At least 11 choice “re-” words

teacher
No, class. “Relapse” is not one of them.

Progress on the latest draft of the comedy spec is coming along. Slowly, but still coming along.

Among the highlights:

repairing the script. Previous drafts had some notable and sizable problems on several fronts, so this is all about fixing them, or at least figuring stuff out to make it better overall. This is the main priority.

revising the story. Some of the scenes still work. The ones that don’t are out, with variations and totally new ones being developed and considered. A work in progress is a beautiful thing.

reviving older ideas. I keep all the notes and items jotted down over the course of working out the story, so there’s always a few items worthy of dusting off. This time around is no exception.

reorganizing the tone. Notes on a previous draft stated how uneven the story felt; like it was a few opposing ideas competing for attention. Currently working on streamlining things to make it all mesh better.

refurbishing characters and/or their traits. From the protagonist and antagonist to supporting characters to those appearing in one scene, everybody gets some kind of modification. Some big, some not-so-big.

reinvigorating the jokes. With comedy already being a subjective topic, I’m trying to come up with stuff I think is funny. Influences abound, and I want my sense of humor to be what runs that particular engine.

remaining calm. Finishing this draft won’t happen overnight, and trying to force creativeness or rush progress is the absolute wrong approach. Preferred method – taking it one step at a time.

resuscitating self-confidence. Writing a comedy’s tough enough to begin with. I’ve done it before, and despite a few missteps along the way, feel pretty solid about my chances this time around.

relinquishing the self-imposed pressure. Naturally, I want to have a good, solid script when I’m done (hopefully it won’t take many more drafts). Stressing about getting to that point won’t do me any good, which leads to the final point…

relaxing and recharging the writer. A good portion of my available time is spent writing or at least thinking about it. Working on it too much runs the risk of burnout, which would be completely counterproductive. Therefore, I allow myself time to simply step away and do something totally non-writing-oriented.

And when the time is right, I return to the rewrite.

Whew! Took me a while to refine this, but I don’t recall being so resplendently relieved to be done. Even better, none of it had to be redacted.

One curtain falls, another rises

stage
Don’t go far, folks. Next show is on the way!

Among the sizable slew of ongoing projects of which I’m currently undertaking, finishing the edit/polish/rewrite of the pulp sci-fi spec was pretty high up near the top of the list.

Mostly because it was something I felt I absolutely had to do; sort of a “get it out of my system” thing.

And for now, it is. Finished. At least until the next sets of notes come in and the whole process starts all over again. No big deal. Par for the course.

Overall, I like how it turned out. As has been the case before, it was also simply just fun to write. That helped. And some of my readers from the previous draft were quite enthusiastic about what a fun read it is. That also helped.

Even though the story’s pretty much set in place, every once in a while inspiration would strike, or a suggestion would be made, and I’d come up with a way to potentially improve a particular moment, scene or sequence.

So off it goes to some very savvy readers, and my attention redirects to the much-interrupted overhaul of one of my low-budget comedies, which has been a sizable challenge on its own.

Creating amazing tales of thrills, excitement, and heart-pounding fantastic-ness? No problem. Trying to craft a smart, funny story? A challenge, to say the least.

Then again, I do loves me a good challenge.

Just the tune-up it needs

eastwood engine
Clint knows what needs to be fixed

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.

One opinion is not general consensus

sidewalk
Everybody’s got something to say

Feedback on a script. You know you need 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.

Writing requires reading

reading
Comfy chair – mandatory. Bon bons – optional.

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:

Read scripts.

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.