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.

You can count ’em on one hand (plus an extra finger)

six fingers
This many

In years gone by, when I was seeking feedback on a script, I would ask just about any writer I knew if they’d be interested (along with an offer to reciprocate, of course).

At first that number was in single-digit territory, but eventually crossed into low double-digits.

Definitely way too many. But I was still learning and trying to get as much feedback as I could.

That in itself soon became a double-edged sword. As much as I appreciated everybody’s notes, the amount of conflicting opinions (Person A: Do this! Person B: Don’t do this!) kept getting bigger and bigger.

It got to the point where I couldn’t stop second-guessing myself, which was definitely not helping.

So after the last set of notes came in on the latest draft, I decided on taking a different approach next time. For my own sake.

Taking a look at my list of names, I evaluated each person on it. How were their notes? Insightful? Just okay? Even if I didn’t agree with everything they said, did their notes have merit?

Doing all those reciprocal reads also played a big factor. Does their writing indicate they have a solid grasp on the craft? Simply put – do they know what they’re talking about?

The number of names was soon whittled down to a respectable half-dozen; six writers I think are very talented and who have each made good headway developing their own careers. The notes each one has provided me have been extremely helpful in improving both my writing skills and my material.

It’s also gotten to the point where it’s not an uncommon thing for one of them to ask me for notes on their latest project before they send it out.

When I wrapped up the first draft of the pulp spec this past weekend, my first instinct was to immediately contact the group. But time and experience has taught me that patience pays off. I opted to go through it again, editing and making appropriate fixes. This way, I’m sending them a better draft, which means less work for them. Their time is valuable, and I want to respect that.

I’ve seen writers on forum groups asking the community if anybody would be interested in reading their latest draft. That’s fine, but I think it’s a little too risky. Without knowing how much experience the other person has, you might end up hindering your progress, rather than advancing it.

I can’t stress it enough: take the time to build up you network. Establish your own core group of writers you think are exceptionally good. Be more than willing to read their stuff. Take their notes to heart. In turn, both of you will be better writers for it, each creating better material.

I have written, therefore I will edit

vintage woman office
Hmm. What about…? Or maybe…? Possibly even…?

Well, it took a little longer than I’d wanted, but I’m happy to announce that the first draft of the pulp spec is complete; 116 pages of potential cinematic goodness.

So what now?

The usual. Take a little time off, then jump right back in with my trusty red pen, ready to have at it and let loose the dogs of editing. The script itself has already been printed out, along with a change to a line of dialogue.

Even though I kinda-sorta edit as I go along, once I initially write a scene, it’s done and I push forward. Sometimes there’s something about it that’ll nag at me afterward, so I go back and do the necessary touch-up work.

I was tempted to send the script as-is to some of my trusted readers, but at this point, I want to see what I can do to improve it before reaching out.

Also pretty important – it was fun to write. This definitely falls within the realm of “stuff I like to write”. Hopefully others will be as enthusiastic about it when they read it. In a recent email correspondence conversation with another writer, I’d expressed my anticipation about how the script would be received. Their response: “You’re a great writer. Don’t worry so much.” Their kindness was much appreciated.

So for the time being, I’ll be fighting the urge to jump into editing in order to put some space between “just finished it” and “round two underway”. I actually do have a few other projects standing by, so I might redirect my focus on one of those, and then come back to this one in a couple of days.

It was a good and productive couple of months, and I’m quite happy with how this one turned out. I stuck to around 90 percent of what was already in the outline, but as usual, would occasionally come up with a different idea for a scene or sequence. I’d say the changes were definitely for the better.

The hardest part is out of the way, so now begins the next-hardest part: making it better.