The latest batch of notes on the pulp sci-fi spec have been analyzed, some even incorporated, resulting in the latest draft.
Thing is, something still seemed a little off about it. But after having spent a good chunk of time on it, I opted to give myself a little break and skip jumping right back in, and instead put it aside to simmer while I focused on a few other projects.
A couple of weeks have passed since then. The time felt right. I opened it up and simply started reading in the hope that maybe the solution would simply present itself along the way.
A lot of it still held up. It’s still a fun, fast-paced action-packed story.
But what really stood out this time was how there was a lot of unnecessary text on the page. It wasn’t a matter of overwriting; more of a “maybe a little more than you actually needed.”
I went back to page one and started editing, line by line. A word here, a phrase there. More and more of my darlings were being lovingly obliterated from existence, creating a somewhat tighter story that didn’t sacrifice any momentum (so far).
Some of the notes also mentioned the occasional lack of information in terms of backstory. I occasionally have the habit of thinking I’ve included an important detail or at least allude to it, when it reality – nope.
Using this fine-tooth comb approach has also enabled me to identify and plug up holes in the plot. Sometimes I might stumble onto a minor issue I didn’t even realize was or wasn’t in there, and am able to take care of it. Again – tighter and continued momentum.
This draft continues to progress nicely, and I’m hoping to wrap it up soon – but still making a point of taking my time and thinking my way to each solution.
-I’ll be running the first half of the San Francisco Marathon this weekend. While a time of 1:55 would be great, as long as I beat the 2-hour mark, I’ll be fine.
-If you’re a screenwriter in the San Francisco Bay Area or northern California region, and want to meet other screenwriters, the NorCal Screenwriters’ Networking Shindig on Sunday, July 30th, might be just what you need. 2-4pm at Kawika’s Ocean Beach Deli (734 La Playa – a block from the ocean!). Cost – FREE! Drop me a line if you’re interested.
First-round results for two of the biggest, high-profile screenwriting contests have been released within the past week, and the pattern for my western’s performance in both has once again repeated itself.
Total whiff for PAGE, and top 20 percent for the Nicholl. (I’m not doing Austin this year)
I didn’t get notes from the former, and based on the ones I got last year for the latter, am not that curious as to why it placed where it did.
My initial reaction was, naturally, disappointment, but this year is markedly different in what came immediately after.
There’ve been days where the agony, frustration and just plain shittiness of things not working out was so strong I’d seriously contemplate just walking away. After all, that would be one less member of the competition, right?
But that’s simply not an option – for any of us. Our desire to succeed as writers burns too bright.
I may not have done as well as I’d hoped with these contests, so instead of shrugging my shoulders and saying “Oh well. Better luck next year,” I plan on doing whatever I can to increase my chances. With a vengeance.
Gone is the wallowing in a blessedly brief mindset of “poor, poor pitiful me”.
In its place – a reinvigorated drive to buckle down, work even harder and write scripts so fucking amazing those readers won’t know what hit them.
I don’t think I can. I KNOW I CAN.
Damn the torpedoes and full speed ahead, chums.
-A new addition and a return appearance on the bulletin board this week:
-Filmmakers Caitlin Stedman and Kayla Ditlefsen have launched a crowdfunding project for their short film Unattainable. They’re around the 60 percent mark, so donate if you can!
-The crowdfunding for filmmaker Steve Davis’s No Glory continues, with about a month to go. Steve’s a talented guy, and this sounds like a fantastic project. Donate if you can!
Writers James Moorer and Ann Kimbrough have teamed up to promote the Be Epic Journal, a guide to helping you set up goals and figure out what steps you need to take to achieve them.
Tell us a little about your writing backgrounds. How’d you get started? Apart from the Be Epic Journal, what else are you currently working on?
James Moorer (JM): I am a multi-optioned screenwriter and published author with several properties in various stages of development. I’ve been hired for numerous writing assignments since 2009 for a number of production companies. I got started writing for the screen while producing music for fitness competitors and bodybuilders under my company Jamesong Music, back in Ohio. I’ve always wanted to be a writer since I first read a Truman Capote story in Esquire magazine. Currently, I have two other novels in development as well as my two shorts I’m producing and a feature film which will be my directorial debut.
Ann Kimbrough (AK): I’m a working screenwriter, with my first paid gig in 2012. I currently have three films in different stages of development and do rewrite assignments on the side. As anyone on the screenwriting path knows, we have little control over the production side. I wanted to take on more control in some aspect of my writing, so between writing assignments I branched into books. First, I turned one of my spec scripts into a romantic suspense novel that was published with Short On Time Books, “Scarlet Revenge” under pen name Ann McGinnis. That gave me the publishing bug and I started to publish my own books. The first journal I did — “The 100 Script Challenge” — was to create a book I wanted but could not find. (It’s about reading 100 scripts, keeping your notes in the journal and having all you learned from reading the scripts handy to review.) Then I made “The Idea Journal for Screenwriters.” It’s another journal I wanted as a screenwriter. I don’t know about you, but I write little notes everywhere with story ideas. The journal keeps me from losing them by having them all in the book. I can then look over my notes, connect them with other little ideas and build them into high concepts. (It’s also full of idea building tips.) From there, I teamed with other creative friends like James Moorer to create fun and useful journals — like “The Be Epic Journal.” Presently, I have eight journals published.
What does it mean to “Be Epic”?
JM: To Be epic, to me, is to step into your TRUE SELF, completely and confidently aware of your God-given ability to become your greatest self, realizing that this is not a happenstance, but how you and you alone were given a specific gift to help move the world toward being a more incredible place, and to inspire others to do the same.
AK: Being Epic is being the best you. It’s cutting out anything that’s holding you back from your dreams and shining! The best part of the whole Be Epic movement that James started is how focusing on our dreams and making our life better eventually leads to making someone else’s life better. But it has to start within you.
What was the inspiration for the Be Epic Journal?
JM: For me, it has always been a way of combating the negativity, fear and doubt in my own life. When I began to realize that I had fallen into a self-fulfilling spiral, I recognized it was my own words and beliefs about myself that lead me there. But it would also take changing my beliefs and speaking to what I wanted to be was how I truly came to discover who I was inside. That lead me to understand this was bigger than one person. This truth was universal.
AK: James is the spark! I have enjoyed his Facebook posts about Being Epic for a long time. They really lifted me up, but then he didn’t post as many. I asked him about it and pretty much told him to get back to posting. (I’m certain I wasn’t the only one.) I also said it would make a great journal! Luckily, James agreed.
How does the Be Epic Journal work? What should a writer who uses it expect?
JM: The Journal works like a PLAYBOOK, helping the writer recognize and engage in daily practices that they can build upon in creating a confident approach not only to their work, but to their life overall. They set a single targeted goal and the steps by which they will accomplish them. The beautiful part is that there are no right or wrongs as everyone is unique, but the daily diligence leads them to greater performance, greater awareness of their own ability and destroying the doubts and fears before they take root. The reason it works is because these are steps that THEY THEMSELVES have created, so these steps have greater meaning to each writer, deeper significance, and opens their thinking to being even more creative.
AK: The Be Epic Journal is a 3-week process, and a writer should expect to pick a goal that can be accomplished in three weeks. So, it’s not about curing cancer. It’s about engaging in a goal you’ve probably had hanging around for awhile. For a writer that could be completing a book or screenplay. The 3-week process helps anyone breakdown their goal into three steps and work on one step each week, plus taking time to evaluate what’s working and what isn’t. It can be done around your normal schedule. It’s full of motivation from James and is very much a workbook to reach a specific goal. It’s set up to do one goal and then move onto another. The journal also includes a free 16-page download code for more instructions and goal setting tips. Soon — we will have a Kindle book that will be a great companion piece to the journal.
Is the Be Epic Journal specifically for writers, or can anybody use it?
JM: We created this journal for everyone. Writers are a community Ann and I are very familiar with, but the same lessons learned here can be applied to any aspect of life, any career, anyone who desires to embrace their most powerful self. The Journal is also meant to be a stepping stone; the first step in anyone’s Epic Journey.
AK: Anyone can use it. We are currently running a test group on Facebook for the journal, and while all of our participants are writers, half of them did not pick writer kind of goals. One person is cutting out sugar — yikes! But she’s doing it! Others are working on completing half-finished writing projects.
How can somebody get their hands on a Be Epic Journal?
JM: Amazon is our friend!!! They can order the journal here. We also have a 16 page pdf to give people an idea of what the program looks like for free.
AK: Thanks for asking! It’s on Amazon and if they’d like to know more about the whole process they can get the free 16-page download now. It also puts them on our email list, but we promise to only send out useful stuff — like when the Kindle is released and motivational infographics. The link to the 16-page download is
Readers of the blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?
JM: Given my choice, I fancy a Peach Cobbler. But as you know, my love for pancakes has me searching for that perfect union of Cobbler and Pancakes. Just never ask me to choose between the two.
AK: My favorite pie is apple. But it has to be the one I make, which is from Trisha Yearwood’s recipe. Google it. You make it in a cast iron frying pan in your oven and it’s worth every calorie! Yum. Dang. Now, I’ve got to go make one.
You’d think working on a comedy would be a fun-filled, joke-laden romp.
As you may have heard, comedy’s a tough row to hoe. Everybody has a different take on what they consider funny, so it takes a lot of work.
One of my current endeavors is overhauling a low-budget comedy spec. It’s been a long, slow process – with a lot of moments of frustration and aggravation.
When I write, sometimes I just overthink things, which makes feeling stuck seem that much bigger and insurmountable. Not uncommon.
It probably also doesn’t help that writing comedy is a totally different world than writing a rollercoaster ride-type adventure. The latter has definitely gotten easier for me, while the former…
Let’s just say I’m still on a bit of a learning curve.
Despite all the obstacles, there’s still one powerful positive about this – I think it’s a fun concept with a new and unique approach and, if executed properly, would be a really good script.
So I do what I can to work my way through.
K could see the toll the stress was taking on me, and suggested I hit the metaphoric pause button and simply take a couple of deep breaths to help clear my head.
And wouldn’t you know? It did help.
After that last exhalation, the problems don’t seem as huge. Sure, they’re still there, but what originally seemed like “How in the world am I going to do that?” has now turned into “There is a solution here, and I shall find it.”
A little calm and rational thinking can do wonders to help you regain and maintain your footing after a little stumbling. I heartily recommend it.
But here’s the thing: everybody will give you their thoughts on your script. They’ll tell you what works for them and what doesn’t. However, it’s more than likely their view is going to be different than yours.
That doesn’t necessarily mean they’re right and you’re wrong. It’s what they think, and you can take it or leave it.
When I was starting out, I figured the person giving me notes was more experienced than I was (why else would I ask them for notes?), so they must have known better, so I’d implement their suggestions without hesitation.
The result – my scripts were getting away from what I wanted them to be and becoming more of the other person’s.
Which is the total opposite result I wanted.
Only after constantly working and studying and rewriting did I get to the point where I’ll now get notes and have no qualms thinking “You make a good point, but I don’t agree with that.”
Sometimes a note will be the total opposite of what others say, which makes me take a closer look at it. I may still disagree with it, but it’ll make me think.
I’ve been on the giving end of that too; I give somebody notes, and am occasionally told “You’re the only one who said that.”
You can get notes until it seems like you’re heard from every single writer on your list of contacts, and no matter what any of them say you should or shouldn’t do, you’re the one driving this bus.
You are the one – the ONLY one – who knows what’s best for your script.