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.

It 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.

Educate thyself

reading 2
Quiet, please. Writers at work.

Chances are you came to this blog/post via a link from an online screenwriting group or forum. (If you’re a first-timer – welcome! Feel free to subscribe.)

When time permits, I’ll browse through some of the groups to check out what kinds of subjects and topics are being discussed. There are also questions. A LOT of questions. Those can range from “How do I get an agent?” to “What’s the proper format for this?” to “How do these pages look?”, all of which will yield a wide variety of answers.

I don’t usually comment because most of the time I come into it late and somebody with just as much if not more experience than me has already said what I was going to say.

There was a recent post where somebody asked what the best screenwriting book was. Answers ranged from several well-known titles to “read scripts instead”.

To a certain extent, I think those are both good answers. The books that helped me the most were Dave Trottier’s The Screenwriting Bible, primarily in terms of getting a good handle on formatting and the basics of structure, and Paul Lucey’s Story Sense, which expanded on both (and appears to be out of print, but still worth tracking down a copy.)

While some books might help you get a grasp of the basics, the real learning comes from immersing yourself in reading scripts and working on your own. Another helpful practice is to watch a film with the script in hand, following along with the action onscreen while seeing how it’s written on the page.

Reading a script can really help show you what should and shouldn’t be there, which you can then apply to yours.

This doesn’t just apply if you’re just starting out. I still get a kick out of reading scripts, whether it’s from the Black List, or one somebody recommended, or even when someone asks me for notes. Bonus points if it’s somebody within my network of writing colleagues; I know they can deliver the goods, and that’ll be reflected in their script.

I’ve also seen my fair share of terrible scripts, usually identified as such by the content of the first page. If that’s not good, there’s little hope of improvement for the rest of it. The silver lining here is you will quickly see how NOT to do it, thereby ensuring you won’t duplicate it.

So while you should definitely devote time to writing your script, make sure you set some time aside to read scripts. You’ll be entertained AND learn at the same time.

-Filmmaker/script consultant/friend of the blog Jimmy George is offering a special limited-time discount for first-time clients – 50% off all script services. No matter what you’re working on, whether it’s a feature, a short, or TV, Jimmy’s ready to help you out. But better hurry – the offer’s only good until October 11th.

More than just a pencil?

giant pencil
It wasn’t THAT big

Now that we’re in the month of October, what happened to me this morning feels very apropos for the season, and definitely worth recounting.

But first, a little backstory…

The latest draft of the pulp sci-fi is just about wrapped up. I’ve received lots of great notes on it, and incorporated some very helpful suggestions. The contest I’d like to send it to has its final deadline next week, so the past few weeks have been all about getting it as ready as I can.

While I still plan on submitting this script, there’s still that part of me that isn’t sure if it’s good enough, and that maybe I should hold off on the contest because it just needs too much work, which of course makes me doubt my abilities as a writer.

“Am I good enough? Am I wasting my time?” You know. The usual.

Cut to this morning.

My workday starts at 5AM, which means I get up around 3:15. Part of my getting ready involves having to take the dog out.

Since we live near Golden Gate Park, there’s always a chance of running into raccoons or skunks, so I’ve started bringing a flashlight as part of the dog-walking.

This morning, we got to the bottom of our front steps, and right there just beyond the first step was a pencil. Just a plain ol’ regular pencil.

I thought that was kind of weird. How did a pencil get there? Maybe one of the neighbor kids dropped it yesterday as they passed by? But it wasn’t there last night when I took the dog out. I took the dog around the corner. She took care of business, and we returned home. The pencil was still there.

We got inside and I got ready to head out to work. For some reason, I couldn’t stop thinking about the pencil. It being there seemed so random.

Maybe about seven, eight minutes pass between returning inside with the dog and going down to the garage to get my bike ready (helmet, lights, etc). I step outside. Just out of curiosity, I want to see that pencil again.

I maneuver my bike over to the steps and reposition the headlight down towards the sidewalk.

No pencil. Swear to God. It was gone.

Let’s consider the possibilities:

-it wasn’t there to begin with. Maybe, but I distinctly remember seeing it just a few minutes ago.

-it wasn’t a pencil. Highly doubtful. The unmistakble yellow, the green metal, a pink eraser. Definitely a pencil.

-somebody took it. possible, but highly unlikely. Not a lot of foot traffic in our neighborhood at 4AM. K later suggested it was the paper delivery guy, but his m.o. is to  toss the paper from inside the car. Plus, we don’t get the paper anyway, so there’d be no reason for him to stop in front of our place.

-a raccoon or skunk took it. Again, highly unlikely, but you never know. They continuously go after our composting bin on the other side of the house, so why not snatch up a pencil?

And what may be the most outlandish theory of all – it was some kind of message to me.

Think about it. A pencil. The most basic of writing implements. Maybe this was some kind of “sign from beyond” that despite all my doubts and occasional lapses of self-confidence, writing really is what I’m meant to do and that I should keep at it.

Then again, I might find the pencil upon returning home later today, rendering the whole thing moot. (In which case, I’d wonder “How could I not see it earlier?”)

But pencil or no pencil, the message, or at least how I interpreted it, remains the same. Even with all the frustration, I’m in this for the long haul. There’ll be good days and bad days, but I’m hanging in there, determined to keep going.

Thus the pushing forward continues…

Guilty as charged

lardner mugshot
I did it. I’m glad I did it. And I’ll do it again. As many times as necessary.

The clock’s ticking down to the final deadline for an upcoming contest, so almost all of my energies are being directed at getting the pulp sci-fi in as tip-top shape as possible. Overall, I’d say it’s coming along nicely.

As you’d expect, there have already been some big changes made, with more than a few more on the way.

A major part of some of these changes has involved cutting material that I previously considered untouchable, or at least to do so would have constituted a crime against all that is good and wholesome.

Otherwise known as “killing one’s darlings”.

As you edit/polish/rewrite your scripts, changes will (and should) occur within the context of the story, so you have to deal with the consequences and ramifications of making those changes. And that means gettin’ rid of the stuff you love.

Did I really, really like this line of dialogue or that scene? Most definitely.

Did I cut it without a moment’s hesitation because it just didn’t work anymore? Yep.

Any regrets? Not really. Why should I? It’s all about making the script better, right?

A lot of writers won’t cut something because they hold it too close. To them, their ego takes precedence over the material. If a producer or director says something doesn’t work, and says it’ll have to be cut, what are they going to do? Say no?

It’s very rare that the final draft of a screenplay is exactly like the first draft. Changes will always be necessary, whether you want to make them or not. Much as you might hate it at the moment, make those changes. Chances are you’ll barely remember what was there before anyway.

A screenplay-in-progress is the raw material, and your job as the writer is to continuously work with it and shape it in order to get it to the final version – the one that tells your story in the best way possible.

If that means discarding something for something new, so be it. Even more so if the new something is even more effective.