I did it. I’m glad I did it. And I’ll do it again. As many times as necessary.
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.
As part of the overhaul of the comedy spec outline, I’ve been trying to come up with ways to make this draft significantly different from previous ones.
I’d managed to work my way through one of the subplots, and was now focusing on another one. But something felt very…off about it. It felt too preditable, in a tropey, tired cliche kind of way.
So of course, it had to be changed. But to what? That required a little more thought.
I tinkered around with a few ideas. Since this IS a comedy, what would be funny? That inspired some new trains of thought, with ongoing emphasis on “different”, “unique” and “original”. Finally, totally out of left field, one popped and stuck.
Boy, did it.
The more I thought about it and considered the possibilities, along with determining if it fit into the subplot and the overall storyline, the more it seemed to work. I honestly couldn’t recall seeing this idea in a script before.
Okay. This new idea creates a new objective for the storyline, so now it’s all about the “how things develop/how we get there”, PLUS figuring out how to present it in a way that’s original, unique, and funny.
Some more tinkering occurred, and it was all slowly coming together. There’s still some more work to do on this part and the rest of the script, and that’s totally cool.
The finished product will be significantly different from what it was before, and that’s really what this overhaul is all about.
Sometimes it can be tough for me to discard ideas and elements from previous drafts, but have found that totally wiping the slate clean and starting anew, or at least really pushing myself to come up with new ideas, is paying off much, much more than anticipated.
-Can’t let today go without acknowledging the ongoing and unwavering support I’ve received from the woman I’ve been extremely fortunate to be married to for the past 23 years as of this Sunday.
Writers – never, ever underestimate the importance of a partner who’s there for you through good times and bad. They are one of, if not your most valuable resource, and make sure they know how much you appreciate them.
Happy anniversary to my wonderful K. Love ya, baby.
While taking a break from working on the comedy spec this weekend, I took an unexpected dip into my file of “ideas in development” – scripts I plan on eventually writing.
One had more details to the bare-bones outline than I remember. In fact, I barely recall even writing it. Still, pretty impressive.
Another was just a logline and three potential titles. While the story really adheres to my ongoing attempt at trying to write material of a smaller nature (i.e. not as big-budget), what really stood out was those three titles and how different they were from each other.
The first stirred up a kind of noble nostalgia, and in retrospect might be better suited for another story.
The second was pretty generic; almost like something you’d see on a VHS copy of a mid-90s B-movie gathering dust on a lower shelf at your local video rental store. If you’re of a certain age, you totally get that reference.
The third was very reminscent of a certain genre and style of older films, and the final word in the title tells you what kind of story to expect. Such was the case here, but as much as I like the word, it wasn’t exactly the right fit for the story I wanted to tell.
Fortunately, the word in question has a lot of synonyms, and one in particular really jumped out at me. Some might consider it of a vulgar nature, but wow did it fit. In fact, as soon as it popped into my head, I actually laughed out loud, thinking “oh my gosh, this is PERFECT.”
Because not only is the new word an ideal fit for the story, but it really drives home the tone.
Although work on this script goes into the ever-growing pool of “future projects”, at least now the concept and story are a little more developed than they were. And any progress is good progress.
There can’t be enough emphasis on the importance of a strong title for your script. It’s the entry point for your reader. You want them to know what kind of story they’re getting, what to potentially expect, and most importantly, you want them to be excited about reading it.
Sometimes your initial title is good, but there’s nothing wrong with a little tinkering to find an even better one. Like your script, it can always do with a little rewriting.
*Universal Studios head Sid Sheinberg didn’t like the title “Back to the Future,” claiming nobody would see a movie with “future” in the title. In a memo to Zemeckis, Sheinberg suggested the title be changed to “Spaceman from Pluto,” and the title reference be worked into the film.
In response, Spielberg sent a memo back to Sheinberg, thanking him for sending his wonderful “joke memo” and that the office “got a kick out of it.” Embarrassed, Sheinberg let Zemeckis and Spielberg keep the film’s original title.
Take the appropriate steps, and this kind of result can be easily avoided
Pop quiz!
You’ve just finished the latest draft of your script. Not the first draft; maybe a few later. Exactly which one is irrelevant.
But you’ve got what you consider a pretty solid script, to the point that you think it’s ready to start sending out. Queries, contests, what have you.
What important step should you take before anything else?
And…pencils down.
For a more thorough explanation than I could ever provide, here’s a post from the apparently defunct cinemoose.com that all screenwriters should read and heed – especially those of you still in the starting-out stage.
(Author’s note – this is just one of the numerous posts about this topic from the screenwriting-based internet, but the info and advice is more or less the same)
“So you’ve finished your new script and you’re ready to send it out to producers and production companies. How do you protect your work?
Registering your script with the Library Of Congress costs $35. The WGA (Writers Guild of America) offers a similar service for $10 for WGA members and $20 for non-members. So which one is better? Or should you do both? And what about the “poor man’s copyright”?
The Library of Congress
The Library Of Congress is the organization within the United States that deals with copyrights. What is a copyright? According the Library of Congress website, copyrights are a part of intellectual property law that protects “original works of authorship including literary, dramatic, musical, and artistic works, such as poetry, novels, movies, songs, computer software, and architecture.”
Copyrights do not protect names, titles or ideas. This last point is an important one. Just because you have a great idea for a movie about a disaster movie involving earthquakes does not mean that you copyright that idea and prevent someone else from making a disaster movie about earthquakes. Copyrights only protect the way an idea is specifically expressed. What this means in plain English is that copyrights may only protect the characters, dialogue and story elements that make your specific telling of the story unique.
Technically speaking, your script is copyrighted from the moment you finish it. However, it is a good idea to register your screenplay with the Library of Congress to establish a legal record that may be used in court if you are unfortunate enough to be involved in a copyright infringement lawsuit as a plaintiff or defendant. Registering your screenplay costs $35 and is a relatively simple and straightforward process. Note: screenplays fall under the category of performing arts, not literary works. You can visit the Library Of Congress’s copyright site for more information or download the forms for copyright application here: Copyright Registration Form PA.
The WGA Script Registry
The WGA also maintains a script registry service for screenwriters to register their works. Their service costs $10 for WGA members and $20 for non-members and is valid for five years. The WGA claims that while their service does not replace registering your work with the Library Of Congress, the WGA script registry offers an additional layer of legal protection for your work.
Hogwash. Registering with the WGA does not offer any legal protection for your script. It is, in fact, a money-making scheme of the WGA. The only thing you can do to legally protect your work that will hold up in a court of law is to register with the Library of Congress. The WGA script registry is a waste of money and is not recommended unless you have money to spare and just wish to support the WGA.
(Author’s note – the WGA registration has to be renewed every five years, whereas the Library of Congress copyright is good for the life of the author, plus another 70 years.)
Poor Man’s Copyright
I’m sure that many of you out there have heard of the poor man’s copyright. This process involves mailing a copy of your work to yourself and keeping the sealed envelope with the certified mailing stamp as evidence of your copyright. The poor man’s copyright is little more than an old wives’s tale as there is no provision in the copyright law regarding any such type of protection. It’s about as useless as the WGA’s script registry.”
