An unexpected change of plans

 

chemical reaction

Bit of an extra-short shorty today, but for a good reason.

A very, very good reason.

A meeting took place earlier this week. Can’t say anything about it at the moment, but the general consensus from all parties involved is “very exciting and encouraging”.

As a result, all of the rewriting and revising work that had been taking place is now on hold until further notice.

Planning to reveal some details as they develop, or at least when the time is right.

Have an excellent weekend, and try to write something.

Seeking that which lies within

Kristen-Bell-Laughing-to-Crying

I won’t say the tough part of this rewrite is over, because it’s not. Well, part of it is. Sort of. Still working my way through Act 3 of the current draft, along with taking care of some minor story developments that have popped up as a result of changes along the way. Seriously hoping to wrap things up in the next week or so. Depends on how all of this goes.

But there’s one thing that’s been weighing heavily on my mind as I crank out the pages and start planning for the next draft. As good and solid as the action parts are, I also want to make sure the characters’ emotional arcs are just as effective.

Every character needs an internal and external goal. While the latter has never given me much of a problem, the former can sometimes be a bit trickier. Sure, there’s the protagonist and antagonist, which really drives the main storyline, but what happens with the supporting characters is just as important.

I’ve always been impressed with seeing how other writers incorporate little details or necessary information about the characters into the story that really help flesh them out AND add to the story. That’s what I’m seeking to do here. It’s also helpful to approach it with the mindset of “how to convey this information without it seeming too expository or on-the-nose?”.

As a writer, you want your characters to come across as realistically as possible, and by offering up some details about them – especially the why they do the things they do, it can help us better relate to them, and also make us wonder if they’ll be able to achieve their goals. When the story’s over, will we have seen how they changed from when they first showed up?

I’ve given myself the homework of watching films of a similar nature to get a better grasp on how to work these sorts of developments into the story. Going over the pages I already have has shown the foundations for each character are more or less in place, and will require digging a little deeper to really put them on full display.

While I’m glad I was able to produce this draft relatively quickly, I’m equally as eager to get started on the next one, taking care of everything it’ll require. That’s becoming a long list, but I’m feeling pretty confident about being able to effectively handle every item on it.

Q & A with Jeff Buitenveld of ScriptArsenal

Jeff Photo

Jeff Buitenveld of ScriptArsenal is an independent producer and former development executive with over 15 years of experience on some of Hollywood’s biggest films. He is currently a producer on the upcoming thriller The Kimberlite Process. After graduating with an MFA from UCLA’s Producers Program, Jeff worked in various capacities on numerous productions for Tom Cruise and Paula Wagner including The Last Samurai, Mission Impossible 3, Jack Reacher, Valkyrie, Lions for Lambs starring Robert Redford and Meryl Streep, Ask the Dust starring Colin Farrell and Salma Hayek, Death Race starring Jason Statham, The Eye starring Jessica Alba, Suspect Zero starring Aaron Eckhart and Ben Kingsley and many more.

What’s the last thing you read or watched that you thought was incredibly well-written?

Spider-Man: Into the Spider-Verse was a blast. HBO’s Barry is a funny and oddly haunting series. I recently re-watched/re-read Hell or High Water, which is a deceptively simple, sad, and suspenseful story with rich, complicated characters. Netflix’s The Haunting of Hill House delivered the goods on scares and family dysfunction for me. Issa Rae (“Insecure,”) Jill Soloway (“Transparent,”) Amy Sherman-Palladino (“The Marvelous Mrs. Maisel,”) and Andrea Savage (“I’m Sorry,”) all have unique, exciting, and powerful voices.

How’d you get your start in the industry?

I didn’t know anyone in LA when I first moved here but developed a sci-fi project that was quickly optioned by an Academy Award-winning producer (and never made). During that time, I was also accepted into UCLA’s Producers Program where I took Meg Le Fauve’s (“Inside Out” “Captain Marvel”) Development class, which was instrumental to my growth and understanding of cinematic storytelling and how to work effectively with screenwriters. I started cold-calling various companies for internships and was lucky enough to land positions at both Artisan Entertainment and Mike Medavoy’s Phoenix Pictures. Back then, Artisan had a deal with Marvel and I was immediately thrown into pitch meetings with various notable writers/directors on properties like Thor, Hulk, The Punisher, Black Widow, and Iron Fist, etc. I was also taking pitches at Phoenix – it was an incredible learning experience. I eventually became an assistant briefly to a Hong Kong action director and then used those experiences to land a job with Tom Cruise and Paula Wagner once I graduated from UCLA.

Is recognizing good writing something you think can be taught or learned?

Though having an eye for quality material can be a natural instinct, it needs to be honed. I ultimately feel that recognizing good writing can be learned and taught.

What do you consider the components of a good script?

Generally speaking, a good script maintains a captivating concept, and a flawed but likeable hero with a concrete objective attached to grave stakes (whether intimate or epic). The hero’s emotional flaw is often rectified as a result of him/her achieving their practical goal (he/she should also be active, resourceful, and exhibit a range of change). It’s helpful if the hero’s goal is time-sensitive and somehow socially relevant. Lastly, if the script is a feature, it should adhere to a three-act structure.

What are some of the most common screenwriting mistakes you see?

Too much description, on-the-nose dialogue, flimsy structure, and the lack of a flawed hero with a concrete objective, attached to grave stakes.

What story tropes are you just tired of seeing?

I’m not at all opposed to writers using things like “one last job,” “a reluctant hero who can save the world,” “a family in peril,” or “a fish out of water,” etc. The familiar can be very accessible and., if used effectively, can lure a reader into the story. The trick, however, is to infuse that story with other unique and complex qualities so that it unfolds in fresh and unexpected ways. What can make your story different or set it apart? I always urge writers to challenge the reader’s expectations or preconceived notions as to what type of story they’re entering!

What are some key rules/guidelines every writer should know?

-Use Final Draft.

-Study the most notable screenwriting books and authors.

-Read every script you can get your hands on whether good, bad, or mediocre.

-Have conviction but be open to ideas – ultimately this is a collaborative industry.

-Don’t be afraid of genre and don’t be afraid to push the boundaries on the tenets of said genre (but know what those tenets are).

-Actively seek feedback and don’t be precious.

-Strive to be both clear and complex in your writing and understand the difference between the two.

-Don’t be a hater – watch all kinds of movies and TV shows, and be mindful of those that are both commercially and critically successful as well as those that aren’t.

-Read the trades to better understand the marketplace.

-Don’t chase trends – write from the heart.

Have you ever read a spec script that was an absolute, without-a-doubt “recommend”? If so, what were the reasons why?

“Recommends” are a rare breed. Those that do qualify show a master of the craft, are usually somewhat familiar but also somehow unique, tend to maintain complex characters, rich themes, and have an easily identifiable position in the marketplace (you can visualize the poster, trailer, audience, etc.) That being said, most of the scripts I’ve read, even from the most notable A-list writers in the industry, still needed some further development.

How do you feel about screenwriting contests? Worth it or not?

I think it can be incredibly important and worthwhile, particularly for young writers, to enter screenwriting contests. However, I would also encourage writers to do some homework on which ones are notable and relevant so as to not waste too much money and time.

How can people find out more about you and the services you provide?

Go to www.scriptarsenal.com and follow us on FaceBook and Twitter to get updates on upcoming sales and weekly helpful screenwriting tips.

Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Given my mid-section I generally try to stay away from sweets, but a few years ago, I had some homemade pecan pie (numerous pieces actually) for Thanksgiving and it was an absolutely transformative experience…a chemical portal to another dimension that somehow transcended the time-space continuum…okay, maybe I’m being a bit dramatic but damn, it was good!

pecan 2

Working my way forward

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The process of writing actual pages for my pulpy sci-fi adventure is fully underway, averaging about 3-4 pages a day, which is just a smidge above average for me. I’m making a real effort to stick to this kind of output, and am hoping to keep it up for the duration.

There’s a lot of setup in the first act, and I was really concerned things would somehow get drastically out of hand and go on for too long , resulting in a script running something like 150 pages, but so far I’ve managed to keep it all in check. It’s all going according to plan. Still feeling confident to be able to keep it in that ideal target range of 110-120 pages.

And this is before any of the real editing begins. That comes after FADE OUT.

Speaking of editing, even though I was trying not to fall back into my habit of “write, edit, write some more”, there’ve been a few times when a few impulse decisions had to be made regarding whether or not something should be included. Since I was already concerned about too much material, many of them were cut.

In retrospect, they weren’t as necessary as I initially thought, so after they were cut, their absence had barely an impact on the story – if at all. Turns out they were in there more for my own benefit. I saw them as building up the key scene to which they were connected. I tend to overwrite during the outlining process anyway, so no big loss.

Working on both the outline and the pages has also made me realize that my talents seem to be a lot more suitable for this kind of thing. As much as I’d love to be a solid comedy writer, I feel much more at ease producing thrilling tales of adventure with some comedic moments thrown in.

They say you can tell a writer enjoyed writing the script because of how it reads. Like with all of mine that came before, that’s exactly what I’m hoping for with this one as well.

Resources at your fingertips

kent

Becoming a professional screenwriter is an incredibly difficult goal that takes a very, very long time to achieve.

This doesn’t mean it’s impossible. Just know what you’re getting yourself into.

One goal, lots of strategies

The me business – a 24/7 operation

Apart from writing, what are you doing to help yourself get there? There’s only one person who can be the most effective in helping you move forward. And you already know who it is.

A support staff of one

Are you networking? Trying to meet other writers? Offering to give notes or swap scripts?

When a writer meets a writer…

Are you entering contests to see how your script holds up under scrutiny?

The hazardous journey down Contest Road

Are you sending queries? Researching reps and producers?

Quit them or queue them up?

Part of every writer’s journey is the inevitable frustration and disappointment. Some days it will be very powerful, and learning how to survive and endure it is all part of the process.

How low can you go? Quite, apparently.

Expiration date: NEVER!