I am rewriting three projects right now: An assignment (which gets priority because I have a contract), a treatment (which I will soon land a contract for) and my spec.
Which do you think is the most fun to work on?
Is it the assignment because you have a clear directive? They are paying you to write and so you simply have to do what they say?
NO. WRONG.
Because the first draft was my opportunity to tell the story I wanted to tell. Now because of shooting requirements, cast requirements, marketing requirements and various other elements that are necessary, but not exactly dramatically driven, I'm being asked to implement things that defy my internal logic.
So, that's hard. Because I have to do what I think is not quite as strong, but make it even stronger than it was to begin with in the first draft.
I also have to incorporate some dramatic ideas that I don't agree with, but that the producers feel strongly about. That's what I'm paid to do. Somehow, I have to make their ideas flow seamlessly into my own vision or guess what? The man with the hook comes out and the next writer is given a chance to do what they asked me to do. Not going to happen. It's hard. But that's the job.
So, is the most enjoyable rewriting process on the treatment where I'm trying to land a gig? I mean that's got to be more fun because I'm more partnering with the producer and we're wrestling through it together?
NO. WRONG.
Because in this instance, I'm trying to create a story to match the inspiration in the producer's head. It's like a mystery and I'm trying to solve the case. But each time I write a version, I fall in love with the story and the characters, only to have another level of the mystery revealed. We're getting closer, in fact, I think we're one draft away from finding our common ground. But each pass becomes more difficult because there are more parts of the story that we both want to keep, while adding or changing other key elements. It's a big puzzle. I love a challenge, but it's only fun once the puzzle has been cracked. So you find yourself elated that you've solved it and bounced back down to the floor with the realization that you have to jump in and try again.
Okay - so the easiest, most fun, most rewarding rewrite has to be on my own spec. Right? I mean I'm in control, I don't have to write to other people's ideas, I don't have to make choices I disagree with - I'm my own boss. That's it, right? Oh the joy of freedom.
NOPE.
Yes, on the spec I'm the one who said, "Gee, those notes do make sense." And I was the one that eventually saw that the script could get better. I'm the one leading myself back to the grind stone. But, it's also a land of infinite possibilities and your stranded there, alone with your own wildly crazed brain. (No wonder why I loved Lost.) It's enough to make you wish you were writing this spec on assignment - then at least you could have someone to complain about.
The bottom line is that regardless of whether the changes are being ordered by a studio, suggested by a producer or come from my own need to make it better, the one thing they all have in common is that I don't want to do any of them. All rewriting starts with a big pout. It's how quickly you let that go and get down to business that makes you a professional.
So... How do you know if you're doing your rewrite right? It hurts.
Next Post: Rewriting otherwise known as The Seven Stages of Grief.
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