Yet another busy week around Maximum Z HQ, including quite a bit of doing script notes, polishing the latest draft of the comedy spec and punching forward on the horror-comedy outline.
Fun stuff all around.
It also included my western placing in the top 15 percent of this year’s Nicholl, which is the second time for this script, and third overall. Not bad, but still not enough to get to the quarterfinals. At first I was feeling kind of down about it, but realized (and was reminded by more than a few colleagues) that a much larger number of scripts didn’t even make it that far, so I should still regard this as a positive.
Suffice to say, it looks like there’s a little more tweaking in store so as to get this script and at least one other ready for next year (along with a few other top-tier contests).
Since this blog recently hit the 9-year mark, of course there are some previous posts of relevant content.
Results are slowly trickling out for some of the big writing contests, and while hopes were high for my revised western, it once again failed to make the quarterfinals for PAGE.
My immediate reaction – that’s it. I’m done. No longer will I subject myself to that kind of humiliation!
And of course, later the same day, I was figuring out whether or not I should look into any further tweaking so as to get it ready for next year.
More than a few writing colleagues and connections voiced similar comments, ranging from the frustration of their lack of advancing in this contest, to the murkiness regarding the quality of contest readers overall, to the subjectiveness of it all, and whether contests are even worth it.
As you’d imagine, there’s a wide spectrum of opinions about all of these.
I dug up this post from last year which I believe sums things up quite nicely.
Contests aren’t the only way to break in, but a win or very high placement can help, or at least potentially open a door or two. It’s just one of the many routes a writer can take. Some writers are even fortunate enough to not even have to do them. I am not one of them.
A key component of all of this is persistence. There’ll be lots of disappointments, which can be…disappointing. And frustrating. Oh so frustrating. But learning to overcome those is just as important as learning how to tell a good story.
All you can do is send your script out there, hope for the best, and move on to whatever’s next. If things work out, great. If not, yeah, it sucks, but it’s not the end of the world. It might feel like it, but it’s not.
Try to look at it as a learning experience – “How can I make this better?” Also a question with no easy answer, but how willing are you to put in the time and effort necessary to accomplish that?
During a break from working on the comedy spec rewrite, I was digging through some files on some of my other scripts and found a friend’s notes on the pulp sci-fi spec.
I hadn’t read them in months, and vaguely remembered there were some quality comments, so since this is one of the scripts I’m considering working on next, I gave them a quick skimming.
(This is also a good time to remind you that unless you honestly and truly feel that a script is finished, never throw away any of the documents associated with it. You’d be surprised how invaluable those can end up being.)
Yep, definitely some good stuff in here, along with some very valid points about the story and the characters. One of the comments that really struck home for me was that while they liked the story and the ideas behind it, a lot of it still felt too familiar. There were a few moments of uniqueness, but they wanted more. Something slightly different from what they’d read.
“Familiar, but different.” I’ve heard that before.
And it really got me thinking. Even more so this time around.
As it reads now, it’s a good, fun story, but I know it can be better. And different. All while still maintaining the qualities and elements you’d expect for this kind of story, which is what made the idea of developing it so appealing to me in the first place.
Working in my favor is that this was an early draft, so some significant changes were already inevitable, and I at least have a pretty solid foundation from which to start the rebuilding process.
Another bonus is that this is the kind of story where the more new and original ideas I can come up with will only help make the end result stand out that much more.
As I mentioned, this script is a potential “next up”, but not a priority. If an idea or concept for it suddenly pops up, I can easily open up the script’s notes file and jot it down. That way I’ll have it right there and ready to go when that rewrite gets underway.
But for now, back to the comedy.
-A few items for the bulletin board:
-Filmmaker friend of the blog Hudson Phillips is running a crowdfunding project for his post-apocalyptic tale of female empowerment This World Alone. As of this writing, they’re just over 2/3 of the way there, so donate if you can!
-If you’re a screenwriter looking for something a little different in terms of a writing retreat, take a gander at what the Aegean Film Lab has to offer: an international screenwriting workshop in July on the Greek island of Patmos. It’s part of the Aegean Film Festival and a partner of the Sundance Film Festival. I won’t be able to make it, but maybe you will.
(Author’s note – I wrote a lot of this earlier in the week, but circumstances of a confidence-instilling nature have occurred since then. I considered scrapping it and starting over, but thought the content was still relevant, so opted to stick with it. Enjoy.)
Let’s face it. Trying to make it as a screenwriter is an almost impossible task.
Emphasis on “almost”.
It can be done. Remember, every single writer whose name is up on there on the screen had to go through a lot of the same things you and I have. Probably even more.
The sad truth is that you will have to endure a lot of frustration before you start to even come close to achieving the results you want. And that frustration can easily lead to anger and depression and feeling like you’re wasting your time and this is never going to work out.
I say this because I’ve been that writer. Many times. This week was no exception. Several writer colleagues had some truly awesome things happen for them, and deservedly so.
Still, I can’t help but feel a slight pang of jealousy about it, but that’s all on me. In no way would I ever intend to divert the spotlight away from their success. They earned it, so they are more than entitled to enjoy it.
As for me, sure, I might wallow in self-pity for a little bit, but time and experience have helped me “get over it” faster, but the hurt does tend to linger.
Writing might be the last thing I want to do, but it’s actually been pretty therapeutic. Shifting your attention to another project – maybe one you haven’t worked on in months – helps with the emotional recovery process. Sometimes I’ll vent to another writer; usually someone who’s been through the exact same scenario.
Once I get all of that out of my system, the drive to succeed once again takes over, I get back on the horse and pick up where I left off – because the only way I’m going to make it is to keep trying, and that the only person who can make it happen is me.
That’s how it is for all of us. You’re not alone.
There will be so many situations where things don’t go your way. In the beginning, it feels like somebody’s stomping on your soul. But you eventually learn to accept that it happens, which helps toughen you up for the next time, of which there will also be many.
So on that note…
There will be a lot of times you just want to give up, or feel like the only word you ever hear is “no”, or have it seem like you’re the only writer on the face of the Earth not making progress.
Corny as it may sound, the best piece of advice I can offer is to keep at it. You will definitely hear “no” a thousand times before that one significant “yes”, but you won’t get it at all if you don’t keep going.
This is not a career path for the easily-defeated or the thin-skinned. I’ve had people tell me my story ideas were stupid and my writing was awful. One memorable character even thought my script was so terrible they were certain it was some kind of practical joke. Comments like that sting, but only temporarily. You learn to ignore them to the point they don’t even faze you anymore.
I’ve had the good fortune to make lots of connections with very talented people, many of whom have been more than willing to help me get closer to that goal.
I’m still here, still trying, determined as ever. And I sincerely hope you do the same.
I recently read in an interview with screenwriter Eric Heisserer that included him being asked how many drafts he wrote for ARRIVAL.
“Over one hundred.”
Sounds like a lot, doesn’t it? Keep in mind that this was also spread out over time, not all concentrated in one specific period. And that a new draft doesn’t necessarily mean a complete rewrite. It could be anything from that to a few words changed on pages 33, 52, and 88 through 89.
And ARRIVAL was also nominated for Best Adapted Screenplay at the Academy Awards, so looks like all those drafts Eric went through were worth it.
About two years ago, I had lunch with a writer friend. He was familiar with my western, and liked it very much. When I mentioned I was considering returning to it to work on it some more, he said “I think it’s fine how it is. If you keep messing with it, you run the risk of making it worse.”
At the time, I really took that to heart. I didn’t want to mess up the script, but deep down I also knew it could still be better.
As you probably already guessed, I eventually ignored his advice and dove back in. I got a few more rounds of feedback from trusted colleagues and professional consultants, always tweaking and fine-tuning with every draft.
There’s no way I could say exactly how many drafts I went through to get to where it is now, but it’s probably safe to say it’s at least over one hundred. That is definitely a lot, but reading the script now, the results of all that work are evident on the page.
Plus, all the notes and all the rewriting have combined to make a really positive impact on my writing. While the overall challenge of putting a script together is still pretty daunting, the whole process seems to move forward in a much smoother manner. And, to be honest, maybe a little faster too.
Even though someone may tell you your script is “good enough as it is”, the final product is all on you. Keep working on it as long as you think you need to, with as many drafts as it takes.
You might not get an Oscar nomination, but getting your script to where you want it to be will definitely make you feel like a winner. Yes, that’s a sappy and corny thing to say, but it’s still true.