Pause. Refresh.

vintage date
We’ll get back to working on the script as soon as we’re done. Promise.

After having taken a longer-than-expected break from working on the comedy spec, I’m back at it now.

There were the occasional glimpses and minor touch-ups here and there, but I’d estimate it’s been at least several weeks, if not a little more than a month since I was really able to fully focus on it.

During that time (while working on another script), I kept thinking “what if I can’t think of anything new for this?” I also made a point of not looking at the previous draft of the outline; I didn’t want to unintentionally influence the new one.

But the moment of truth had arrived. The other script was done, or at least as much as it was going to be for the time being, and there was no more delaying the inevitable. I had to confront this monster head-on.

Having avoided looking at the previous draft for a while, some of the details were still there, albeit a little fuzzy. Somehow this enabled me to not automatically revert to thinking they were my only option. Instead, I took those details with the thought of “this is what could happen, but what would be a new and really different way of doing it?”

Applying that thought process, along with not feeling tied down to what it was before has really allowed me to come up with some entirely new ideas and approaches, many of which I would have never even contemplated before. Like chunks of an iceberg, elements of the previous draft are breaking off and drifting away, never to be seen again.

The core concept of the story remains intact, but more and more of how that story takes place are experiencing major changes. As of this writing, it’s somewhere past the halfway mark. As is usually the case for me, some elements that still need work, but a new and pretty solid and foundation is being laid.

Would I have been able to come up with any of this if I had dove right back in after finishing the previous draft? Highly doubtful. The material was still fresh in my mind, so it would have been significantly less likely for me to be able to not automatically go to it.

Taking this break, along with focusing on another project, especially one entirely different in genre, provided me with the opportunity to jump back into this one with a strong sense of revived creativeness. Even though it was still a bit on the daunting side, I came into it with a “You got this” attitude.

It also helped that I wasn’t being so hard on myself for not having every line be pure gold the first time out. This is still a work in progress, so everything remains in an ongoing state of flux.

For now, it’s coming along nicely, and forward progress is holding steady. As much as I would love for that to continue all the way to the end, I’m also a realist, so enjoying every productive day as they come.

I’d always heard the recommendation that after you finish a script, you should put it away, or at least not look at it for at least two weeks. That’s not a bad start, but I’d say a month might be better. That way you can give yourself the choice of going back and looking at what you’ve already done (which can be quite eye-opening in both good and not-so-good ways), or starting anew.

Now that I’ve done both, I can honestly say that both have proven equally effective in their respective ways, and I strongly suspect I’ll continue to go back and forth for future drafts of this as well as future scripts.

99 44/100%, or somewhere thereabouts

838-02487048
Gotta be really careful when seeking the exact formula

It was quite an undertaking, involving lots of rewriting, editing and reorganizing, including plenty of self-imposed stress, but the latest draft of the pulp sci-fi is complete.

ItĀ could definitely benefit from a little more work – another draft or two would make it that much better, but it’s exactly the kind of fun thrill ride I set out to write, and I really like how it turned out. One of my guidelines has always been “Write something you would want to see.” Man oh man, would I want to see this. And based on some of the notes I received from my squadron of trusted colleagues, so would they. Such an encouraging thing to hear.

Quick side note – I absolutely could not have gotten this script to this point of development without those exceptionally helpful notes. Thanks, chums! Each and every one of you has once again proven yourselves invaluable!

Networking. Worth it like you wouldn’t believe.

So for now, I’ll be taking a little break to let that script simmer for a bit as my focus is redirected towards revamping the outline of the comedy spec. Thrilled to say that even that seems to be coming along nicely, including a most productive writing sprint that got me to the next plot point. Always a good thing.

As much as I hate setting up deadlines for myself, I’m really hoping to have a decent first draft done by the end of the year – at the very latest. If I can maintain a pace like I have over the past few days, no reason I wouldn’t be able to type FADE OUT by Thanksgiving.

Totally doable.

Out with the old…

wrecking ball
Just clearing away some stuff I don’t need anymore…
Seeing as how I’ve designated this latest go-round with the comedy spec as an “overhaul”, it’s only fitting that that’s what actually happens.

I’d decided I was absolutely not going to use the previous draft as reference material. This approach was going to be more than just the slapping on a new coat of paint and rearranging the furniture.

Granted, there were some select parts that survived the trip from the previous draft to the new one, but only because they’re vital components of the story, which makes them still relevant. Everything else, however, would be fresh and new.

And as you’d expect, that’s been slightly tougher. Tough, but not impossible.

Developing changes in a rewrite can really test one’s mettle and determination. Sometimes I’ll feel stuck and think “How’d I do it before?”, but then I fight the temptation to dig up the previous outline, reminding myself I’m in overhaul mode. Looking at the previous draft would counteract what I’m working towards now – to try something new.

There’s always a different path to where you’re trying to go.

I suppose part of it is the occasional lazy writer approach of considering what’s come before as “good enough” and not really changing it that much, but if it were “good enough” to begin with, I wouldn’t be working so hard on changing it this time, right?

Some days I’ll produce a wonderfully long sequence in no time flat, while some will yield a meager handful of bullet points of important moments that need to happen within the context of that scene or sequence, and took a dreadfully slow hour just to come up with.

Despite all of this, the results so far have proven encouraging, with work about to begin on a totally-from-scratch sequence. Forward progress is slow, but steady – as it should be.

I suspect the end result will be significantly and pleasingly different from its previous incarnation. And I wouldn’t have it any other way.

-two new items posted to the Maximum Z Bulletin Board!

-Screenwriter Kay Tuxford, director Prathana Mohan, and producer Edward Timpe have launched the crowdfunding project for The MisEducation of Bindu, a new and original take on the typical high school film. The script was a Nicholl semifinalist, so you know it must be some high-quality stuff. Donate if you can!

-Starting today and running until September 30th, screenwriter Max Adams is offering up a limited time half-off special on script consultations. Go to the contact link on the website to email her for details.

Sums it up succinctly

bttf1
“Spaceman from Pluto”?*

While taking a break from working on the comedy spec this weekend, I took an unexpected dip into my file of “ideas in development” – scripts I plan on eventually writing.

One had more details to the bare-bones outline than I remember. In fact, I barely recall even writing it. Still, pretty impressive.

Another was just a logline and three potential titles. While the story really adheres to my ongoing attempt at trying to write material of a smaller nature (i.e. not as big-budget), what really stood out was those three titles and how different they were from each other.

The first stirred up a kind of noble nostalgia, and in retrospect might be better suited for another story.

The second was pretty generic; almost like something you’d see on a VHS copy of a mid-90s B-movie gathering dust on a lower shelf at your local video rental store. If you’re of a certain age, you totally get that reference.

The third was very reminscent of a certain genre and style of older films, and the final word in the title tells you what kind of story to expect. Such was the case here, but as much as I like the word, it wasn’t exactly the right fit for the story I wanted to tell.

Fortunately, the word in question has a lot of synonyms, and one in particular really jumped out at me. Some might consider it of a vulgar nature, but wow did it fit. In fact, as soon as it popped into my head, I actually laughed out loud, thinking “oh my gosh, this is PERFECT.”

Because not only is the new word an ideal fit for the story, but it really drives home the tone.

Although work on this script goes into the ever-growing pool of “future projects”, at least now the concept and story are a little more developed than they were. And any progress is good progress.

There can’t be enough emphasis on the importance of a strong title for your script. It’s the entry point for your reader. You want them to know what kind of story they’re getting, what to potentially expect, and most importantly, you want them to be excited about reading it.

Sometimes your initial title is good, but there’s nothing wrong with a little tinkering to find an even better one. Like your script, it can always do with a little rewriting.

*Universal Studios head Sid Sheinberg didn’t like the title “Back to the Future,” claiming nobody would see a movie with “future” in the title. In a memo to Zemeckis, Sheinberg suggested the title be changed to “Spaceman from Pluto,” and the title reference be worked into the film.

In response, Spielberg sent a memo back to Sheinberg, thanking him for sending his wonderful “joke memo” and that the office “got a kick out of it.” Embarrassed, Sheinberg let Zemeckis and Spielberg keep the film’s original title.

Drastic, possibly foolhardy, but definitely beneficial

Window Cleaner
Sometimes extreme measures must be taken, no matter how challenging

Work on the outline of the comedy spec continues – with a most interesting development.

But first, a little backstory…

When I first approached this rewrite, I knew it needed a lot of work. A LOT. So I decided not to call it a rewrite, because it was much more than that.

“Overhaul” seemed perfectly appropriate. So that’s what I was calling it.

Problem was, that even with some quality notes, I wasn’t sure how to go about it. When I take on a rewrite, I’ll usually refer to the previous outline and see what I can do to change things around.

But that wasn’t working this time. Quite the opposite, actually. I was feeling stuck, making zero progress, which in turn was making me feel annoyed and frustrated. I was more and more in desperate need of some kind of solution.

I had a solid concept, but it was the execution that was giving me trouble. I knew where I wanted to go, but was having trouble getting there.

When I provide notes on a script, if I read something that feels flat or unoriginal, I’ll suggest “Try a totally different approach that gets us to the same point. Do a 180, or make a hard left – anything to really shake it up!”

It’s worked for other writers, so why not apply that sage wisdom to myself?

So I did.

It’s a lot easier to suggest “Wipe the slate clean and start over!” than it is to do the wiping and starting over.

But so far it appears to be just the solution I was seeking.

Although somewhat intimidating at first, the blank page soon became filled with new ideas and variations on old ones. Certain details remain the same, plus a few odds and ends, but for the most part, it’s become a much different journey to the original destination.

It was also surprising how easily the new material popped up. By not keeping myself chained to the previous draft, I was allowing myself the freedom to just try new stuff.

There’s still a lot of work to do, but it’s a most satisfying start.