Got some excellent notes and pro feedback on the latest draft of the animated fantasy-comedy. Some of the suggestions involved totally cutting out some scenes I loved. It was heartbreaking to do it, but it was about what was best for the script, not the writer, so away they went.
Which leads to this classic post from yesteryear – Sept 2017, to be exact. Time has passed, but the sentiment and mindset remain the same. Enjoy.
The clock’s ticking down to the final deadline for an upcoming contest, so almost all of my energies are being directed at getting the pulp sci-fi in as tip-top shape as possible. Overall, I’d say it’s coming along nicely.
As you’d expect, there have already been some big changes made, with more than a few more on the way.
A major part of some of these changes has involved cutting material that I previously considered untouchable, or at least to do so would have constituted a crime against all that is good and wholesome.
Otherwise known as “killing one’s darlings”.
As you edit/polish/rewrite your scripts, changes will (and should) occur within the context of the story, so you have to deal with the consequences and ramifications of making those changes. And that means gettin’ rid of the stuff you love.
Did I really, really like this line of dialogue or that scene? Most definitely.
Did I cut it without a moment’s hesitation because it just didn’t work anymore? Yep.
Any regrets? Not really. Why should I? It’s all about making the script better, right?
A lot of writers won’t cut something because they hold it too close. To them, their ego takes precedence over the material. If a producer or director says something doesn’t work, and says it’ll have to be cut, what are they going to do? Say no?
It’s very rare that the final draft of a screenplay is exactly like the first draft. Changes will always be necessary, whether you want to make them or not. Much as you might hate it at the moment, make those changes. Chances are you’ll barely remember what was there before anyway.
A screenplay-in-progress is the raw material, and your job as the writer is to continuously work with it and shape it in order to get it to the final version – the one that tells your story in the best way possible.
If that means discarding something for something new, so be it. Even more so if the new something is even more effective.
*that’s no random mugshot. It’s Academy Award-winning screenwriter Ring Lardner, Jr. during the Red Scare.