Yet another busy week around Maximum Z HQ, including quite a bit of doing script notes, polishing the latest draft of the comedy spec and punching forward on the horror-comedy outline.
Fun stuff all around.
It also included my western placing in the top 15 percent of this year’s Nicholl, which is the second time for this script, and third overall. Not bad, but still not enough to get to the quarterfinals. At first I was feeling kind of down about it, but realized (and was reminded by more than a few colleagues) that a much larger number of scripts didn’t even make it that far, so I should still regard this as a positive.
Suffice to say, it looks like there’s a little more tweaking in store so as to get this script and at least one other ready for next year (along with a few other top-tier contests).
Since this blog recently hit the 9-year mark, of course there are some previous posts of relevant content.
Results are slowly trickling out for some of the big writing contests, and while hopes were high for my revised western, it once again failed to make the quarterfinals for PAGE.
My immediate reaction – that’s it. I’m done. No longer will I subject myself to that kind of humiliation!
And of course, later the same day, I was figuring out whether or not I should look into any further tweaking so as to get it ready for next year.
More than a few writing colleagues and connections voiced similar comments, ranging from the frustration of their lack of advancing in this contest, to the murkiness regarding the quality of contest readers overall, to the subjectiveness of it all, and whether contests are even worth it.
As you’d imagine, there’s a wide spectrum of opinions about all of these.
I dug up this post from last year which I believe sums things up quite nicely.
Contests aren’t the only way to break in, but a win or very high placement can help, or at least potentially open a door or two. It’s just one of the many routes a writer can take. Some writers are even fortunate enough to not even have to do them. I am not one of them.
A key component of all of this is persistence. There’ll be lots of disappointments, which can be…disappointing. And frustrating. Oh so frustrating. But learning to overcome those is just as important as learning how to tell a good story.
All you can do is send your script out there, hope for the best, and move on to whatever’s next. If things work out, great. If not, yeah, it sucks, but it’s not the end of the world. It might feel like it, but it’s not.
Try to look at it as a learning experience – “How can I make this better?” Also a question with no easy answer, but how willing are you to put in the time and effort necessary to accomplish that?
The new story has been in development for a few weeks now, and I can proudly say it’s coming along nicely. Plot points are in place, and the filling-in between them continues, albeit slowly. Still quite a ways to go, but any progress is good progress.
The more I work on it, the more excited I am to take this one on. I love the concept, think it’s got a lot of potential, and it just seems like it’ll be a lot of fun to write.
Full disclosure – it’s a horror-comedy, and that’s all I’m saying for now.
Part of my usual writing m.o. is seeking out feedback from other writers. Since the actual story is still under construction, I opted to start with the basics and asked a handful of savvy colleagues their thoughts on the logline.
Reactions were positive. Plus, some keen insight and suggestions as to what might make the story even more unique and original, and how to avoid “stuff we’ve seen in these kinds of stories before”. Those, in turn, triggered a new round of ideas, which then led to unearthing what may prove to be the most important idea of them all:
The thing that gets it all started.
Not the inciting incident, but a certain something that forms the foundation of the story itself – before the actual events of the story get underway. Without this, the story wouldn’t even be able to exist (or at least be a lot tougher to pull off).
It was perfect.
A feeling most satisfactory, to be sure.
But wait. It gets better.
A little more time (plus some invaluable real-life-based research) caused me to discover that not only does this new idea do a rock-solid job of tying the whole story together, but it creates constant, relevant, and increasing conflict for all the characters, makes for a great ticking clock, and really lets me have fun with the whole concept.
Goosebumps, I tell ya!
As fun as it was to come up with that, the hard work’s just beginning. Second and third acts need a ton of work. Doing whatever I can to avoid cliches and tropes usually associated with this kind of story. And to address the comedic aspect, really trying to make it funny.
Won’t be easy, but as I’ve discovered with my most recent rewrites, might not be as totally insurmountable as expected.
First, the good news: I wrapped up the rewrite/overhaul of the comedy spec (which seems more like a dramedy now.) Despite my dread and anxiety over whether or not it’s actually funny, it’s been sent out for notes. As I mentioned to one of my readers, as long as nobody says “What made you think you could write something funny?”, I’m good.
So, industrious scribe that I am, I find the best way to occupy my time while I wait to hear about a project is to redirect my focus and work on another one.
It was originally going to be a new take on the pulp sci-fi, but some story issues still need work, so that remains on hold.
But a few weeks ago, I was cleaning up around my office and found a hard copy of one of my earliest scripts: a horror-western. I don’t think I’d seen it or read it in about 15 years.
Wow, was it bad. Like “This first draft is going to sell for a million in no time!” bad.
But the idea behind it still worked, and was something I could definitely tweak and finesse into something a lot more coherent. I did mention how that old script was really bad, right?
So I started putting together ideas for the new draft. Let’s call this SCRIPT #1, or S1 to keep things simple.
Then another twist presented itself: a script with a low budget (the lower the better), a minimal number of characters and locations, and practically no visual effects has a much better shot of being produced than some mega-budget tentpole effects extravaganza.
With that in mind, there were aspects to this story I could use to create an entirely new and different one that met a lot of those criteria, so I jotted down some potential plot points in the same file. This is SCRIPT #2 (S2).
One file, two scripts. With me so far? It gets better.
After finishing the comedy, I decided I’d take on S1. I only had a vague recollection of all the story details, which I saw as a good thing. Although I’d still have the old draft available as a potential (albeit limited) resource, I don’t think I’ll use it all that much. This in turn, frees me up to go in whatever new direction I feel like.
As I thought up ideas for S1, some of the story elements from S2 started creeping in. Since I didn’t want the two to be too similar, more focus was put on developing S1. It’s still a work in progress, but coming along quite nicely. And so much better than that old draft.
Ah, but what of S2? Like I mentioned, there were story elements I really liked, and putting some of them into S1 forced me to come up with new ideas for it. There was one in particular that really stood out for me, and the more I thought about it, the more it felt like it would be able to be the basis for a solid story.
I combined that idea with the aforementioned low-budget approach and came up with what I really think is a great high-concept idea. Such to the point that I whipped up a logline for it, along with a title that feels very “that’s perfect!”
My belief and enthusiasm for both S1 and S2 is to the point that I’m now alternating between both; working on one, then the other. My objective now is to have at least a first draft done for both by the end of the calendar year. It’s already proven to be, and will no doubt continue to be, a most interesting process.
(Author’s note – I wrote a lot of this earlier in the week, but circumstances of a confidence-instilling nature have occurred since then. I considered scrapping it and starting over, but thought the content was still relevant, so opted to stick with it. Enjoy.)
Let’s face it. Trying to make it as a screenwriter is an almost impossible task.
Emphasis on “almost”.
It can be done. Remember, every single writer whose name is up on there on the screen had to go through a lot of the same things you and I have. Probably even more.
The sad truth is that you will have to endure a lot of frustration before you start to even come close to achieving the results you want. And that frustration can easily lead to anger and depression and feeling like you’re wasting your time and this is never going to work out.
I say this because I’ve been that writer. Many times. This week was no exception. Several writer colleagues had some truly awesome things happen for them, and deservedly so.
Still, I can’t help but feel a slight pang of jealousy about it, but that’s all on me. In no way would I ever intend to divert the spotlight away from their success. They earned it, so they are more than entitled to enjoy it.
As for me, sure, I might wallow in self-pity for a little bit, but time and experience have helped me “get over it” faster, but the hurt does tend to linger.
Writing might be the last thing I want to do, but it’s actually been pretty therapeutic. Shifting your attention to another project – maybe one you haven’t worked on in months – helps with the emotional recovery process. Sometimes I’ll vent to another writer; usually someone who’s been through the exact same scenario.
Once I get all of that out of my system, the drive to succeed once again takes over, I get back on the horse and pick up where I left off – because the only way I’m going to make it is to keep trying, and that the only person who can make it happen is me.
That’s how it is for all of us. You’re not alone.
There will be so many situations where things don’t go your way. In the beginning, it feels like somebody’s stomping on your soul. But you eventually learn to accept that it happens, which helps toughen you up for the next time, of which there will also be many.
So on that note…
There will be a lot of times you just want to give up, or feel like the only word you ever hear is “no”, or have it seem like you’re the only writer on the face of the Earth not making progress.
Corny as it may sound, the best piece of advice I can offer is to keep at it. You will definitely hear “no” a thousand times before that one significant “yes”, but you won’t get it at all if you don’t keep going.
This is not a career path for the easily-defeated or the thin-skinned. I’ve had people tell me my story ideas were stupid and my writing was awful. One memorable character even thought my script was so terrible they were certain it was some kind of practical joke. Comments like that sting, but only temporarily. You learn to ignore them to the point they don’t even faze you anymore.
I’ve had the good fortune to make lots of connections with very talented people, many of whom have been more than willing to help me get closer to that goal.
I’m still here, still trying, determined as ever. And I sincerely hope you do the same.