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.

Only include that which serves a purpose

redacted
Exactly

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.

Not exactly “Kryptonian under a yellow sun…”

alex ross superman
…but yeah, kind of like that

As has been much documented ’round these parts, trying to make it as a screenwriter is a long, tedious slog. For anybody. And that includes me.

It is a slog into which I have voluntarily cast myself.

There has been, and probably will continue to be a lot of disappointment and frustration along the way.

It’s the nature of the beast. Nothing I can do about it.

Well, actually there is.

More on that in a minute. But first, an anecdote!

I was digging through my binder of notes and documents, some of which span back a few years.

Among them, the printout of an email from an “industry insider” totally trashing me and my idea after I’d revealed the idea for what would eventually become one of my low-budget comedy specs. There was not one encouraging sentence in this entire communique. “Give up.” “You’re wasting your time.” “You don’t have a chance.”

And that was some of the nicer stuff.

The person who sent it likes to talk the talk, but in my opinion, falls a bit short on walking the walk. I printed out the email as a reminder that if an asshole like this can establish a career (if you can call it that), then there’s no reason I can’t either.

Funny thing about me is that I’m quite the stubborn cuss. I may get annoyed, upset, distraught or even full-blown depressed about how lousy my situation may be at that particular moment, but sometimes you gotta hit bottom before you regroup, reorganize, and resume the climb, more determined than before to get a little higher.

Which sums me up right now.

I’m not there yet, but it feels imminent. While it would be great if something happened in the immediate future, I’ll remain realistic and at least work towards “something soon”.

I’d say I’m in a pretty interesting place right now. I’ve got some quality scripts to show, several in various stages of development (and much further along than expected), and a growing network of connections, many of whom are more than willing to do what they can. When more than one professional says to me “I can’t understand why you don’t have a manager/more interest in this script!”, then I guess I’m doing something right.

Even though there’s been a steady and gradual progress in “making things happen”, this is still all on me. This long, tedious slog will eventually come to a most satisfying conclusion – for the best possible reason.

So until that forthcoming day when fortune finally smiles down on me, I’ve no plans to give up and will continue to push forward. It’s getting close. Mighty close.

Up, up, and away, chums.

O, the joy of a southernly jaunt

gable colbert
Fortunately, I didn’t have to resort to this

The suitcase is put away. The dirty clothes laundered. The thank-you notes sent.

All the result following your humble blogger’s recent trip to the land of potential future employment, aka Los Angeles, which continues to yield results and, hopefully, keep on doing so.

“Los Angeles? How in the world did that come that about?” you may ask, and probably just did.

I was invited. At the behest of a new media company (as in “new media” i.e. online content, not “a media company that is new”) called AfterBuzz TV that produces a myriad of programs about an even wider variety of topics – all entertainment-based.

This one in particular is called The Unproduced Table Read. As the title implies, after finding a heretofore unproduced script they deem appropriate, they assemble members of their core group of actors and do a table read of the script – first as livestream video, then viewable on Youtube. Following the read, there’s a brief q&a with the writer. Sometimes the writer’s there in person, or if they can’t make it in, done via Skype.

Seeing as how the City of Angels is an hour-long plane ride away, I opted to attend.

They’d found my fantasy-swashbuckler in the archives of the Black List website and thought it fit the bill. The producer contacted me earlier this year, and after some informative back-and-forth emails, it was all set.

Seizing the opportunity of being in town, I also went about setting up meetings of both personal and professional natures. Although the scheduling didn’t work out with a couple of potential representatives, I was able to have some very productive conversations with some exceptionally talented professional contacts.

Networking, people. Establish and maintain those contacts! SO worth it.

But getting back to the table read. It was great. And fun. The actors did a fantastic job, and as a bonus – they really, really liked the script on several levels. I’m quite thrilled with how it turned out.

Was it worth doing? I’d say so, and not just because it got an enthusiastic reception from the people involved. It’s probably a little early to see if it’ll contribute to the career-building aspect, but it definitely makes for a strong marketing tool.

If you ever get the chance for a table read to be done for one of your scripts, take it. You can even put it together yourself. It’s a great way to evaluate the material, plus the actors might provide some unexpected insight. All you need is a workable space and the ability and willingness to feed your performers.

While talking afterwards with the show’s producer and some of the actors, somebody asked what other scripts I had. I mentioned the western. “We haven’t done one of those,” was the reply. Thus raises the possibility of a return trip. Time will tell.

A big stove with lots of burners

jayne
Always something cookin’ in this kitchen

Thanks to a big, determined push, I managed to wrap up the initial edit of the pulp spec last night. Amazingly, it’s still 116 pages. Much as I’d love to take another pass on it, a better option is to gently nudge it aside and let it simmer for a few months.

In the meantime, my attention now turns to a few other items, including providing some script notes and a major overhaul of one of the low-budget comedies.

To some, it might seem I’m taking on too much. Others might think it’s great to be so busy. No matter which opinion you have, it all comes down to how the individual (i.e. yours truly) sees it.

Me, I enjoy the diversity and variety. I like to work on my own material AND read other people’s stuff. All that mental stimulation helps me in the long run; the equivalent of maintaining a regular workout schedule at the gym. Or in my case, a steady regiment of training runs.

Always working on something, or even adding some reading and watching into the mix, not only helps your creativeness, but your actual output. Wouldn’t you say your writing skills are significantly better today than they were, say, a year ago? How about compared to when you just started out? I know mine are. Especially in terms of the latter.

All that being said, I think there’s a big difference between being a productive writer and just being a non-stop writing machine. A productive writer definitely produces material, but they also take the time to have a life outside of writing. The machine is just full speed ahead and don’t let up. Granted, there are some who can do both, and kudos to them. I prefer to be the former.

I also don’t have any problem with transitioning to a new project once one is completed. Even though I haven’t directed all attention on the new one, it’s always been in the back of my mind. Maybe an idea about it would pop, which would then be added to an always-handy list, then brought back out later. You might have a different approach, but this is what works for me. Everybody writes in their own way.

In the meantime, my nimble little fingers will now get a bit of a rest while I dive into the aforementioned giving of notes. And once all of those are done, the dust gets blown off the keyboard and the cycle repeats.