results. Sort of a pre-first draft, one could say.

But in addition to the ongoing process of fine-tuning the story, there’s the just-as-if-not-more-so important part of making it funny.

When they say “dying is easy; comedy is hard,” they’re not kidding. Quite an apropos phrase, especially in this context.

Like with the comedy I’m polishing now, the more I work on it, the more opportunities I expect to find to work in a suitable joke of some sort. Sight gags, plays on words, what have you. I think that’s similar to how the ZAZ team did it with Zero Hour for Airplane!. Not that this script will be anything like that, but you get the idea.

I think I’ve discussed this before, but as I outline, I’ll also include potential lines of dialogue or specific actions for each scene. Same thing applies here. But now that the story is (somewhat) set in place, I can now fine-tune both that and punch up the jokes as I work my way forward.

Luckily for me, there are also great examples of films that did this sort of thing, so I can watch those to get a good idea of how to approach it with this story. Not a bad self-imposed homework assignment, right?

Finding the funny for this won’t always be easy, but coming off doing it for the previous script, and with the burden of telling the story in the first place somewhat out of the way, it seems just a little bit more so now.

Easy, that is.

Pushing yourself to push further

A little effort can yield major results

The past few days have seen some significant progress regarding the rewrite of the dramedy.

There’s been a lot of cutting, tightening, reorganizing, and at least several attempts at how a particular sequence plays out. Took a while, but I’m happy with the results. Funny how sometimes it always seems to take a couple of tries until you find the “just right” solution.

One thing that happened more than once during all of this was that I would spend a good deal of time rewriting something until I was satisfied with the results, and think “That’s good for now. What can I work on next time?” That would usually be followed by jotting down some notes to be used in that next session, and then shift away from script work.

This time, however, things were a little different. Couldn’t say if it’s experience providing me with a little more insight, or having a little more time to work with (what with Ms V being done with school and soccer), or just my writer’s brain constantly on the job, but as I would wrap up revising one part of the story, there was no hesitation to immediately jump into the next one and start on it.

This occurred more than a few times, and provided some very positive results on several fronts.

Continuously pushing myself to do a little bit more, even if it was just some minor edits or tweaking some a few lines of dialogue, helped take care of stuff that needed to be taken care of, which in turn would (in theory) make the script better than it was. A gradual chipping away at the list of fixes a script needs can complete the list quicker than you realize.

And it certainly must be mentioned about the impact it had on me as a writer. Rather than think “I’ll just take care of it next time,” I got into the mindset of “despite how this might look, it’s not as big a problem as you think. Give it a try.” I did, and while the first attempts may not have yielded immediate or desired results, each one was at least a step in the right direction.

Call it what you will. Positive thinking. Going the extra mile. Exercising the writing muscles. No matter the nomenclature, it’s become a big help for me and will no doubt be an important part of my writer’s arsenal for all future endeavors.

-Since 2003, the National Hispanic Media Coalition has hosted an annual Writers Program in partnership with Comcast, ABC, Disney, and Final Draft in efforts to prepare and place Latinos in writing jobs for major television networks.

The program consists of a five-week, total immersion workshop that is mentored and guided by former NBC V.P. of Script Development Geoff Harris and is conducted in Burbank, CA. A total of 10 writers are accepted nationwide from an established network of non-profit agencies, schools, universities, guilds, and media organizatons. The goal of the program is for writers to garner the skills necessary to obtain employment in the industry.

NHMC’s Latino TV Writers Program has prepared and connected more than 100 graduates sine 2003, and 35 percent haev earned positions on TV and onlin shows featured on ABC, NBC, CBS, FOX, CW, BET, HBO, Disney Jr., Hulu, Amazon, Lifetime, and Netflix.

The application deadline for Fall 2018 is August 5th, and winners will be announced mid-September to begin the program in the Fall. More information on NHMC and the program can be found here: nhmc.org/writersprogram.