My projects over the next couple of months are shaping up nicely.
-Finish overhauling the outline for the comedy spec and convert it into pages
-Some more fine-tuning on the pulp sci-fi (courtesy of a steady influx of good notes)
-Maybe one more pass on the western. Yeah, I know. But I recently got some keen insight on a few parts which could do with a little improvement.
The potential is still strong for all three, both in terms of contests and queries.
I have to say that this time around, my analytical and editing/proofreading abilities feel a bit stronger. Not that they’re the pinnacle of perfection, but at least slightly more developed than, say, a few years ago. That’s a definite plus. Nor would I hesitate to take full advantage of the sage advice of my squadron of savvy readers.
I feel a bit more prepared now, as well as a little more confident about ending up with a triad of really solid scripts.
That’s the hope, anyway.
Another part of my enthusiasm comes from seeing the results of some of the major screenwriting contests, some of which I entered and didn’t fare as well as I’d hoped. I’ll work on these scripts, send ’em out and hope for the best.
On a brief side note, I recently read the comment on an online forum – “Waiting for notes. What should I do to occupy my time?”
I suggested “Start working on your next project.” It’s what I would do. Can’t think of a better way to get your mind off a finished script than starting a new one or digging into the archives and touching up an older one. Gets the creativeness pumped up and really does help pass the time.
Anything that lets you flex your writing muscles while adding to your arsenal of material can only be seen as a good thing.
Stepping onto my proverbial soapbox to utter a few thoughts on something that needs to be said.
If you’re part of an online forum, and you post your material in that forum seeking feedback from other members, you will get all kinds of responses. Some will be positive, and some will be negative – maybe to point of being outright condescending.
How do you respond to the positive ones?
“Thanks. I appreciate it.” Maybe elaborate a little, or a follow-up question or two. Possibly even ask to communicate with the person in private.
The negative and/or condescending ones?
That’s it. No matter how much you feel the urge to respond with a stinging retort written in ALL CAPS and a lot of exclamation points, just don’t. You asked for comments and you got ’em.
A thick skin is a necessity in this business. Arguing or getting angry because you don’t like what somebody said won’t help you or your writing, and it makes you look petty and unprofessional.
Now let’s address the other side.
Somebody asks you for notes, and based on the quality of the material, you do the best you can, trying to be as helpful as possible. Be honest with your suggestions of what needs to be fixed.
Does it have potential? Mention that. Are there problems? Identify them and how they could be fixed.
If the writing reflects an amateur, or a poorly constructed idea, point out how and why in a constructive manner. There’s no need to be insulting or talk down to them. Chances are they’re still learning, so they don’t know as much as you do.
They may not like what you have to say, maybe even going so far as to insult you and your experience, or deride your comments. But that’s on them. You’ve done your part.
So let’s review.
You want help? Take what you get, even if you don’t like it. After your temper cools down, take a serious look at what was said. There may be something in there worth using.
Somebody asks you for help? Be professional and as helpful as you can. Don’t hold their lack of experience against them.
No matter whether you’re giving or receiving, be patient, tolerant, and open-minded.
This past weekend, I had the opportunity to meet with some fellow Bay Area writers. Among their number was a writer who had written some small stuff, and was in the middle of working on her first big project – a TV pilot.
Even though I don’t know much about writing for TV, I and another writer offered up what advice we could. The recipient was very appreciative, and one of the things she said later on in the conversation made a very strong impression on me.
“I know the first draft isn’t going to be perfect, but I’m just really loving writing this.”
Truer words could not have been spoken.
Like I told her, I write stuff I would want to see. It’s taken me a long time and many drafts of many scripts to feel like I’ve really come into my own. Each time, the end result is a script for a movie I think would be an absolute blast to see play out on the big screen.
It always astounds me when a writer complains about having to write (or rewrite). If you don’t like doing it, WHY ARE YOU DOING IT?
It was genuinely pleasing to hear this writer who, despite the challenges she knew awaited her, was still excited about working on this project. Sure, she was still nervous about doing a good job and hoped the end result didn’t suck too much. No matter how many scripts you’ve written, that feeling never goes away.
But to simply see her face light up while she described the story (which is a real doozy, believe you me) and hear her talk about what she’s experienced so far, including doing the research involved, and learning what to do and not to do regarding formatting, it was just really, really pleasant.
I’m sure a lot of us do this because the title “storyteller” really suits us to a tee. Are some better at it than others? Sure, but instead of being discouraged about what you perceive as a lack of progress, try seeing every time you write as a chance to learn and improve. Because it is. It’s certainly been that way for me, and I strongly suspect I’m not alone in that.
I got the impression our little chat gave this writer an extra little jolt of encouragement that she wasn’t expecting. She doesn’t know when the pilot script will be ready, but I told her not to worry about that and just keep enjoying writing it.
I suspect she will.
-Friend of the blog Andrew Hilton (aka The Screenplay Mechanic) is offering a special deal as part of his stellar screenplay analysis. (Editor’s note – his notes helped shape my western into what it is today)
If you use any of his services, refer a friend, or write a Facebook review of your experience using his services, you are automatically entered to win a free DVD of the motorcycle documentary WHY WE RIDE (of which Andrew was a co-executive producer).
The winner will be chosen on October 1st. The holidays will be here before you know it, and if you or somebody you know loves motorcycles, this would be an excellent gift (as would purchasing some of Andrew’s script services for that special screenwriter in your life).
-My time in the San Francisco Half-marathon the weekend before last – 2:02:56. Disappointing, but still glad I did it. I blame all those uphill stretches in the second half. And probably not training enough.
Next race is coming up in a few weeks in Oakland. Pleasantly flat Oakland. Training a little harder for it, with the intention once again of hoping to break the 2-hour mark.
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.
Bit of a shorty today as I’m steamrolling my way through several projects at the moment. This includes revising two of my own scripts.
As part of the effort to make the next drafts of both that much better, I’m trying to take the time to read scripts in the genres of both. Why not glean what I can from prime examples?
The learning truly never stops.
Added bonus – a lot of these are just fun to read.
This is one of those basic pieces of advice that every screenwriter, no matter their experience level, needs to heed on a regular basis:
Study them. Use them for the learning tools they are and wring every last bit of help out of them that you can.
Everything really is right there in front of you. 90-110 pages of primo learning material. Pages and pages of “See what they did there?” Take notes. See what’s there and NOT there.
Take it a step further and read a script of a film while watching that film. How do they compare? Lots of similarities? Lots of differences? Do the actions onscreen do justice to the words on the page?
Apply what you learn to your own script. It might help more than you realize.
Side note – DO NOT copy that writer’s style. You’re working on establishing your own voice. No good can come from trying to sound like somebody else.