Outlines. Yes! No! Maybe?

fillion

Every writer has their own way of doing things, and each way is probably different – maybe a little or a lot – from somebody else’s. If it works for you, then by all means, have at it.

Just because your way isn’t how I’d do it doesn’t mean either of us is wrong; it just means we each have our individual approaches. I’m content with how I get a script written, and you can do yours however you want.

Some recent conversations with other writers, along with reading some interviews with professionals, really reinforced this mindset for me. Especially when it came to outlining your story.

Count me in the camp of those that prefer doing it, while others opt not to.

I’ve written before about how I put a story together, and I find it extremely helpful to make sure the outline is rock-solid (to me) before starting on pages. And as is often the case, there’s a strong possibility some elements of the story will change while those pages are being written. But for the most part, a good portion of my outline remains more or less intact.

Again, this is what works FOR ME.

Not really knowing how those who don’t like outlines operate, I admit to being curious/intrigued/impressed with how they do it.

Do they at least have some kind of basic structure in place? Do they just sit down and start writing? Do they know where things are going? Is it all about feeling spontaneous and just jumping right into it?

All I’m asking is – How do they do it?

One pro said something along the lines of “outlining removes the element of surprise”. Honestly, I’m not really sure what to make of that. I’m fairly certain they don’t mean “didn’t see that coming” – or do they?

Others have commented that “outlining a script takes away from its organic nature”. (Again – paraphrasing.) Not sure how that would work either. If the story’s put together in the most effective way the writer can make it, with a solid structure that flows along nice and smoothly, and with three-dimensional characters, wouldn’t that fall under “organic”?

Like I said at the beginning, if you don’t like to outline your story, don’t outline your story. If that’s how you do it, great. All I’m saying is it’s not something I could do, nor would I expect either of us to suddenly change our methods.

Would I ever give it a try? Probably not. I’d be more concerned the end result would be a big mess. I enjoy taking the time to put things where I think they should be, from both the storytelling and screenwriting aspects.

How about you? Pro- or anti-outline? Or somewhere in the middle?

I know the rules, and do not hesitate to break them

breaking free
Took a while to be able to do it, but well worth the effort

Used to be that when I would outline a story, I’d try to be as spot-on about hitting industry-recommended page numbers as I could.

Statement of theme on page 3, inciting incident on page 10, etc., etc. That’s how I learned it, so that’s how it must be.

These days? Not so much.

I don’t go crazy, you understand. No scenes lasting 10 pages or anything of that nature.  More like “this happens…around here-ish”.

When I first gave it a try, my immediate thought was “Is that going to be a problem?” It had become so ingrained into my process that this was how it was supposed to be, and any deviation from that was wrong.

Then my writer’s sense of craft kicked in with a hearty “Nope. Have at it, kid”.

As far as I know, the screenwriting police (is there such a thing?) aren’t going to shut me down because something doesn’t happen where THE RULES say it should. I’d rather focus on telling an engaging story with an intelligent plot and well-developed characters than worry about this kind of pettiness.

And honestly? It’s incredibly liberating.

I’m much more interested in telling the story in a way I deem appropriate, rather than drastically cutting something or even cutting it altogether just to make sure the beats happen on the designated pages.

So if my opening sequence runs a page or three longer, so be it. Does it work against me? I don’t think so. My writing usually moves at a good pace, so if something happens a little sooner or later than you expect, and if I’ve done my job in really grabbing your attention, chances are you probably won’t even notice it.

Unless you’re a real stickler for that sort of thing. Most of the writers who read my stuff aren’t; they’re more interested in reading a good script.

-Through September 30th (that’s this Sunday!), 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 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.

-Filmmaker Scott Kawczynski is running a crowdfunding project for his animated film Light Work. It’s a pre-sale, so even for $1, you can watch the film. Donate if you can!

Stuffed just a tad beyond capacity

marx stateroom
All my script needs now is the line “…and a dozen hard boiled eggs.”

As the dog days of summer lazily drift on by, each of those days sees me dedicating a portion of it to working on the next small section of the horror-comedy outline. So far – it’s coming along nicely.

For now, it’s just filling in the blanks between primary plot points. Not counting those, I tend to think and plot things out in a linear manner; going from A to B to C and so on, rather than A to B to J, and then maybe filling in that stretch between D and F. This approach helps with not only crafting the developments of the main storyline, but also the subplots and figuring out how all the interconnections work. Others may do it differently, which is fine. This way works for me.

What originally starts out as one to two sentences summarizing what happens in a scene quickly becomes lengthy descriptions, including specific character actions and snippets of dialogue. This has caused the outline to appear dense and bulky, or at least that’s how it looks at first glance.

At first this would appear to be a bad thing, but keep in mind that this is only the outline, so a scene write-up that appears as an impenetrable block of text here might translate to, say, half to three-quarters of a page, including dialogue. Not a bad exchange rate.

Just as an example, as a scene was playing out, it kept getting longer and longer, which would have run way too long for both script and screen. Realizing that simply would not do, I made some minor modifications and managed to break this exceptionally large scene into three slightly smaller ones. Each one still retains the point I wanted to make, as well as continuing to advance the plot, theme, and characters. A win all around.

The way I figure it, it’s a lot better to have an overabundance of material during this stage, and then be able to cut, trim, or maybe even add more where necessary down the road.

Another key part to all this development is making sure everything I come up with plays some kind of role in the overall context of the story. Call it the “keep only if relevant” rule. If there’s something on the page that has nothing to do with the story or the characters, then why have it there in the first place?

Pushing my way forward (x2)

push
Really putting my back into this

This has been a most interesting week. Based on some quality notes, I wrapped up a polish of the dramedy spec (which is now in the process of getting notes). Feedback so far has been encouraging, which is nice.

So now the focus can shift back to developing the two new stories. With most of my recently-completed projects having been worked on for extended periods of time, it’s been a while since I was really starting out from the very beginning.

I’d totally forgotten how much I enjoyed the process of putting a story together. I know what the core concept for each one is, and now it’s all about finding the best and most entertaining way to tell them.

At times it feels like my mind is going in a thousand directions at once, so I’m constantly writing stuff down. A scene or sequence idea here, a line of dialogue there, plot twists, character development, turning the scene on its head; pretty much the whole kit and kaboodle.

Main storylines have been established, with the expected constant fine-tuning and adjusting, and as I work my way forward, the subplots are making themselves known.

Entirely new worlds (or maybe “settings” might be appropriate, since each story is on the smaller side) are being created, populated with unique and hopefully somewhat original characters.

While one of the stories is based on an old script, there’s a constant discarding of a lot of the original content and trying new approaches. Not necessarily “throw it all at the wall and see what sticks”, but kinda/sorta along those lines.

For the other, this is dipping my toes into a genre I enjoy, but wouldn’t call myself a major fan, so doing what I can to avoid tropes and cliches (of which there are apparently many). If that proves more challenging than anticipated, will do what I can to least go for the unexpected.

Added bonus – watching movies of that genre and style to get a better feel for both.

Sometimes I’ll read a writer’s account about what a chore it is for them to develop a story, or how much they loathe this part of the process. I don’t see it that way. Organizing the story and putting it all together is a key part of screenwriting. Too many times when reading a spec, you can tell when the writer didn’t put in the effort to get all the details of the story right before they started on pages.

I recently asked my online screenwriting newwork their thoughts on outlining versus a “seat of your pants” approach. The responses were overwhelmingly in favor of outlining. Granted, there are some writers who prefer the latter, but I’m not one of them. I’m a firm believer in having a rock-solid outline before starting to write the actual script.

But that’s what works for me. Others may feel differently regarding their own process. No matter how you achieve the end result, as long as you’re happy with it, then more power to you.

The whole creative process in developing a story is a beast unto itself, but I think all the long-term work I’ve done for other scripts is really paying off for these two. For now, it’s still a big and unwieldy mess, occasionally feeling very unorganized and all-over-the-place, but a little bit of work every day will gradually pay off. When all is said and done, I’ll have two new scripts.

Like I said – I’m enjoying it.

The gears, they’re a-turnin’ again

chaplin 2
Sometimes you have to really throw yourself into your work

During a break from working on the comedy spec rewrite, I was digging through some files on some of my other scripts and found a friend’s notes on the pulp sci-fi spec.

I hadn’t read them in months, and vaguely remembered there were some quality comments, so since this is one of the scripts I’m considering working on next, I gave them a quick skimming.

(This is also a good time to remind you that unless you honestly and truly feel that a script is finished, never throw away any of the documents associated with it. You’d be surprised how invaluable those can end up being.)

Yep, definitely some good stuff in here, along with some very valid points about the story and the characters. One of the comments that really struck home for me was that while they liked the story and the ideas behind it, a lot of it still felt too familiar. There were a few moments of uniqueness, but they wanted more. Something slightly different from what they’d read.

“Familiar, but different.” I’ve heard that before.

And it really got me thinking. Even more so this time around.

As it reads now, it’s a good, fun story, but I know it can be better. And different. All while still maintaining the qualities and elements you’d expect for this kind of story, which is what made the idea of developing it so appealing to me in the first place.

Working in my favor is that this was an early draft, so some significant changes were already inevitable, and I at least have a pretty solid foundation from which to start the rebuilding process.

Another bonus is that this is the kind of story where the more new and original ideas I can come up with will only help make the end result stand out that much more.

As I mentioned, this script is a potential “next up”, but not a priority. If an idea or concept for it suddenly pops up, I can easily open up the script’s notes file and jot it down. That way I’ll have it right there and ready to go when that rewrite gets underway.

But for now, back to the comedy.

-A few items for the bulletin board:

-Filmmaker friend of the blog Hudson Phillips is running a crowdfunding project for his post-apocalyptic tale of female empowerment This World Alone. As of this writing, they’re just over 2/3 of the way there, so donate if you can!

-If you’re a screenwriter looking for something a little different in terms of a writing retreat, take a gander at what the Aegean Film Lab has to offer: an international screenwriting workshop in July on the Greek island of Patmos. It’s part of the Aegean Film Festival and a partner of the Sundance Film Festival. I won’t be able to make it, but maybe you will.