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.
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.
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.
Here it is the last day of June, signifying the halfway point of 2017, which means it’s time once again for that most lauded of blogpost topics:
The Project Status Update!
This is your opportunity to give as much or little info as you desire regarding what you’re currently working on, finished so far this year, or plan to jump into in the coming months.
Mine’s pretty simple and straightforward.
-Currently revising two scripts – a comedy and the pulp sci-fi spec. Already have a spec rewrite project lined up for when both of those are done – target start date is end of the summer.
-On the non-writing front, I’m signed up to do 4 half-marathons between now and the end of the year. A slight chance that number might potentially increase by one or two, but it remains tentative. As long as I can keep my time under the 2-hour mark, I’m good.
So how’s 2017 been for you, writing-wise?
A few items from the bulletin board:
-Filmmaker Steve Davis has launched a crowdfunding campaign for his World War 2-era short No Glory on Indiegogo. Looks pretty cool. Donate if you can!
-Even though the focus around here is mostly on screenwriting, a lot of writers are also interested in writing for television. The National Hispanic Media Coalition TV Writers Program is accepting applications from Latino writers between now and August 7. If you qualify, give it a look-see!
-If you’re a screenwriter in the San Francisco Bay Area (or the general northern California area, or just happen to be in town that weekend), the NorCal Screenwriters Networking Shindig will be taking place from 2-4pm on Sunday, July 30th, at Kawika’s Ocean Beach Deli at 734 La Playa (between Balboa & Cabrillo, just a block from the Pacific). Let me know if you’re interested in attending. Hope you can make it!
A just-starting-out writer had contacted me, asking if I could take a look at their spec.
I did. It wasn’t easy, but I did.
The script had a lot of the usual problems. On-the-nose dialogue. One-dimensional characters. A story that was more a jumbled collection of random events rather than a cohesive series of scenes and sequences.
But even with all of that, what really stood out was the excessive overwriting when it came to setting up a scene, with excessive being a major understatement. The writer seemed to feel the need to provide an extraordinary amount of details – for just about everything.
Just to name a few:
-What kind of furniture is in every single house or apartment
-What kind of food is on the table during a dinner scene
-Why a character, who’s only in one scene, is wearing a particular item of clothing, along with what it looks like
-A detailed list of all the items of clothing a character removes when getting undressed
-The direction a character is driving, along with street names
Did any of these have anything to do with the story?
All together now – of course not.
Then why is it in there?
I posed this question to the writer as part of my notes. They haven’t responded yet, but it’ll be interesting to see what they say about it.
I can’t remember the specific joke/comment about sculpting, but it’s something along the lines of “Start with a block of marble, and then chip away everything that doesn’t look like a (whatever you’re sculpting).”
Screenwriting’s very similar. While it’s true you should describe what we’re seeing, there’s no need to drastically overdo it. Some writers don’t know the difference between “painting a picture with words” and “overwhelming us with information”. Or worse, think they’re more or less the same thing.
They are most definitely not.
Everything on the page should have a reason for being there. If it doesn’t, take it out. Trust me, it will not be missed. If you argue that it should stay, you better have a mighty good reason why. Helpful tip – saying “Because I want it to” or “Because I like it” will totally invalidate your argument.
When the writing goes into Overly Descriptive Mode, it simply slams the brakes on the momentum of the story; things really do come to a screeching halt. Wouldn’t you rather the reader stayed interested in what’s going on, and not think “Hold on a second. Why is this here? Is it relevant?”
For a lot of writers starting out, they think they need to cover all the bases and include as much info and detail as possible. Only through constant self-educating will they eventually learn what they should and shouldn’t be doing.
I sincerely hope this writer takes my notes to heart and is able to figure out how to transition from the latter to the former.