Halloween shorty today due to yet-again busy times around Maximum Z HQ.
Among the highlights:
-Finished the initial overhaul for the outline of the comedy spec. The story is still kind of/sort of the same, but still significantly different than what it was. There’s still some tweaking to be done, but I’m really liking how it turned out.
-Got some notes back on a few of my scripts. For the most part, they’re pretty positive with some good suggestions, but there were also a couple of comments that made me question if my writing abilities are where they need to be. Maybe to a certain extent, but as it was pointed out to me, those comments are from one person, and one person’s opinion is not the final say. That’s something I really need to keep in mind.
-More writers asking me to do notes or engage in a script swap. Some new, some returning for more. Guess my analysis skills are improving. Happy to help when I can, but don’t expect a fast turnaround.
-A slow but steady output of query letters continues, with a handful of “send it” responses. Not a bad percentage so far. Not relying on any of them, but always maintaining a positive & hopeful attitude. Send it, forget it, on to the next one.
Thus the journey to being a working writer continues…
I’d like to discuss something that’s been weighing heavily on my mind for the past couple of weeks, and I sincerely hope you’d be willing to chime in with your thoughts.
But first, a little backstory…
A few years ago, I did some interviews with writers who’d had their scripts featured/reviewed on the script-oriented website Scriptshadow. Those can be read here and here. Based on the correspondence I had with each writer at the time, the result of their script being on the site yielded some positive results. Representation, options, almost the whole shebang – save for an actual completed film, which is probably an important thing to keep in mind.
In the years since, I’ve connected with a few more writers who experienced similar results from having their scripts spotlighted on the site, including one that saw their script purchased. Not too shabby.
Here’s how it works. Readers are invited to submit the basic details about their script – title, genre, logline, and a brief write-up (Why You Should Read). The site’s host selects five from the myriad submitted and posts those details. The one that gets the most votes from the reading public is then reviewed by him, aka Amateur Friday.
So here’s the thing:
Is it worth it to send in a script?
There’s no guarantee my material would be picked in the first place, but I’ve tried many other avenues with little to no success. It’s almost an “I’ve got nothing to lose” approach. And this is no last resort; just something I’ve been contemplating.
While part of my interest in this is the potential for exposure to folks in the industry, there’s also the opposite side of the coin in that my script would be out there in plain sight, losing the chance for first impressions. If it got a negative review, it seems more than likely it would then be seen as damaged goods.
Some of the writers said they were really glad they did it. Others were more or less indifferent about it. Nobody said they regretted it.
To add to that, I’ve read a vareity of mixed reviews about the site and the host. In fact, way back when I would read the site on a daily basis, (which is now more like once or twice a month), I often found myself disagreeing with him regarding his thoughts of why he liked or didn’t like a script.
So the floor is open. Feel free to chime in with your thoughts. Go for it? What have you got to lose? What the hell are you thinking? Turn around and don’t look back?
And no one-word answers please. A little elaboration and the reasoning behind your opinion would be greatly appreciated.
*Chances are the link you took to get here were listed as “Quite the quandry”, which is a total spelling goof on my part, and as you can see, has since been corrected. Thanks, Phil!
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.
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.
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.