No post today. Super-busy gettin’ ready to take on a big project.
Hoping to provide further details on Friday.
No post today. Super-busy gettin’ ready to take on a big project.
Hoping to provide further details on Friday.
Even as I continue to plow my way forward with the pulp spec (page 91 so far), I’m already anticipating what and how to edit what I’ve already written.
I suppose the current mood is “keep going until it’s finished!” rather than “write this, go back, edit it, then move on.”
The final page tally will be somewhere between 120 and 125, which isn’t bad, but it’s a safe bet I’ll be able to trim it down. It’s an even safer bet a lot of what will have to be cut stems from my habit of overwriting.
There’s no doubt I can make some good headway cleaning up the action lines, but my work is definitely cut out for me when it comes to dialogue.
It’s not uncommon for me to occasionally veer into chitchat territory. I even recognize it as I’m writing it. So why do I still do it? Probably as a form of placeholder; I know I’ll go back and fix it, but for now, it does the job.
To help provide some guidance on this, whenever I’m watching a film, I’ll pay extra attention to the dialogue. So many times the exchange between characters is just what it needs to be. They get to the point, and then get out. Anything beyond that wouldn’t be necessary, so it simply isn’t there. This is what I try to keep in mind when I’m in editing/rewriting mode.
I’ve read a lot of spec scripts with scenes that seem to never end because the writer throws in a lot of idle conversation between characters, so it feels like it takes forever to get to the point.
Too much dialogue adds to slowing down the read, which you want to avoid at all costs. The challenge is to use the dialogue to get to the point of the scene as soon as you can, then get out even faster.
Like with almost everything associated with writing a screenplay, difficult, but not impossible.
Phillip E. Hardy is a four-time optioned screenwriter who also runs The Script Gymnasium script consultancy. His work has recently been presented to Jay Roach, William Morris Endeavor, Tyler Perry Productions and A&E Network. He has placed and won at 45 film festivals and contests including Page International, Austin Film Festival, Cannes Screenplay, Shore Scripts, Screencraft, Beverly Hills Film Festival and Sunscreen Film Festival.
Today’s post stems from a discussion between Phillip and myself regarding the benefits and drawbacks of posting your script on a hosting site or taking a more proactive role and doing the work yourself.
You’ve had some experience with both handling your own material and hosting sites. Do you find one to be more effective than the other, or is it more of a case-by-case basis?
I’ve had varying degrees of success with different hosting sites. But it’s a total crapshoot, especially with paid hosting and pitching sites. One of my colleagues swears by Virtual Pitchfest (VPF). And, at 10 bucks a pop for a pitch, they look attractive to writers on a budget. I’ve done ten pitches at VPF and though I received some very good feedback on one of my period piece dramas, nobody at that website has requested a script read.
When I first started out, I used Project Greenlight (PG), which was expensive and the responses I received were very sloppy and unprofessional. I did get one read request from a video game company. But I would never use PG again. I know of nobody who has scored with them.
Don’t ask me about the Black List. Okay, I’ll tell you. I hate them and everything they stand for. However, if you wish to pay their reviewers (frustrated writers with their own axe to grind) seventy five dollars a pop to review your script, then that’s the site for you.
International Screenwriter’s Association is fairly inexpensive for a premium listing. However, anyone that uses them can call themselves a producer or director. I’ve made several connections there but they led me nowhere and have netted no financial remuneration.
I’ve also hooked up with a few folks on Craigslist (CL), which can be a real pain and you have to answer a lot of adds to get any action. One of the best connections I made on CL was with one of the stars of the TNT show “Falling Skies”. So you never know who you’re talking to but you should vet them out before sending them your scripts.
I’ve had my best luck at Inktip, which allows you to list a script for four months at a price of sixty dollars for four months. Producers at Inkitp shop loglines and will read your summary or request a script read if they’re interested in your spec material. For example, I had multiple logline reads today and two of them read the synopsis as well. However, a lot of Inktip clients troll loglines and do little else. I’ve had a number of script downloads, which have also netted zippo. However, the Inktip Newsletter has been much more effective for me. The price is the same as the listing. The difference is you can pitch producers looking for specific genres and concepts. I’ve also written pitches for these clients, which led to a script option and three right-to-shop agreements with a producer that got my work into the hands of some big time production companies and cable networks. I’ve also bullshitted people and told them I had scripts I hadn’t written yet. And then banged them out in a week. This method is not for the faint of heart.
I’m sure most writers know that Amazon Studios has an open door policy about submitting television and feature screenplays. Unfortunately, that door leads to oblivion. And if you can locate one unproduced writer that has something produced by Amazon, I’ll buy you lunch at my local Sonic drive-thru. Several months back, I did some research on this and could find no unproduced writers who have made it out of development purgatory. And by unproduced, I mean you’ve never had a big budget movie made from one of your screenplays.
Lastly, I’ve used Stage 32 for paid pitch sessions and gotten script requests from four major players including Ridley Scott Productions and Good Fear Management. But if you do a written pitch, you better make sure your logline is catchy, your synopsis is clear and concise and you include the character arc for your protagonist.
The bottom line is use any means possible to get your work into the hands of people you are looking to make movies.
If you’re going the DIY route, what methods have worked for you?
Smack-talkin’, bold action has worked best for me. I hooked up with several producers looking for projects by telling them I had scripts already written about things they were looking for, including a story about Michael Rockefeller, who disappeared in the Papuan Islands more than fifty years ago. In this particular instance, the producer was advertising and I wrote a logline and synopsis in three hours and pitched it to the guy. He optioned the screenplay I wrote in six days.
In another instance, I did the same thing with another producer looking for an Angela Davis screenplay. However, when the producer asked me if I had a script, I said “sure, it’s sitting on the shelf with my screenplays about Huey Newton and Eldridge Cleaver.” He got the joke and we wound up working together on several different projects. The DIY Method should include whoring your wares at any given moment and making as many connections as you can. Also, make friends with writers like Paul Zeidman.
Never heard of him. Keeping that theme going, what do you recommend when it comes to using hosting sites?
Passive hosting sites where you don’t aggressively work the leads may be a waste of time. Just listing a script without supporting efforts offers little chance for anything happening to further your career.
What’s your opinion of hosting sites overall?
If you’re not living in Hollywood and getting meetings with producers, hosting sites, along with promoting yourself vigorously and IMHO, competing in film festivals and script contests to relentlessly build your brand, can be a very useful tool to get you access to producers and agents. As a direct result of hosting sites, I’ve had material read by A & E, History Channel, Emmett Furla, William Morris Endeavor, Jay Roach, Tyler Perry Productions, Ridley Scott Productions, Zero Gravity, Good Fear Management, Zane W. Levitt and many others.
After putting your script on a hosting site, what should you NOT do?
Don’t nag the contacts you make. Don’t be a pain in the ass if someone’s interested in your work.
As an experienced writer, what tips would you like to pass along?
-If you’re a delicate, sensitive woodland creature, then scriptwriting isn’t for you.
-Learn to suck up constant rejection. Never spend more than a few hours wallowing in rejection or failure. Remember, opinions are like assholes, everyone has one. With each setback, learn how to sally forth with renewed vigor.
-The best cure for rejection is writing; particularly if it’s better writing.
-Sometimes a script just sucks. Everyone thinks they have a great idea for a script. More often than not, they’re wrong. Sometimes a script just sucks, no matter how many times you rewrite it. Therefore, don’t attach yourself to any one effort too much. It may take writing fifty scripts before you find something that really resonates with readers.
-If you see writing scripts as a path to riches and fame, you may wish to consider other options.
-There ain’t no such thing as writers block. There are only writers that write and ones that don’t. Look at Bukowski. Drunk or sober, he did great work every day of his life.
-Writers who build relationships, maintain their humility and help their colleagues will do better than ones who don’t.
-If you keep losing script contests, then write better scripts until you win one.
-Read books, take classes, seminars, and good advice about scriptwriting and then march to your own creative drummer. If I listened to every asshole who told me I couldn’t do something, I’d never accomplish anything.
What are some absolute “Do NOTs”?
-Don’t tell anyone “this is my first script”. But don’t think you’ll set the world on fire by writing one script.
-Don’t write something because you think it will have commercial appeal. Write something you believe in.
-Don’t worry about what everyone else is doing. Endeavor to be an original.
-Don’t ever rest on your laurels. Keep writing until it becomes second nature AND you can produce even under the most adverse or stressful conditions. You may one day have a job that presents you with just that set of conditions.
On one hand, progress for the pulpy adventure spec is moving along nicely. Still maintaining a daily output of about 3 pages.
But on the other hand, this thing feels like it’s growing exponentially, continuously getting bigger than I originally anticipated.
A lot bigger.
Like “rise out of the bay, tower over the skyline, ready to wreak havoc and terrorize the populace. Call the military!” big.
That’s pretty big.
Part of this stems from me having a one-sentence description of a scene in the outline, not really taking into consideration I’ll need at least a page, maybe two, to execute it. Hence the feeling of overstuffedness.
There have been times where I’d be in the middle of a scene, but then think “Too much!”. This would be followed by the immediate deleting of what I’d written so far and starting anew, but with a mindset of “Same, but a lot less this time.” It happens; just not all the time.
No problem whatsoever if you start with a scene that’s initially three pages long, because you know the next pass will involve whittling down to one (or a little more). Getting it written in the first place is the hard part; everything after that – much easier (for some, anyway).
I freely admit I tend to overwrite, but that’s usually limited to the first draft. Once that’s out of the way, the red pens are produced and much killing of darlings commences.
Sometimes it’s very frustrating that my initial effort isn’t what I want it to be, but isn’t that the point of a first draft? There’s a reason it’s also known as “the vomit draft”. You just throw everything on the page, and then go back for ongoing cleanup work. The guiding principle here – you do what’s necessary to get it to that desired end result.
Will there most likely be some drastic changes somewhere down the line? Undoubtedly. If that means starting with a first draft that’s way too big, so be it. It’s not like this is what the final finished project is going to look like. Better to have an oversized script ripe for editing than a scrawny one that needs to be bulked up.
So for now, the slog continues. Scenes may go on too long, but it’s cool. This is a fun story and I’m enjoying writing it. I know it’ll take a while to get it to where I want to be, and that’s fine by me. All part of the process.
But better have the military on standby, just in case.
2017’s writing got off to a pleasantly rousing start with the commencement of the first draft of my latest project: the pulpy adventure spec.
Yep. After years of working on the outline, I finally decided to take the plunge and write the damned thing.
Seeing as how this is a genre near and dear to my heart, I dove into the opening sequence headfirst and just had at it, surpassing the original goal of completing at least 2 pages a day by two and a half times that amount. Add to that the 4 pages for yesterday, and that places me further ahead than anticipated. It’s not expected to maintain this kind of output on a daily basis, but no complaints so far.
That being said, upon reflection, the latest scene still leaves a little to be desired, so an impromptu rewrite is already being planned out and will be implemented straightaway.
A few alterations have also been made in regards to the overall writing process.
First, even though the outline needs to be rock-solid before starting on pages, the scene descriptions are sometimes a little vague. “Big fight happens!”, that sort of thing.
When that happens, the focus shifts to plotting out the beats of that particular scene. How do things play out so it tells the story and moves things forward? Is it accomplishing what it needs to? It’s quite helpful, and helps prevent a lot of frustration in trying to think up stuff on the spot.
Another is fully embracing the whole “just get it done” attitude. Write it down and move on. There’ll be time for all that fancy-pants editing and polishing stuff later. It’s also been noticed that sometimes the first idea is still the best.
And in what may be the most important development, seeing as how this is at its core my interpretation of the old pulp novels, I’m doing what I can do to really make it read that way. One could even argue that writing the western was just a warm-up exercise. The writing in this script might be a little more over the top than usual, but that could be exactly what it needs.
Even though it’s a screenplay, I take a certain pleasure in coloring things a slightly stronger shade of purple.
There’s no specific target deadline for completing this draft, but hopefully it won’t take too long. For now, I’m just enjoying the ride.