A few other writings of relevance

pro-writer
Only sixteen more items to deal with and I can call it a day!

First, the good/positive news – the rewrite of the comedy spec is complete. However, at 88 pages, it’s a little shorter than I expected. Fortunately, adding in another 4-5 pages shouldn’t be too strenuous.

As part of the effort to recharge my creative batteries before jumping back in, I’ve stepped away from it for a couple of days.

From actually working on that script, anyway.

Since there are a lot of other avenues involved in getting your work out there, I’ve been focusing on some of those, including:

-got some great feedback on query letters, so revised one (along with updating a few lists of potential recipients – always works in progress) and sent a few out.

-submitting some pitches, and just about every one asks for a synopsis. Working on these tends to usually involve me putting in too much story info, then turning around and drastically editing it and shrinking it down to fit on one page. Despite how important this is, I’ve always disliked it.

-jotting down ideas for other scripts. While a nice reminder that I have these waiting in the wings, it’s also quite pleasant to take a look at stuff I haven’t seen in a while. Some are still in the development stage, and others are older scripts due for a massive overhaul.

-the maintenance and upkeep of connections with other writers and creatives. Like with the scripts, some are from the past, and some are brand new. Can’t go wrong with keeping your network healthy.

-reading scripts and watching movies. True, not necessarily writing, but definitely affiliated with it. It’s especially gratifying when the script comes from a writer who knows what they’re doing. As for the movies, that’s been a mix of the popular (Wakanda forever) and the Oscar nominees.

The point of all of this is that there’s much more to building a career in screenwriting than just writing scripts; it involves writing of all sorts for many other things. While I already dedicate a good portion of my available time to working on scripts, I also realize and accept that these other things are in just as much need of my attention.

And an added bonus – many of these things are not one time only. They’ll be done again and again, so the more I do them now, the easier they’ll be to do when the need arises.

Except for the one-pagers. I’ll always struggle with those.

Shifting from writer to editor

1930s typing
“Hey, this isn’t as unsalvageable as I thought.”

Most of this month has been all about working through the latest draft of a comedy spec. Averaging about 4-6 pages a day, so making some good progress, and hoping to wrap it all up by the first week of March.

Then, the cycle repeats itself with the next round of editing, rewriting, and polishing.

So as I focus on that, here are some older posts about the whole illustrious process, along with a few other related issues.

Fine-tuning in progress

I have written, therefore I will edit

Too much talkiness

Getting over overwriting

 

What you want VS what the story needs

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Sometimes it takes a little more evaluation

Over the course of several drafts, the core elements of my scripts remain more or less the same. There might be a few changes here and there, but to me, the end result is pretty darn close to what I originally intended.

As part of the development of those drafts, I get notes from trusted colleagues and professional analysts. Everybody has their opinions, of which there were many, and I can pick and choose which ones to use.

I was still presenting my stories the way I wanted to tell them, but is that the way they should be told? Was I falling into the trap of “I’m the writer, so what I say goes! End of discussion!”?

I recently got notes on one of my scripts that offered up some keen insight regarding the antagonist’s storyline. This included the reader’s frustration about what they perceived as a lack of knowing the character’s goal and the reasoning behind it.

At first, that was pretty surprising to hear. But as is usually the case, I took a step back and looked at the big picture, trying to be as objective as possible. Was it really not as apparent as I thought?

And as is also usually the case, their comments were spot-on. I had never made any big changes to how that storyline was written because I saw it as being “just fine the way it is”, which also happened to be the way I wanted it to be.

Which was counterproductive to how the story needed it to be. It wasn’t working within the context of the story itself.

Was it my writer’s ego that prevented me from seeing this through all the previous drafts? Maybe a little. I’ve seen this kind of thing before in other scripts, but just couldn’t see it within my own material.

I knew the script wasn’t perfect, but there’d always been this nagging thought in the back of my mind that it still needed work. Something had to be changed, but I couldn’t identify what. This could also explain why I always felt compelled to keep working on it.

But with those notes, I now had a much firmer grasp of what the reader was talking about, and could begin to rectify the situation.

It took a little time to work through it, including some significant edits and rewrites. It  also entailed cutting some scenes that absolutely broke my heart to see them go, but were totally necessary. All part of the process.

I know I’ve said all of this before, but looking through the latest draft, the script really does seem different now – in a better and much stronger sense. The characters, especially the protagonist and antagonist, feel more developed. The story reads as more concrete. I’m very happy with how it turned out.

Once I was able to put what I wanted aside and focus on what was best for the story, it all came together a lot better than I expected. My hope is that this kind of self-analysis will be a bit easier for me to figure out for future drafts of other scripts.

Can’t wait to give it a try.

Change is inevitable. Embrace it.

edited page
All that red is a really good thing

A few more sets of script notes have come in. Comments in general are favorable (Thanks, everybody!), along with lots of suggestions about potential fixes. Nothing too drastic, but just enough to slightly alter things and still achieve the same results. Nevertheless, it’ll require a fair amount of rewriting.

Which is totally fine by me.

As much as I like what I’ve written, as do a lot of my readers, both sides know it can always be improved – especially my side. As the writer, it’s not as easy for me to recognize what those improvements could be and where they should go, which is why I ask for feedback. The readers start with only what’s on the page and use their knowledge and experience to deduce what works and what doesn’t, and then pass it all back to me for analysis and selective implementation.

A less experienced writer might be hesitant or even reluctant to do anything drastic that could change anything about their script.

Me, not so much. I know what the story is, and if somebody points out something that doesn’t work or suggests a different way to present it, I’m not going to say no. In fact, I’d probably be grateful for it. I might not always agree with what somebody says or suggests, but I still appreciate it and can totally see why they said it. Sometimes it might even inspire a totally new approach. Whatever works.

Used to be I would dread having to rewrite, but due to an effort of trying to write on as regular a basis as I can, which also involves rewriting, I’ve gotten to the point where I now actually look forward to it. (Helpful tip – the more you write, the easier it gets – albeit to a certain degree. Overall, it’s still tough.)

Will later drafts of my scripts be exactly the same as the first? Of course not. That’s the whole point of rewriting: to make it better than it was before. And that requires making whatever changes are necessary.

I recently got to sit in on a friend’s script review group where a new writer received some pretty brutal notes about their script (which I believe was also the first draft). If they wanted it to be better, they had a lot of work to do. They had this somewhat annoyed look and said “Guess that means I’ll have to rewrite most of the script.”

Well, yeah. This is no “one-and-done” kind of operation.

If you think the first or second draft of your script is perfect as is and doesn’t need any more work, then good for you, but I sincerely hope you never, ever show it to a writer with more experience because you will be severely disappointed with what they have to say.

As for me, I’ll be keeping busy with the usual hacking, slashing, and overall rehashing of my scripts. And enjoying every second of it.

-If you’re a fan of sci-fi adventure, then please consider contributing to writer/producer Marc Zicree’s crowdfunding project Space Command: Redemption. Among the cast of sci-fi luminaries are Doug Jones (HELLBOY), Robert Picardo (STAR TREK: VOYAGER), Bruce Boxleitner (TRON, BABYLON 5) and Bill Mumy (LOST IN SPACE), Space Command: Redemption is “a bold, new sci-fi adventure with a retro feel and an optimistic view of the future.” Donate if you can!

99 44/100%, or somewhere thereabouts

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Gotta be really careful when seeking the exact formula

It was quite an undertaking, involving lots of rewriting, editing and reorganizing, including plenty of self-imposed stress, but the latest draft of the pulp sci-fi is complete.

It could definitely benefit from a little more work – another draft or two would make it that much better, but it’s exactly the kind of fun thrill ride I set out to write, and I really like how it turned out. One of my guidelines has always been “Write something you would want to see.” Man oh man, would I want to see this. And based on some of the notes I received from my squadron of trusted colleagues, so would they. Such an encouraging thing to hear.

Quick side note – I absolutely could not have gotten this script to this point of development without those exceptionally helpful notes. Thanks, chums! Each and every one of you has once again proven yourselves invaluable!

Networking. Worth it like you wouldn’t believe.

So for now, I’ll be taking a little break to let that script simmer for a bit as my focus is redirected towards revamping the outline of the comedy spec. Thrilled to say that even that seems to be coming along nicely, including a most productive writing sprint that got me to the next plot point. Always a good thing.

As much as I hate setting up deadlines for myself, I’m really hoping to have a decent first draft done by the end of the year – at the very latest. If I can maintain a pace like I have over the past few days, no reason I wouldn’t be able to type FADE OUT by Thanksgiving.

Totally doable.