A big stove with lots of burners

May 5, 2017
jayne

Always something cookin’ in this kitchen

Thanks to a big, determined push, I managed to wrap up the initial edit of the pulp spec last night. Amazingly, it’s still 116 pages. Much as I’d love to take another pass on it, a better option is to gently nudge it aside and let it simmer for a few months.

In the meantime, my attention now turns to a few other items, including providing some script notes and a major overhaul of one of the low-budget comedies.

To some, it might seem I’m taking on too much. Others might think it’s great to be so busy. No matter which opinion you have, it all comes down to how the individual (i.e. yours truly) sees it.

Me, I enjoy the diversity and variety. I like to work on my own material AND read other people’s stuff. All that mental stimulation helps me in the long run; the equivalent of maintaining a regular workout schedule at the gym. Or in my case, a steady regiment of training runs.

Always working on something, or even adding some reading and watching into the mix, not only helps your creativeness, but your actual output. Wouldn’t you say your writing skills are significantly better today than they were, say, a year ago? How about compared to when you just started out? I know mine are. Especially in terms of the latter.

All that being said, I think there’s a big difference between being a productive writer and just being a non-stop writing machine. A productive writer definitely produces material, but they also take the time to have a life outside of writing. The machine is just full speed ahead and don’t let up. Granted, there are some who can do both, and kudos to them. I prefer to be the former.

I also don’t have any problem with transitioning to a new project once one is completed. Even though I haven’t directed all attention on the new one, it’s always been in the back of my mind. Maybe an idea about it would pop, which would then be added to an always-handy list, then brought back out later. You might have a different approach, but this is what works for me. Everybody writes in their own way.

In the meantime, my nimble little fingers will now get a bit of a rest while I dive into the aforementioned giving of notes. And once all of those are done, the dust gets blown off the keyboard and the cycle repeats.


I have written, therefore I will edit

April 25, 2017
vintage woman office

Hmm. What about…? Or maybe…? Possibly even…?

Well, it took a little longer than I’d wanted, but I’m happy to announce that the first draft of the pulp spec is complete; 116 pages of potential cinematic goodness.

So what now?

The usual. Take a little time off, then jump right back in with my trusty red pen, ready to have at it and let loose the dogs of editing. The script itself has already been printed out, along with a change to a line of dialogue.

Even though I kinda-sorta edit as I go along, once I initially write a scene, it’s done and I push forward. Sometimes there’s something about it that’ll nag at me afterward, so I go back and do the necessary touch-up work.

I was tempted to send the script as-is to some of my trusted readers, but at this point, I want to see what I can do to improve it before reaching out.

Also pretty important – it was fun to write. This definitely falls within the realm of “stuff I like to write”. Hopefully others will be as enthusiastic about it when they read it. In a recent email correspondence conversation with another writer, I’d expressed my anticipation about how the script would be received. Their response: “You’re a great writer. Don’t worry so much.” Their kindness was much appreciated.

So for the time being, I’ll be fighting the urge to jump into editing in order to put some space between “just finished it” and “round two underway”. I actually do have a few other projects standing by, so I might redirect my focus on one of those, and then come back to this one in a couple of days.

It was a good and productive couple of months, and I’m quite happy with how this one turned out. I stuck to around 90 percent of what was already in the outline, but as usual, would occasionally come up with a different idea for a scene or sequence. I’d say the changes were definitely for the better.

The hardest part is out of the way, so now begins the next-hardest part: making it better.


An amiable assortment o’ items

March 31, 2017
study group

Everybody’s keeping busy, so there’s lots to talk about!

First three months of the year wrapping up today, which makes it the perfect opportunity to offer up your Project Status Update! Feel free to step up to that virtual microphone (aka the comments section) and announce the latest developments for whatever is currently occupying your attention.

My list is pretty short:

-Work on the pulp spec continues. Currently around page 83, with a projected final count of 120ish. Strongly suspect FADE OUT will be typed sometime in mid-April, give or take a couple of days.

-Dipped my toe into the waters of rewriting the low-budget comedy courtesy of some helpful notes. Not a total page-one rewrite, but definitely taking my time with this one.

-My western was named a finalist at the WorldFest-Houston International Film Festival screenwriting contest. (Editor’s note – yay) Further details (i.e. how it placed) won’t be announced until the awards ceremony at the end of April, but still quite proud to have made it this far.

And a couple of items tacked on to the bulletin board, which spotlights creative-type folks and their even more creative projects well worth your time and attention:

-Filmmaker/screenwriter Eric Claremont Player has launched a crowdfunding campaign for his courtroom drama film project. Make sure to check out the colorfully captivating and absolutely true backstory that led up to it.

-Writer-director Dianna Ippolito is running a crowdfunding campaign for her new project Robb’s Problem: A Horror Short. As Dianna puts it, “Our goal is to bring you a really smart, beautiful and thought-provoking horror film, produced, written and directed by women.”

As with all crowdfunding projects listed here, donate if you can!

If you’d like to get the word out about a project of your own, feel free to drop me a line. Operators are always standing by.

-Ran the San Francisco Rock & Roll Half-marathon this past weekend. Made it just under the 2-hour mark with 1:59:11. Next race is in July, so hoping to shave a few minutes off of that.


Start with similar, venture into different

February 17, 2017
path

With one you can play it safe, while the other offers up more of a challenge

In the handful of times I’ve helped out as co-writer or script polisher on somebody else’s project, there have been variations on the following conversation:

ME: And then THIS happens!

THEM: Oh, we can’t do that. ACTUAL MOVIE did the same thing.

ME: Not exactly. ACTUAL MOVIE did THIS, and what I’m suggesting is maybe at the very foundation the same concept, but if we did it THIS WAY so THIS HAPPENS, it would be entirely different.

THEM: But won’t people think we’re just ripping off ACTUAL MOVIE?

ME: First of all, ACTUAL MOVIE has been out for a while, and you’re at least a year away from having this thing done, so I highly doubt the first thing anyone’s going to think is we’re ripping off ACTUAL MOVIE. Second, this is exactly why I think THIS is how it should happen. True, both use the basic concept, but we’re putting our own spin on it so it doesn’t resemble ACTUAL MOVIE at all. They’re similar, if you could even call it that, but still different.

THEM: (thinks it over). Well, okay. We’ll give it a try.

And…scene.

I’ve read about this in articles and seen it firsthand while reading scripts, both times usually associated with newer writers. Somebody really likes how something happens in a film or a script, so then they go and have the EXACT SAME THING happen in theirs. I get that you liked that original, but why, oh why would you want to use it practically verbatim in yours?

Doing the screenwriting equivalent of a “copy, cut, and paste” will do you no good because it’ll be painfully obvious that’s what you did. You’re trying to tell an original story, and THIS is what you do?

If anything, people will definitely think you ripped off that original thing and berate you for your total lack of originality. Was that your goal? Probably not.

Time to get analytical. What was it about that particular something that really got to you? Why do you feel the need to have the same thing happen in your script? That’s the angle from which to approach it.

But this is also where the challenge begins. Once you identify that core detail, it’s up to you, the writer, to figure out a new way to use it in such a way that not only does it serve the purpose you need, but also pays homage to what inspired it in the first place.

You know where things are going, or at least where you want them to go, but now you need to tweak how they get there. Work those muscles of creativeness! Try something new! Don’t hesitate to jump off the beaten path into new territory! If anything, you might come up with an entirely new idea that accomplishes exactly what you needed, but just a totally different way.

Sure, there’s a very slight chance it could potentially remind somebody of ACTUAL MOVIE, but they’ll definitely remember that it came from yours.


Required: a second pair of eyes

February 14, 2017
reader

It’s “should’ve”, not “should of”, and I don’t think I’ve ever seen a participle that dangled this much

I’ve been doing a lot of script notes the past few weeks, and most of them haven’t been early drafts. These are long-in-development projects, and I can really see how the writers have poured heart, soul, blood, sweat and tears into their efforts.

These scripts shows tremendous skill applied to the usual fronts – story, characters, plot development, etc.

But there are two categories that sometimes get overlooked:

Spelling and punctuation.

And yes, each does count.

I’m quite a stickler for both, and have had more than a few writers thank me for pointing out such items as a missing comma, or how a character has nothing to “lose”, not “loose”.

I would imagine that after having read through your own script countless times, reading fatigue can set in, and you might overlook things you might ordinarily not. It happens.

The solution: get yourself a solid proofreader. Preferably someone who knows scripts. You’d think that would be a given, but there are some writers out there who don’t take that path. Do so at your own risk.

I recently read a draft that was riddled with misspelled words and poorly-written sentences. When I pointed this out to the writer, they were surprised because they’d used a proofreader who was a writer, but not a screenwriter. I believe that to be the wrong approach on several levels. (And the fact that the spelling and punctuation were still bad after their proofing makes me seriously question their qualifications to begin with.)

After you’ve read a lot of scripts and written more than a few of your own, you develop an eye for it. But your own skills can only take you so far, hence the potential need for a proofreader.

Some might claim “My writing’s fine. I don’t need a proofreader!” I’m not saying everybody does, but what’s the harm? I read scripts from writers of very high quality, but they’re still human and sometimes they make mistakes too.

Wouldn’t you feel better about your script if somebody whose skills you trusted took a look at it? It’s very possible they might spot something you missed.

“But where/how do I find such a generous person willing to give up their precious time in order to help me out?” Once again, let’s refer to that all-powerful word: networking.

There’s absolutely nothing wrong with paying for a proofreading service. Some people swear by it. But you also can’t go wrong in asking someone within your circle of trusted colleagues; preferably someone who knows what they’re talking about.

So whenever you think your script is ready, put together a list of writers of skill within your own personal network. Five is a good number. Politely ask each one if, time permitting, they’d be willing to take a look at your script. And definitely make sure to offer to return the favor. If they say yes, great. If they turn you down, thank them, say “maybe next time” and seek out another name.

While all the elements of storytelling play a vital role in writing a script, never underestimate the importance of making sure a word is spelled correctly or a sentence is properly written. Because people will notice when they aren’t.


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