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.

Perplexing puzzle pieces properly placed

puzzle

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.

Q & A with Craig Kellem & Judy Hammett of Hollywoodscript.com

Hollywoodscript.com LLC was founded over a decade ago by former Universal and Fox development executive Craig Kellem, who was soon joined by business partner, Judy Hammett (M.A. English/Creative Writing). This family-based, boutique script consultation service is internationally known, serving writers from every corner of the world.

I had the pleasure of talking with Judy about their new book Get It On The Page: Top Script Consultants Show You How.

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

Without a doubt, HBO’s most recent season (#3) of TRUE DETECTIVE. It is truly impressive every week. The writer has an incredible command of dialogue and the structure employed is beautiful. The writer has interwoven various timelines in a very clever and elegant way, wherein the plotline is consistently advanced, yet at the same time, the existential themes being explored are made exceptionally dramatic and emotionally charged as a result.

How’d you get your start in the industry?

We are father and daughter and come from a family that made their living in TV and music, so we both got our first breaks through family/friends. Craig started out as an assistant at a talent agency and worked hard up the ranks to become a talent agent himself. He eventually became a development executive at Fox and Universal, and in time a TV Producer as well. I started as a researcher on a TV series, then did freelance work providing studio coverage on scripts & books while in graduate school for English/Creative Writing. Eventually, Craig founded our company, Hollywoodscript.com LLC and I joined him soon thereafter. We’ve worked together for more than fifteen years.

Were you always a writer, or was it something you eventually discovered you had a knack for?

We’ve always tended to “think” like writers, and have loved writing just for the sheer pleasure it provides! But neither of us chose to “become” professional writers, or pursue careers as such. We both love working with writers, supporting their craft and analyzing content. This has been our true vocation. We wrote our book together from the standpoint of wanting to reach out to writers everywhere and share what we have learned after almost two decades of consulting with writers the world over. I provide writing services/ghostwriting on occasion, but consulting is my main work.

What inspired you to write your book Get It On The Page: Top Script Consultants Show You How?

Over the years we had clients comment that we should write a book, stating that our general feedback and approach was constructive, inspired and very helpful. So a few years ago, we decided it was time to give the book idea a green light and started putting the chapters together – with the sole purpose of sharing observations and approaches to writing, which have proven the most helpful to writers we’ve worked with to date.

With so many screenwriting books out there, what is it about yours that makes it especially unique?

We hope to offer something which is more intuitive, less “left brain” – a book that invites the writer to stay close to their own experiences, their own strong feelings and their own instincts so that the storyteller inside of them can more easily come to the fore.

Follow-up: having read a lot of screenwriting books, I found this one to be very different in that it’s not so much about “how to”, but more of a “here’s something to consider as you work on your story/script”. Was that your initial intent, or did it gradually develop that way?

Many thanks for your feedback! Yes, that is a wonderful way to describe it. We didn’t set out to compete with the screenwriting greats who’ve written comprehensive “how-tos” beautifully and exhaustively. Instead, we wanted to contribute to the conversation from the hands-on perspective of our day-to-day work with a very diverse range of writers – some of whom have studied the gamut of how-to books, yet continue to struggle with actually realizing their own visions on the page. We wanted to offer a book that helps writers get closer to  “hearing” their “own voice” so to speak – to accessing the vivid, original stories and characters that live inside of them.

One of the chapters that really resonated with me was the one about the practice you call “sandboxing”. Could you explain what you mean by that, and how it could benefit a writer?

Inspiration, ideas and the desire to write often come out of writers having creative shards and glimmers that have emerged from their minds. They get an idea for a scene late at night and jot it down on scrap paper. They encounter some person they think would make a great character type and make a note of it on a napkin. They hear an anecdote that suggests a story and scribble it on an envelope. All these pieces of creative inspiration are wonderful fuel for writing a screenplay, but a few glimmers and shards aren’t enough to justify starting at page one of a one-hundred-plus-page three-act film. Yet zealous writers will often do just that. They plow forward on the faint fumes of too few ideas and assure themselves the rest will come as they write. This approach rarely makes the cut, for the writer hasn’t given enough time and thought to what it is they are actually writing.

Rather than starting a screenplay prematurely, we therefore recommend “sandboxing,” which is a simple method wherein the writer slows down in order to create a much bigger arsenal of ideas from which to choose. Each day they jot down additional possibilities for scenes, character angles, key plot lines etc. – adding to their original seeds of inspiration. It thoroughly preps the writer to eventually sit down to page one of their new script armed with a truckload of ideas from which to write.

What do you consider the components of a good solid script?

A clear, strong story is key. Characters who are relatable and believable. A hero with whom the audience can empathize and who breaks into a serious sweat as much as possible. Dialogue that rings true. Lots of suspense, urgency, and conflict that keep the audience riveted and the pacing clipped.

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

-Writing IS rewriting, even when you’re a pro, so best to embrace this notion and learn to enjoy the process of writing, revising and polishing your script before declaring it “done”.

-Getting a script sold, or made, doesn’t happen on any predictable timeline. Just keep writing and derive your pleasure from the creative process, rather than focusing on it as a means to an end.

-If you are cloudy about any part of your script, stop and take the time to fully explore that cloudiness, addressing it head-on. Don’t try to finesse it, or gloss over it, or avoid it in order to deal with the parts of the script that are clearer to you. Otherwise, your audience may get stuck in those foggy sequences and then start detaching from your content as a whole.

-Never lose sight of the fact that a film is a visual art form. As you write, always ask yourself if there’s a way to dramatize the story development through images, cinematic sequences and visual cues first and foremost.

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

-Writers who tend to overwrite and hence interfere with needed momentum. Setting a strong, galloping pace is essential.

-Scripts that are confusing because the writer hasn’t maintained consistent continuity in the plot line or in terms of the character trajectories.  

-Scenes that don’t build the story or move narratives in the film forward.

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

We can be found at hollywoodscript.com and are on Twitter, Facebook, and Linked In – Craig and Judy. And of course, check out our book Get It On The Page: Top Script Consultants Show You How.

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

HA! I’ll take pie over cake any day – especially coconut, chocolate, vanilla or banana cream. Craig likes ice cream too much to think about any other type of dessert.

banana cream piesoda jerk

Q & A with Christine Conradt

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With more than 70 produced credits, screenwriter/producer/director/author Christine Conradt received her Bachelor’s degree in Screenwriting from the esteemed University of Southern California’s School of Cinematic Arts and then worked briefly in development and as a reader before launching herself as a successful writer. Christine naturally gravitated to crime dramas and thrillers, and eventually went back to grad school to receive a master’s degree in Criminal Justice from Boston University.

Christine’s films have aired on Lifetime, LMN, Fox, Showtime, UPtv, Hallmark, and USA.  She is the writer behind some of Lifetime’s most successful franchises including the “at 17” series, which she turned into a three-book series, published by HarperCollins. She has directed four TV movies and is attached to direct two more this year.

Christine also acts as a script consultant. More information about her services, books, and bio can be found at ChristineConradt.com. She frequently posts tips for writers on her Facebook page.  She lives in Los Angeles with her husband and two rescued cats, and in her spare time, loves to travel.

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

Does a documentary count? Probably not, but I’ll mention it anyway because I found it to be very thought-provoking — Three Identical Strangers. It’s about triplets who were separated at birth and later found each other. I haven’t seen a lot of movies this past year because I’ve been so busy but I did think Bird Box was well done for an adaptation. Sometimes adaptations feel stilted, especially those that take place over a long period of time, but Bird Box didn’t feel that way to me. I found myself getting lost in the story which means it was well-written. One of my favorite movies was Vince Gallo’s first film– Buffalo ’66. The story is simple and the characters are really well-drawn. I can watch that movie over and over.

Were you always a writer, or was it something you eventually discovered you had a knack for?

I can honestly say it was what I was born to do. I love writing and telling stories. As soon as I could hold a pen, I was writing short stories. I won my first writing award– the Young Author’s Award– when I was in the third grade. I grew up in the Midwest in the late 80s/early 90s and at that time, there was no film industry there at all. No film schools, nothing. I didn’t know screenwriting existed as a career until I received a brochure from the University of Southern California my junior year of high school and it listed it as a major. If I’ve ever had an epiphany, it was in that moment. I knew that’s what I wanted to do. So I abandoned my plans to go to law school and applied to USC.

How’d you get your start in the industry?

After graduating with a BFA in Screenwriting from USC, I worked briefly in development but didn’t like it. I was constantly reading and giving notes on other people’s scripts and had to constantly sit with a jealousy that they were doing what I wanted to be doing. I did a rewrite on a USA movie, got fired off that, and didn’t get any more writing work for about four years. During that time, I was working at a YMCA as a lifeguard and fitness instructor and they promoted me to Director. Soon after, they promoted me to Senior Director. I was managing million dollars in budgets and supervising about 45 employees. The hours were long and I stopped writing for the most part.

One day, my Executive Director brought me into her office and told me they wanted to promote me to Executive Director of a branch in the neighboring city. The money they were offering was enticing but because of all the training I’d be sent to, they wanted me to give them a five-year commitment. I went home that night and realized I wasn’t living the life I was supposed to be living – I was supposed to be a writer. So the next day, I went back and told her that I couldn’t accept the job and I was giving my 30-day notice. I took out a loan to live on for six months and decided to spend every day of that period writing. If I couldn’t make it happen in six months, I’d go back and get another job at the YMCA, but at least I had given it a shot. Fortunately, during that time, I wrote two screenplays. Neither sold but both got me rewrite work, which turned into more rewrite work, and so on and so on.

At the end of the six months, I was on my way, but I wasn’t there yet. So I took a job as an editor for an international publishing company while I continued to intermittently do these rewrites. It was hard to go to script meetings because I had this day job. One day the producer asked me what it would take for me to give up my day job. He was annoyed that I could never come to meetings until 5pm. I told him I needed to make the same amount that the publishing company was paying me and he agreed to give me enough work to cover my lost income. That was the day I started to ‘make a living’ as writer. 

A large percentage of your credits are for TV movies. How much of a difference is there writing for TV (and TV movies) compared to features?

There’s a big difference between TV movies and feature films. First, the content can’t be as edgy as in a feature and it’s much more formulaic. Every network has a brand and when you write for that network, whatever you deliver has to fit within that scope, so in that way, it’s more difficult. You have to be creative and original despite all the limitations. The structure is also different. In TV movies, we use an eight or nine act structure (which basically fits into the traditional three act structure) but has three times as many cliffhangers. You have to end on a tension point before a commercial break to keep the audience from flipping the channel. In a theatrical feature, you have a captive audience so the story can unravel more slowly. Theatrical features also tend to be more high concept than TV movies. A lot of people think that a TV movie is just a movie that airs on television. There’s a lot more to it than that.

What do you consider the components of a good script?

Probably the same things that most people do. For me, characters are what define a story. Not plot. The best scripts are emotional, not cerebral. They make us think but more importantly, make us feel. The way to accomplish that is with well-defined characters who have plot goals and thematic goals and who choose to struggle for what they want rather than let life simply happen to them. Those are the characters, and consequently, the stories that stay with you long after you leave the theater or turn off the TV

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

Passive characters. The most annoying thing to hear when I ask a writer what her character wants is “He just wants to keep his life the way it is.” That’s not a goal. A character adverse to change isn’t fascinating. I also see a lot of redundancy in scripts. In a screenplay, real estate is precious. You have to write clearly, economically, and infuse that writing with style without being verbose. Over-explaining in both dialogue and action pulls the reader out of the story.

In addition to your TV work, you’ve also branched out into print with your “at 17” book series. How’d that come about, and how does it compare to writing for a visual medium?

The “at 17” series is a successful franchise on Lifetime Network. It was the brainchild of one of the producers I work with and I’ve been the primary writer behind those movies for about a decade now. In 2014, I pitched him the idea that we should turn those movies into a YA book series and he championed the idea. Neither of us knew much about the publishing industry so he handed it off to me to figure out. I took the script from ‘Missing at 17’ which had already aired and wrote it as a manuscript. I went to the Greater Los Angeles Writers Conference and pitched it to an agent there. He read the manuscript and loved it. He ended up partnering with another agent in NYC and they secured a three-book deal with HarperCollins. Harper wanted each book to come out one month apart in the summer and for the last book to align with the premiere of the Lifetime movie with the same title. So in May, June, and July of 2018, ‘Missing at 17,’ ‘Pregnant at 17,’ and ‘Murdered at 17’ were released.

For me, writing prose is much harder than writing a screenplay. Even though I started out writing prose, I hadn’t done it in years. When you’re writing a screenplay, you have to ‘show’ instead of ‘tell.’ That means you can’t write what the characters are thinking or feeling or pondering. In a novel, that’s mostly what you do. So I had to retrain myself to move in and out of the characters’ thoughts instead of just giving them actions and I had to switch from the omniscient perspective of a screenplay to first person. The books follow multiple characters in first person so that was fun to write. Picking up where one character leaves off and continuing the story with a different character. But it was definitely a challenge.

Follow-up – when can we expect to see the publication of Zombie at 17?

Ha! The movie Zombie at 17 premiered on Halloween weekend in 2018 and was a fun take on the “at 17” series. It’s about a girl who, after getting bit by a cat, contracts the zombie virus. As she teams up with an alienated guy in her high school who has an obsession with zombies to figure out how to stop the progression of the disease, she witnesses a semi-confession to a murder by one of her boyfriend’s friends. When her boyfriend refuses to rat out his friend, she involves herself in the investigation while trying to hide her zombie symptoms from the rest of the world. I don’t know if it will ever become a book because it’s a bit off-genre, but I think it would make a great one.

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

1. Give your characters goals

2. Create obstacles for your characters. Achieving their goals shouldn’t be easy.

3. Don’t obsess on formatting. Focus on writing a good story. 

4. Read scripts. Lots of scripts. Not just books on how to write screenplays.

5. Subplots (or B-stories) need to have some effect on the A-story. If you can cut out the subplot and nothing changes in the A story, you failed.

6. Don’t judge your characters. Every person feels justified in their actions. Your characters are the same way. To write them, you must believe they’re justified as well, even when they do really bad things.

7. Write every day. Even if it’s only for a half hour. And even if you have writer’s block. Professional writers write every day. Train yourself to do the same and pretty soon, you’ll stop having writer’s block and you’ll be surprised at how easily the writing comes.

What kind of impact or influence has your experience as a writer had on your work as a director or producer?

Some directors come up as cinematographers, some as actors. Coming up as a former writer, I think I pay more attention to how the visuals support the content of the story. I hate stylistic shots for the sake of being stylistic. The best shots are the ones that you don’t even realize are shots– because you’re so wrapped up in the visual storytelling. I think as a writer, I’m good at letting the moments that need to breathe, breathe. Story is always first. There are lots of visual ways to tell a story. As a director, it’s your job to choose the best one.

You’ve also spoken at a lot of conference and workshops about screenwriting. Are there any particular points or lessons you make sure to include as part of those?

One thing I mention at every conference is not to compare your journey as a writer to anyone else’s. Everyone always wants to know how professional writers broke into the industry, yet they can’t emulate it even if they know. It’s not like becoming a doctor where you go to med school and do your residency and become a doctor. There are infinite ways to become successful as a writer. And it depends on your goal. If your goal is to simply make a living writing, you’ll make different choices than if your goal is to sell a TV pilot and become a showrunner. Be laser-focused on your goal, but also be flexible enough to take advantage of opportunities even if you aren’t sure how they’re going to get you there. Sometimes those opportunities turn out to be much better than anything you had planned.

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

People can contact me directly through the contact page at christineconradt.com. I’m available to speak and give workshops, and I offer screenplay consulting services as well which are outlined on my website. They can also follow me on Twitter at @CConradt or like my page on Facebook.  I post a lot of contests and other opportunities and tips for screenwriters on my FB page.

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

It’s a dead heat between blueberry and sour cream raisin.

blueberry pie

sour cream raisin pie

Making it not what it was before

spiderverse
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.