Well, I heard the best words a writer can hear today. Can you guess what they are?
You might think it would be praise for your writing. You might think it would be how a story you wrote brought them to tears, mad them laugh. Yes, it is phenomenal when I renowned producer like Donald Deline quotes a line you've written back to you... Or when a major movie star tells you that they love the character you wrote for them. These are moments you won't forget.
But, in the reality of a writer's life, all of those great things fall short to this simple phrase: "Let's get you paid, so you can start writing."
So, while the spec is going to make its way over to my agents this week - still doing a small bit of character tweaking. I am once again an employed writer.
So, to recap: I have a project in New York being Exec Produced by Garry Marshall. I have a big spec hopefully soon to be packaged by my big agency. I have a novel half way finished and a mocumentary directing project set for next year - but it is super, duper great to be writing on assignment. It is the bread and butter that lets all the other things have their chance.
So, rejoice with me and be grateful for every job - no matter how big or small. The key to writing in this day and age is to keep as many plates spinning in the air as possible.
Happy writing!
PS. The next post will be on pitching. An art form in and of itself and must have skill when it comes to getting work in Hollywood.
Thursday, October 28, 2010
Monday, October 11, 2010
Eureka!
I am happy to report that once again going back to basics has saved the day.
I have solved the problem with the last 10%. A new opening - which actually allows my character to show her warts - so that over the course of the film we can get them removed. Okay- that analogy may not be in my top 3.2 million, but I'm rushing. I have a conference call in 12 minutes.
Good news just can't wait. I am now working this refined character through the story and expect to have a new (and hopefully - ready to show people) draft by Friday!
Hurrah for Hollywood... Da da da da da da da Hollywood.....
If you are stuck on a spot. Go to your trusted readers. Listen, even if you don't want to. Step back. Clear your head. Then give yourself permission to try something wild. (The duplicate draft command is key to this. You can always go back to what you had. It's a win-win. Go for it.)
After a couple tries you might just hit on the solution. And then you'll get to experience the "breakthrough bliss." The bigger the road-block, the bigger the bliss. This one feels like I should pop a magnum.
Happy Re-Writing!
I have solved the problem with the last 10%. A new opening - which actually allows my character to show her warts - so that over the course of the film we can get them removed. Okay- that analogy may not be in my top 3.2 million, but I'm rushing. I have a conference call in 12 minutes.
Good news just can't wait. I am now working this refined character through the story and expect to have a new (and hopefully - ready to show people) draft by Friday!
Hurrah for Hollywood... Da da da da da da da Hollywood.....
If you are stuck on a spot. Go to your trusted readers. Listen, even if you don't want to. Step back. Clear your head. Then give yourself permission to try something wild. (The duplicate draft command is key to this. You can always go back to what you had. It's a win-win. Go for it.)
After a couple tries you might just hit on the solution. And then you'll get to experience the "breakthrough bliss." The bigger the road-block, the bigger the bliss. This one feels like I should pop a magnum.
Happy Re-Writing!
Friday, October 8, 2010
The Wall Seems to Be Winning
We expected a few bumps in the road, didn't we?
So the first draft sailed to completion - but now that we are 90% there - the last 10% of work is getting the better of me. It's only the opening. The first 5-10 pages of the script. The part that sets up the story, introduces our character and her pre-movie situation, the problems in her world that need to be resolved. The part that makes us like her and invests us in following her journey. It's also the only part you are guaranteed everyone in the biz will read. So, just that.
It is the most important 10% of the whole script. It has to be just right. And although the majority of people who have read the script like the opening - there are an important few who just don't like it as much of the rest of the story. And even though I am in the latter - and I love the opening I have - I've been around the block enough to know - your first pages have to work for everybody. Well, that one crazy aunt who wears house-slippers to the supermarket, we can let her go. But everyone else must have the same reaction. Do you know what that reaction is?
I want to read more.
So, today, tomorrow, the next day and the day after that I will be working and reworking my opening.
And how am I going to do that? I'm going to go back to character and character arc. I'm going to invite my character into the squishy recesses of my brain cavity and let her hang out. I'm going to imagine what she learns and where she ends up. I'm going to then use that information to create a scene that best sets this up.
Wish me luck and happy banging your head against the wall. (It just makes if feel that much more satisfying when you happen upon the solution.)
So the first draft sailed to completion - but now that we are 90% there - the last 10% of work is getting the better of me. It's only the opening. The first 5-10 pages of the script. The part that sets up the story, introduces our character and her pre-movie situation, the problems in her world that need to be resolved. The part that makes us like her and invests us in following her journey. It's also the only part you are guaranteed everyone in the biz will read. So, just that.
It is the most important 10% of the whole script. It has to be just right. And although the majority of people who have read the script like the opening - there are an important few who just don't like it as much of the rest of the story. And even though I am in the latter - and I love the opening I have - I've been around the block enough to know - your first pages have to work for everybody. Well, that one crazy aunt who wears house-slippers to the supermarket, we can let her go. But everyone else must have the same reaction. Do you know what that reaction is?
I want to read more.
So, today, tomorrow, the next day and the day after that I will be working and reworking my opening.
And how am I going to do that? I'm going to go back to character and character arc. I'm going to invite my character into the squishy recesses of my brain cavity and let her hang out. I'm going to imagine what she learns and where she ends up. I'm going to then use that information to create a scene that best sets this up.
Wish me luck and happy banging your head against the wall. (It just makes if feel that much more satisfying when you happen upon the solution.)
Friday, October 1, 2010
Nearly There - And Diverted
Here's the reality of spec writing - paying gigs always take precedence. So this week - I've assembled all the feedback (nearly) and I'm preparing to launch into the last minor pass. (Which should only take a day or two.) But, an assignment has come up and I need to place the majority of my focus on that.
I love writing on assignment. I get lots of questions on how that works - and in a nutshell here goes:
A studio has a property (either a script, a novel, a magazine article or just a concept) that they want to turn into a movie. They look for a writer to turn the property into a script or to take the script they already have into a new direction.
The producer or studio reads samples from a list of writer's they have generated. They select a few and invite those people in to discuss the idea. Usually you have to pitch your "take" or your version of the story. If they like your take the best you are offered the job. Then your peeps get to negotiate your terms while you hold your breath hoping the deal doesn't fall through.
Assignments are great because they make you think in creative ways you wouldn't normally happen upon in your spec work. It's an outside in process - instead of an inside out. Meaning, a spec is usually something that you are interested and you create it to share your idea with the world. An assignment is an idea that is given to you and you make it your own. I love it. It also pays the bills and keeps your family under good health coverage.
That said, it's time to come up with a pitch for the assignment. There's a wrinkle with this assignment because there are already elements attached and the story has to fit a number of preordained criteria. Tricky. Well, that's why they need a professional. If it wasn't hard, anybody could do it. So, no belly-aching here. Just make it happen.
Hopefully, I'll land the job quickly and while my contracts are being drawn up and I can top-off the spec script. Or while they agonize over whether to hire me or not, I can finish my spec. But first things first. This is part of the juggling act I alluded to in my "Life as a Writer" post.
I've got a plan. Deep breathes. One step at a time... I'll keep you posted.
I love writing on assignment. I get lots of questions on how that works - and in a nutshell here goes:
A studio has a property (either a script, a novel, a magazine article or just a concept) that they want to turn into a movie. They look for a writer to turn the property into a script or to take the script they already have into a new direction.
The producer or studio reads samples from a list of writer's they have generated. They select a few and invite those people in to discuss the idea. Usually you have to pitch your "take" or your version of the story. If they like your take the best you are offered the job. Then your peeps get to negotiate your terms while you hold your breath hoping the deal doesn't fall through.
Assignments are great because they make you think in creative ways you wouldn't normally happen upon in your spec work. It's an outside in process - instead of an inside out. Meaning, a spec is usually something that you are interested and you create it to share your idea with the world. An assignment is an idea that is given to you and you make it your own. I love it. It also pays the bills and keeps your family under good health coverage.
That said, it's time to come up with a pitch for the assignment. There's a wrinkle with this assignment because there are already elements attached and the story has to fit a number of preordained criteria. Tricky. Well, that's why they need a professional. If it wasn't hard, anybody could do it. So, no belly-aching here. Just make it happen.
Hopefully, I'll land the job quickly and while my contracts are being drawn up and I can top-off the spec script. Or while they agonize over whether to hire me or not, I can finish my spec. But first things first. This is part of the juggling act I alluded to in my "Life as a Writer" post.
I've got a plan. Deep breathes. One step at a time... I'll keep you posted.
Tuesday, September 28, 2010
The Reality of Life as a Professional Writer
Brown Out in Los Angeles prevented my notes from coming in yesterday. I got a brief text which indicated that things were good - I believe it started with "loved it" but I won't post about the next step until I've met with all parties concerned.
In the meantime, I thought I might say a word about the life of a writer. Which since the last strike has been evolving at a rate that would make Darwin flip in the ground.
For a rare handful life as a screenwriter involves foreign sports cars and warm nuts being served on airline flights. For the majority of us it's feast or famine. Your life vacillates between having no money and plenty of time to tons of money and no time at all to enjoy it. Finding a balance and a way to make your fiances stretch through the lean times is as important as knowing how to write. I'm not joking.
Because understanding how to save for a rainy day and invest your money wisely (I was never tempted to buy a sports car) keeps you free to write. Keeps you in the game. And nowadays allows you to diversify.
My current reality is that not only am I taking writing assignments (when they come)and finishing this feature spec I've been blogging about. I'm also writing a novel - in hopes of expanding into a new revenue stream. I've also recently found a directing project - because the reality of the business in good times and in the Great Recession is you must keep as many plates spinning as possible. You have no control over what will take off and what will die - you just have to work on perfecting the juggle.
Here are some tips:
1) You have to do everybody's job. My agent told me this during my last meeting. He actually said, "You know, Jen, you have to do everybody's job." Meaning think through the marketing, the cast appeal factor, etc. You can't ever just write what you have in your heart - unless your heart lines up with something people in the biz will recognize how to sell.
I would add something to "You have to do everybody's job." I would say - You have to do every body's job BUT never forget WHAT YOUR JOB actually is. Yes, it is important to think like a studio, director, marketing VP, producer - but you also have to know how and when to listen to the people that actually have those jobs. You are the writer. Know the game, but then let them teach you the rules.
2) Make everything you put your name on the best it can possibly be. There are no little jobs. Every project should be a passion project. Find a way to fall in love with your work. When you make it fun, it's fun for everyone and things move forward.
3) Read everything people give you right away. Waiting on notes is painful. As a writer you will spend too much of your life waiting by the phone like a teenager with a lust-crush. Don't do this to your fellow writers.
4) Take the time to celebrate the victories. Be them small (a good meeting) or large (a movie premiere). Good things happen few and far between - if you can appreciate them, they will sustain you through the awkward calls and the rejection.
5) Don't let the disappointments define you. Never look back. If a project is meant to happen, it will find its way. When people don't respond to a piece of material - move on. Let "your people" circulate it when they find an opening. Never look back - it will eat up time you could be using to write new stuff.
The script will soon be making its way to the market. And that is simultaneously a fast-paced and stagnate process - I may expand this blog to include the making of the movie I will be directing next year...
Happy writing!
In the meantime, I thought I might say a word about the life of a writer. Which since the last strike has been evolving at a rate that would make Darwin flip in the ground.
For a rare handful life as a screenwriter involves foreign sports cars and warm nuts being served on airline flights. For the majority of us it's feast or famine. Your life vacillates between having no money and plenty of time to tons of money and no time at all to enjoy it. Finding a balance and a way to make your fiances stretch through the lean times is as important as knowing how to write. I'm not joking.
Because understanding how to save for a rainy day and invest your money wisely (I was never tempted to buy a sports car) keeps you free to write. Keeps you in the game. And nowadays allows you to diversify.
My current reality is that not only am I taking writing assignments (when they come)and finishing this feature spec I've been blogging about. I'm also writing a novel - in hopes of expanding into a new revenue stream. I've also recently found a directing project - because the reality of the business in good times and in the Great Recession is you must keep as many plates spinning as possible. You have no control over what will take off and what will die - you just have to work on perfecting the juggle.
Here are some tips:
1) You have to do everybody's job. My agent told me this during my last meeting. He actually said, "You know, Jen, you have to do everybody's job." Meaning think through the marketing, the cast appeal factor, etc. You can't ever just write what you have in your heart - unless your heart lines up with something people in the biz will recognize how to sell.
I would add something to "You have to do everybody's job." I would say - You have to do every body's job BUT never forget WHAT YOUR JOB actually is. Yes, it is important to think like a studio, director, marketing VP, producer - but you also have to know how and when to listen to the people that actually have those jobs. You are the writer. Know the game, but then let them teach you the rules.
2) Make everything you put your name on the best it can possibly be. There are no little jobs. Every project should be a passion project. Find a way to fall in love with your work. When you make it fun, it's fun for everyone and things move forward.
3) Read everything people give you right away. Waiting on notes is painful. As a writer you will spend too much of your life waiting by the phone like a teenager with a lust-crush. Don't do this to your fellow writers.
4) Take the time to celebrate the victories. Be them small (a good meeting) or large (a movie premiere). Good things happen few and far between - if you can appreciate them, they will sustain you through the awkward calls and the rejection.
5) Don't let the disappointments define you. Never look back. If a project is meant to happen, it will find its way. When people don't respond to a piece of material - move on. Let "your people" circulate it when they find an opening. Never look back - it will eat up time you could be using to write new stuff.
The script will soon be making its way to the market. And that is simultaneously a fast-paced and stagnate process - I may expand this blog to include the making of the movie I will be directing next year...
Happy writing!
Tuesday, September 21, 2010
Draft Three
Okay - so I'm on the verge of turning in draft three. This is more of a polish with a new tonal emphasis than a full-fledged draft - but to keep things less confusing for my international readership... let's call it draft three. (Personally it was vomit draft, draft one and now polish, but you see, confusing.)
So, after biting the bullet and stepping well out of my comfort zone, I was reminded by my golden winged manager that my most popular work has been the dramas I've written. So taking the "com" out of my rom-com and making it more of just a woman's journey (hello that was my assignment to begin with) isn't really like stepping out of my comfort zone as it is backing back into it. (Even the people whose English is their first language will have to re-read that sentence a few times.)
So, I'm now nearly the conclusion of that pass. I had a golf tournament (second place in the first flight) and the high holidays to attend (in no order of importance of course) - so it seems like this pass has taken forever. But actually butt-in-the-chair time, it's only been a week and a half.
So, fingers crossed. I hope to get some feedback soon to share. Happy writing!
So, after biting the bullet and stepping well out of my comfort zone, I was reminded by my golden winged manager that my most popular work has been the dramas I've written. So taking the "com" out of my rom-com and making it more of just a woman's journey (hello that was my assignment to begin with) isn't really like stepping out of my comfort zone as it is backing back into it. (Even the people whose English is their first language will have to re-read that sentence a few times.)
So, I'm now nearly the conclusion of that pass. I had a golf tournament (second place in the first flight) and the high holidays to attend (in no order of importance of course) - so it seems like this pass has taken forever. But actually butt-in-the-chair time, it's only been a week and a half.
So, fingers crossed. I hope to get some feedback soon to share. Happy writing!
Tuesday, September 7, 2010
Notes on Draft Two
Okay - so today I heard back from my beloved managers on Draft Two. I also woke up with a scorcher of sore throat. I usually get sick after I finish a project, but this time it arrived a little early. So, despite my throat closing up and my head feeling like it was on the receiving end of a mallet, the notes session went brilliantly.
I have written romantic comedies for some time. So what we discovered was that I was still leaning on those legs. The script has moved forward and we feel like we're a hefty character polish and some light remodeling away from being finished.
Well, finished enough to hand it to my agent and come up with a plan of attack.
What I need to do is embrace my goal and step out of my comfort zone and embrace the new genre I've attempted. I'm reading some scripts from the genre. I'm watching successful movies from the genre and I'm taking a step back.
When I feel justifiably distanced I will jump back in and knock it out of the park.
Happy writing and for those to whom it applies Shana Tova!
I have written romantic comedies for some time. So what we discovered was that I was still leaning on those legs. The script has moved forward and we feel like we're a hefty character polish and some light remodeling away from being finished.
Well, finished enough to hand it to my agent and come up with a plan of attack.
What I need to do is embrace my goal and step out of my comfort zone and embrace the new genre I've attempted. I'm reading some scripts from the genre. I'm watching successful movies from the genre and I'm taking a step back.
When I feel justifiably distanced I will jump back in and knock it out of the park.
Happy writing and for those to whom it applies Shana Tova!
Friday, September 3, 2010
Turned In Draft Two
This last week was a fun and informative week. I had collected all my notes from all my readers and was going through them simultaneously. How I do this is probably just like you all do it. But, just in case you are in a "fixated on the process" place - I'll break it down into Frankenstein Steps. (Frankenstein Steps = Slow and cumbersome.)
First I retrieve my script from my reader and give them a hearty thanks. Then I try to listen very carefully to what their feedback is - if I'm meeting them in person. Most times I just get the script back. So I go through it page by page and read their comments. I always ask my readers to mark what they liked, thought was funny as well as anything that took them out of the story, they didn't buy or they didn't like.
Next I highlight the notes I find helpful whether I like them or not. (It takes years to like notes that you really didn't want to hear. Even after 20 scripts it still smarts, but suck it up - these people are trying to help you!)
When I've collected all my reads I try to find commonality among the notes. Are people getting hung up on the same beats? Maybe they react differently or suggest different ways to deal with it - but if there are consistent areas where people are stumbling it truly behooves you to pay attention.
So then I come up with a list of things to fix. Then I spread out all the scripts around my desk and on the desktop of my computer and I go through page by page.
Happily - once again - the feedback was very consistent. And there were very few issues. I rewrote some key scenes, changed the ending entirely and turned it back in to the managers. It is a long holiday weekend. For everyone else Labor day starts at 3PM on Friday and concludes Monday evening. In Hollywood it starts mentally on Wednesday and physically on Thursday evening.
So until Tuesday - Happy Labor Day. I will be laboring on my novel. Did I tell you that the managers really loved the first four chapters of The Novel? Now they want me to finish it - quickly.
So, I'm today I'm breaking out a plan of action - to finish the rough draft in 6-8 weeks. There are a couple of big Jewish Holidays and two major golf tournaments, a cousin's wedding, so I'm going to be kind to myself and shoot for Halloween. My first draft will be done by Halloween. (Or sooner!)
My son and I planted pumpkin seeds a while ago. So as the pumpkin grows so will my Novel. It's always good to set anchors. Happy Writing and I'll check in when I get the feedback from the managers next week!
First I retrieve my script from my reader and give them a hearty thanks. Then I try to listen very carefully to what their feedback is - if I'm meeting them in person. Most times I just get the script back. So I go through it page by page and read their comments. I always ask my readers to mark what they liked, thought was funny as well as anything that took them out of the story, they didn't buy or they didn't like.
Next I highlight the notes I find helpful whether I like them or not. (It takes years to like notes that you really didn't want to hear. Even after 20 scripts it still smarts, but suck it up - these people are trying to help you!)
When I've collected all my reads I try to find commonality among the notes. Are people getting hung up on the same beats? Maybe they react differently or suggest different ways to deal with it - but if there are consistent areas where people are stumbling it truly behooves you to pay attention.
So then I come up with a list of things to fix. Then I spread out all the scripts around my desk and on the desktop of my computer and I go through page by page.
Happily - once again - the feedback was very consistent. And there were very few issues. I rewrote some key scenes, changed the ending entirely and turned it back in to the managers. It is a long holiday weekend. For everyone else Labor day starts at 3PM on Friday and concludes Monday evening. In Hollywood it starts mentally on Wednesday and physically on Thursday evening.
So until Tuesday - Happy Labor Day. I will be laboring on my novel. Did I tell you that the managers really loved the first four chapters of The Novel? Now they want me to finish it - quickly.
So, I'm today I'm breaking out a plan of action - to finish the rough draft in 6-8 weeks. There are a couple of big Jewish Holidays and two major golf tournaments, a cousin's wedding, so I'm going to be kind to myself and shoot for Halloween. My first draft will be done by Halloween. (Or sooner!)
My son and I planted pumpkin seeds a while ago. So as the pumpkin grows so will my Novel. It's always good to set anchors. Happy Writing and I'll check in when I get the feedback from the managers next week!
Monday, August 23, 2010
Draft Two - Getting Notes Again
Okay, I've had a couple great days of good writing and I got some nice feedback on my novel. People seem to be as excited about it as I am. Nothing could be better.
But, in the screenwriting world here's what I've been through the last couple of days. My characters are running amok and spilling their guts. Which is great for me getting to know my characters, etc. but it's boring in a movie.
So what to do? How did I turn my scrambled egg surprise back into a lovely omelet?
As I went through what I had written, I referred back to my character arc and checked where my character was on her journey. Sometimes I found she was arcing too early - she's talking about stuff she shouldn't even realize yet. I either had to move the dialogue to later in the story or do something tricky.* Sometimes I found that I didn't need that dialogue at all and cut it. Other times, the dialogue fit.
Wow - thankfully - some of the new stuff actually was good dialogue that brought my two characters together. Well, that's what I hope. I'll know more after I get some notes this weekend. Until then, happy writing. I'll be charging ahead on my novel.
PS. I've had some emails from writers who are following the blog. Instead of answering each of them, let me remind everyone here. I started writing my 20th screenplay on July 1, 2010. I finished the first draft on August 2 and I'm now finishing the second draft at the end of August. I had a couple weeks of waiting for notes - which explains the gap in posting. If you want to read the entire journey you can start on July 1, 2010 the post is And So It Begins. Thanks for sharing. Hope this clears it up.
*It's a nice trick in a script to let your character get most of the puzzle worked out - only to miss that one big key piece that will bring it all together. Often, it's a helper character who "helps" her find that last piece. (They aren't called helper for nothing.)
But, in the screenwriting world here's what I've been through the last couple of days. My characters are running amok and spilling their guts. Which is great for me getting to know my characters, etc. but it's boring in a movie.
So what to do? How did I turn my scrambled egg surprise back into a lovely omelet?
As I went through what I had written, I referred back to my character arc and checked where my character was on her journey. Sometimes I found she was arcing too early - she's talking about stuff she shouldn't even realize yet. I either had to move the dialogue to later in the story or do something tricky.* Sometimes I found that I didn't need that dialogue at all and cut it. Other times, the dialogue fit.
Wow - thankfully - some of the new stuff actually was good dialogue that brought my two characters together. Well, that's what I hope. I'll know more after I get some notes this weekend. Until then, happy writing. I'll be charging ahead on my novel.
PS. I've had some emails from writers who are following the blog. Instead of answering each of them, let me remind everyone here. I started writing my 20th screenplay on July 1, 2010. I finished the first draft on August 2 and I'm now finishing the second draft at the end of August. I had a couple weeks of waiting for notes - which explains the gap in posting. If you want to read the entire journey you can start on July 1, 2010 the post is And So It Begins. Thanks for sharing. Hope this clears it up.
*It's a nice trick in a script to let your character get most of the puzzle worked out - only to miss that one big key piece that will bring it all together. Often, it's a helper character who "helps" her find that last piece. (They aren't called helper for nothing.)
Draft Two - Scrambled Eggs & Mercury Retrograde
I'm about half way through my rewrite and this is crucial week. Last week, my family was in town which seriously cut into my writing time, so this week it's time to redouble my focus. I'm not playing catch up, I'm just getting serious.
Now it's time for an analogy: If my script were a breakfast food.
My simple little first draft omelet has now turned into scrambled eggs. The omelet needed some more ingredients to make it perfect, but in the process of adding a little of this and a little of that everything lost its place. What I'm left with scrambled egg surprise.
It's not so bad. It's kind of a necessary step. What I'm doing is expanding character and what I've done is a common mistake. I front loaded all the information I have about my characters into the first opportunity they had to open their mouths. These characters are on a roll and they won't shut up. I have scenes of four page dialogues sequences. Yickes! That is really not going to fly.
I have to remind myself that just because I've made these great discoveries about my characters, I have to be patient and let it unfold. Just like you can't rush an omelet, you have to be gentle and give your story its own time to solidify.
But, for today, I'm allowing my characters to talk it out until I get through the whole script. This is letting them get it out of their system and letting me know more about them.
What I'll start tomorrow is shaping and editing. This is how I'll turn the scrambled eggs, with gobs of cheese and onions and tomatoes, mushrooms back into a fabulous omelet. More about that tomorrow.
PS. Mercury Retrograde is back for another three weeks. It's a great time to rewrite and go deeper with projects, to finish things up... So happy rewriting!
Now it's time for an analogy: If my script were a breakfast food.
My simple little first draft omelet has now turned into scrambled eggs. The omelet needed some more ingredients to make it perfect, but in the process of adding a little of this and a little of that everything lost its place. What I'm left with scrambled egg surprise.
It's not so bad. It's kind of a necessary step. What I'm doing is expanding character and what I've done is a common mistake. I front loaded all the information I have about my characters into the first opportunity they had to open their mouths. These characters are on a roll and they won't shut up. I have scenes of four page dialogues sequences. Yickes! That is really not going to fly.
I have to remind myself that just because I've made these great discoveries about my characters, I have to be patient and let it unfold. Just like you can't rush an omelet, you have to be gentle and give your story its own time to solidify.
But, for today, I'm allowing my characters to talk it out until I get through the whole script. This is letting them get it out of their system and letting me know more about them.
What I'll start tomorrow is shaping and editing. This is how I'll turn the scrambled eggs, with gobs of cheese and onions and tomatoes, mushrooms back into a fabulous omelet. More about that tomorrow.
PS. Mercury Retrograde is back for another three weeks. It's a great time to rewrite and go deeper with projects, to finish things up... So happy rewriting!
Wednesday, August 18, 2010
Draft Two - Eat Pray Love - Spoiler Alert
Yesterday I did some research for my project. Since I am writing a women's inspirational film, I went to see the biggest one to come out in a decade - EAT PRAY LOVE.
I had read the book and frankly, I wondered what Oprah was smoking. I thought the first two sections were mildly interesting. The author's self-effacing commentary about her journey was entertaining. But, the third section tipped me right out of the boat. Her quest for love seemed so precious and self-impressed I wanted to puke. Eat, Pray, Puke is what I called it.
Now, the film. Here's the interesting part. The third section, the one I hated in the book - was by far the best part of the movie. Maybe it was Mr. Sexiness Javier Bardem, well he certainly didn't hurt, but this part of the movie actually held my interest. Why?
Well, I think it's because it was the only part of the film that held any external conflict. The rest of the film was about someone's internal struggle - which of course is easier to play out on the pages of a book where the person can tell you directly about their struggle. But, on film, even if you give in to numerous monologues, not so much.
Once we got into the love affair - there was a question hanging - will she realize that this man is the one. Despite her internal conflict, we also had a weak ticking clock of her departure. We had another human being who might at any time say "Listen lady, I'm so sick of your self-absorbed nonsense, go mantra yourself."
What I really wanted to see was a movie about Phillip's journey. How much more interesting of a story. A man, despite his macho background, falls in love and plays Mr. Mom. And he's great at it, but once the kids are gone, the wife loses interest and breaks his heart. He finds himself lost on an island, trying to heal and finds love with possibly the only person more wrecked than he is. She's gorgeous, but she's a hot mess in the life department. What do you do with that? Fall into the Mommy role again? Or find a balance where you both can exist, feeding each other as equals until you create a life together that is better than it's two parts? NOW - THAT I want to see.
Good thing my own project has both external and internal conflicts. The lesson here is that seeing other similar projects can teach you things. They can teach you what you want to emulate and what you want to avoid. So, thank you, Eat Pray Love.
I had read the book and frankly, I wondered what Oprah was smoking. I thought the first two sections were mildly interesting. The author's self-effacing commentary about her journey was entertaining. But, the third section tipped me right out of the boat. Her quest for love seemed so precious and self-impressed I wanted to puke. Eat, Pray, Puke is what I called it.
Now, the film. Here's the interesting part. The third section, the one I hated in the book - was by far the best part of the movie. Maybe it was Mr. Sexiness Javier Bardem, well he certainly didn't hurt, but this part of the movie actually held my interest. Why?
Well, I think it's because it was the only part of the film that held any external conflict. The rest of the film was about someone's internal struggle - which of course is easier to play out on the pages of a book where the person can tell you directly about their struggle. But, on film, even if you give in to numerous monologues, not so much.
Once we got into the love affair - there was a question hanging - will she realize that this man is the one. Despite her internal conflict, we also had a weak ticking clock of her departure. We had another human being who might at any time say "Listen lady, I'm so sick of your self-absorbed nonsense, go mantra yourself."
What I really wanted to see was a movie about Phillip's journey. How much more interesting of a story. A man, despite his macho background, falls in love and plays Mr. Mom. And he's great at it, but once the kids are gone, the wife loses interest and breaks his heart. He finds himself lost on an island, trying to heal and finds love with possibly the only person more wrecked than he is. She's gorgeous, but she's a hot mess in the life department. What do you do with that? Fall into the Mommy role again? Or find a balance where you both can exist, feeding each other as equals until you create a life together that is better than it's two parts? NOW - THAT I want to see.
Good thing my own project has both external and internal conflicts. The lesson here is that seeing other similar projects can teach you things. They can teach you what you want to emulate and what you want to avoid. So, thank you, Eat Pray Love.
Monday, August 16, 2010
Draft Two - Okay, Now I'm really getting started
Okay - so last week I had big plans. I compiled notes. I made a new copy of my script on my computer and labeled it Draft Two. And then I worked on my novel.
Because, in a perfect world you would put your draft on a shelf long enough to forget about all your darlings. Long enough to look at it with fresh eyes before diving in and redoing it. But, this isn't a perfect world. You never have enough time for that.
That said, I took a week and worked on something else. But here it is Monday and I've got to get cranking.
My managers also wanted me to go further with the romance of the idea. The part that is cool about what the main character experiences, expand that - that's why we're at this movie. So, I've got to look for the moments to open them up.
What's problematic about this request is that it's a challenge to bring conflict into a section that you're simply adding for wish fulfillment's sake. And I never add something to my script merely to fulfill one purpose. Also, without conflict you have nothing. So, this is a challenge. How to start?
Once again I'm going to look back at my tonal guideposts for clues. As explained in my post Stumbles Are Necessary - tonal guideposts are break downs of similar films. You can always look back at them to see what they did in a section where you are lost. Often this provides an insight, which in turn jogs and idea, which gets you writing again.
I'll let you know how I did with that tomorrow. Happy writing.
Because, in a perfect world you would put your draft on a shelf long enough to forget about all your darlings. Long enough to look at it with fresh eyes before diving in and redoing it. But, this isn't a perfect world. You never have enough time for that.
That said, I took a week and worked on something else. But here it is Monday and I've got to get cranking.
My managers also wanted me to go further with the romance of the idea. The part that is cool about what the main character experiences, expand that - that's why we're at this movie. So, I've got to look for the moments to open them up.
What's problematic about this request is that it's a challenge to bring conflict into a section that you're simply adding for wish fulfillment's sake. And I never add something to my script merely to fulfill one purpose. Also, without conflict you have nothing. So, this is a challenge. How to start?
Once again I'm going to look back at my tonal guideposts for clues. As explained in my post Stumbles Are Necessary - tonal guideposts are break downs of similar films. You can always look back at them to see what they did in a section where you are lost. Often this provides an insight, which in turn jogs and idea, which gets you writing again.
I'll let you know how I did with that tomorrow. Happy writing.
Wednesday, August 11, 2010
Draft Two - Rewrite Day Two
Let me speak about one of the issues I'm addressing in the rewrite.
The antagonist in the story is unlikeable.
Yes, this is a valid note. Because to get us on board with the main character in this story we have to fall for the antagonist like she did. If we don't see why she would fall for him, then we will question if we know her, if we trust her logic for the rest of the story and that would be bad.
You don't question a character when you recognize their motivations as reasonable. That's the goal: To write a character that people will identify with or recognize. Not that the audience will have necessarily shared the same experiences with the character, but that they can understand and "go with" the character's choices based on the character you have drawn. The parts of the story you've woven in to show who these people are and what informs their decisions.
For example, your audience member might not pull a gun on a creep in a parking lot who is trying to rape her friend. But, if you've built a believable character who has suffered abuse in the past and who would do anything to protect her friend from the same, your audience will believe that the character would do just that. The audience will be invested. They may cringe in their seats and say "no, no" - and you hope they do - because then you've done your job. Your audience will be on board for the ride, even if that ride ends with your main characters driving off a cliff.
(If you don't know what I'm talking about then do yourself a favor and rent Thelma and Louis.)
My personal goals today (if you are invested in my actions are to finish off the chapters of my novel so I can turn them in tomorrow) and then start addressing my antagonist in the screenplay. I do this from an organic place, once I know what needs fixing, I read the script and make notes as to what bubbles up. Wish me luck.
The antagonist in the story is unlikeable.
Yes, this is a valid note. Because to get us on board with the main character in this story we have to fall for the antagonist like she did. If we don't see why she would fall for him, then we will question if we know her, if we trust her logic for the rest of the story and that would be bad.
You don't question a character when you recognize their motivations as reasonable. That's the goal: To write a character that people will identify with or recognize. Not that the audience will have necessarily shared the same experiences with the character, but that they can understand and "go with" the character's choices based on the character you have drawn. The parts of the story you've woven in to show who these people are and what informs their decisions.
For example, your audience member might not pull a gun on a creep in a parking lot who is trying to rape her friend. But, if you've built a believable character who has suffered abuse in the past and who would do anything to protect her friend from the same, your audience will believe that the character would do just that. The audience will be invested. They may cringe in their seats and say "no, no" - and you hope they do - because then you've done your job. Your audience will be on board for the ride, even if that ride ends with your main characters driving off a cliff.
(If you don't know what I'm talking about then do yourself a favor and rent Thelma and Louis.)
My personal goals today (if you are invested in my actions are to finish off the chapters of my novel so I can turn them in tomorrow) and then start addressing my antagonist in the screenplay. I do this from an organic place, once I know what needs fixing, I read the script and make notes as to what bubbles up. Wish me luck.
Draft Two - Day One
After finishing the first draft in less than four weeks, I took a few days off to gather notes from readers and let their thoughts merge with my own ideas for the next draft.
Now, in my mind, the next draft is really the REAL first draft. (I call the first draft the vomit draft, because you just want to get through it quickly.) But, the "vomit draft" turned out to be pretty solid. So my next step is to get the script in good enough shape to send to my agent and come up with a plan to sell it.
The feedback I got was uniform. This is great news. When you have notes where one person wants you to go North and the other wants you to go West and still three more are debating between Northeast and East - that's when you know you need to make some significant changes.
When the notes come back echoing what you already were thinking, well happy day. Rewriting is still hard. Don't get me wrong.
In screenwriting, every time you change something it should naturally effect many more scenes and moments in the script. Since you aren't putting anything in your script that is simply serving one purpose - this is natural. You don't have jokes that are simply there for comic relief, they also reflect character. You don't have scenes that are there just to show how likable a character is - these scenes also have to move the plot forward. So when you change them you are also touching things that are connecting both forward and backward in your project. So, yes, it's like a puzzle and yes, it's darn tricky.
So when things get tricky - what do we do? We reach into our trusty bag of tricks. If the notes had come back indicating some sort of structural flaw then I would have broken out the 3x5 cards and my cork-board. The notes for this project concern deepening character, expanding moments and motivations and going further with the romance of the concept.
Getting started is always the hardest part. So how do I dive in?
First, I compile all my page notes and the notes from my readers onto a print out the script. My master copy of notes. I will re-read the script from the beginning keeping the notes in mind and jotting down any ideas that come to me to fix them.
Second, I duplicate the first draft, label it draft two and the date. At the end of that draft I type in bold all the "big" notes into a list. As I address these big issues in the rewrite, I delete them from my list. When there's nothing dangling after my "Fade Out," I know I've addressed the major issues.
If I was writing this on assignment I type up "what I heard" and how I plan on addressing it and email it back to the producers. Often, you will discover at this point whether you are on the same page or if you've heard two different things before you actually do the work. Thus saving yourself from writing in the wrong direction.
Now, in my mind, the next draft is really the REAL first draft. (I call the first draft the vomit draft, because you just want to get through it quickly.) But, the "vomit draft" turned out to be pretty solid. So my next step is to get the script in good enough shape to send to my agent and come up with a plan to sell it.
The feedback I got was uniform. This is great news. When you have notes where one person wants you to go North and the other wants you to go West and still three more are debating between Northeast and East - that's when you know you need to make some significant changes.
When the notes come back echoing what you already were thinking, well happy day. Rewriting is still hard. Don't get me wrong.
In screenwriting, every time you change something it should naturally effect many more scenes and moments in the script. Since you aren't putting anything in your script that is simply serving one purpose - this is natural. You don't have jokes that are simply there for comic relief, they also reflect character. You don't have scenes that are there just to show how likable a character is - these scenes also have to move the plot forward. So when you change them you are also touching things that are connecting both forward and backward in your project. So, yes, it's like a puzzle and yes, it's darn tricky.
So when things get tricky - what do we do? We reach into our trusty bag of tricks. If the notes had come back indicating some sort of structural flaw then I would have broken out the 3x5 cards and my cork-board. The notes for this project concern deepening character, expanding moments and motivations and going further with the romance of the concept.
Getting started is always the hardest part. So how do I dive in?
First, I compile all my page notes and the notes from my readers onto a print out the script. My master copy of notes. I will re-read the script from the beginning keeping the notes in mind and jotting down any ideas that come to me to fix them.
Second, I duplicate the first draft, label it draft two and the date. At the end of that draft I type in bold all the "big" notes into a list. As I address these big issues in the rewrite, I delete them from my list. When there's nothing dangling after my "Fade Out," I know I've addressed the major issues.
If I was writing this on assignment I type up "what I heard" and how I plan on addressing it and email it back to the producers. Often, you will discover at this point whether you are on the same page or if you've heard two different things before you actually do the work. Thus saving yourself from writing in the wrong direction.
Friday, August 6, 2010
First Set of Notes
Poolside I received my first set of notes on The Project. Poolside always makes a notes session better. Just another little tip.
Actually, the notes were fantastic. I gave it to a friend who was in my target audience. Someone who I thought might identify with the character (and therefore be able to tell me when she ran afoul.) Someone who knew about the world where my script is set - so she qualified as a technical reader too.
The feedback was great. She found several areas where I could delve deeper. She even had suggestions as to what she wanted to know about the characters. She told me where she thought the characters might pause, open up as well as what was working.
Overall, she really enjoyed the script. As notes go, the fixes she suggested were needed are minimal in the grand scheme of things. There were some technical/logical problems that we found solutions for (again by the pool drinking wine - the best!).
But what was most exciting was that all of her notes wanted more of what I had started. A bad notes session is one where the person doesn't like your main character, was bored half way through, wasn't rooting for what your main character was trying to achieve. What I got was more along the lines of deepening subplots and drawing the finer points on motivation. Fantastic.
I am resisting the urge to call my managers with the ten ways my reader inspired me to make the draft better. I'm resisting the urge to qualify the draft they are reading with a "but I already know how to make it better." If they read my blog they'll know. (I seriously doubt they are reading my blog.) I'm going to instead trust that they know I wrote this extremely fast. I'm going to trust that the excitement I feel will still be with me when I hear their notes.
Then, I can get started on the rewrite. Until Monday peeps. I'm taking the weekend off. Happy Writing.
Actually, the notes were fantastic. I gave it to a friend who was in my target audience. Someone who I thought might identify with the character (and therefore be able to tell me when she ran afoul.) Someone who knew about the world where my script is set - so she qualified as a technical reader too.
The feedback was great. She found several areas where I could delve deeper. She even had suggestions as to what she wanted to know about the characters. She told me where she thought the characters might pause, open up as well as what was working.
Overall, she really enjoyed the script. As notes go, the fixes she suggested were needed are minimal in the grand scheme of things. There were some technical/logical problems that we found solutions for (again by the pool drinking wine - the best!).
But what was most exciting was that all of her notes wanted more of what I had started. A bad notes session is one where the person doesn't like your main character, was bored half way through, wasn't rooting for what your main character was trying to achieve. What I got was more along the lines of deepening subplots and drawing the finer points on motivation. Fantastic.
I am resisting the urge to call my managers with the ten ways my reader inspired me to make the draft better. I'm resisting the urge to qualify the draft they are reading with a "but I already know how to make it better." If they read my blog they'll know. (I seriously doubt they are reading my blog.) I'm going to instead trust that they know I wrote this extremely fast. I'm going to trust that the excitement I feel will still be with me when I hear their notes.
Then, I can get started on the rewrite. Until Monday peeps. I'm taking the weekend off. Happy Writing.
Thursday, August 5, 2010
Day 28 - Active* Waiting For Notes
Update on The Project: I have in fact heard back from my fabulous managers and they are in fact reading over the weekend. They also want to read my novel pages - but I'm not sure if I'm ready to let them go, we'll see how I do today and tomorrow.
When all are ready then we'll shoot them off to my agent and then the ball will really get rolling. But, that's after notes, after revisions. We can all hope that those magic words come back, "It's great. We're ready." But, that's only happened to me once on a first draft. 1 out of 19. Not holding my breath. Even though... I enjoyed the read myself. I have no distance.
So what's great to do while you are waiting for notes. Besides, catching up on all the things that went out the window while you were writing (house, bills, friends, hair-cut)... it's a great time to read some writing books.
Here's a list of some my favorites:
Save The Cat by Blake Snyder
The Art of Dramatic Writing by Lajos Egri
On Writing by Stephen King
Bird by Bird by Anne Lamott
Of course, as in previous posts, I also can recommend the books from the UCLA Screenwriting department including Lew Hunter, Hal Ackerman and Richard Walters.
Active* (To writers reading is activity)
When all are ready then we'll shoot them off to my agent and then the ball will really get rolling. But, that's after notes, after revisions. We can all hope that those magic words come back, "It's great. We're ready." But, that's only happened to me once on a first draft. 1 out of 19. Not holding my breath. Even though... I enjoyed the read myself. I have no distance.
So what's great to do while you are waiting for notes. Besides, catching up on all the things that went out the window while you were writing (house, bills, friends, hair-cut)... it's a great time to read some writing books.
Here's a list of some my favorites:
Save The Cat by Blake Snyder
The Art of Dramatic Writing by Lajos Egri
On Writing by Stephen King
Bird by Bird by Anne Lamott
Of course, as in previous posts, I also can recommend the books from the UCLA Screenwriting department including Lew Hunter, Hal Ackerman and Richard Walters.
Active* (To writers reading is activity)
Wednesday, August 4, 2010
Day 27 - A Word About "Write What You Know"
Yesterday I sat down and read the first draft without interruption. And I really enjoyed the script. There were several typos, there were a couple of spots that I thought I could go deeper, but all in all I'm really happy with it.
I still haven't heard what my managers think - but as I said, they probably won't read it until this weekend. Which gives me time to work on the novel and the side-project I'm producing.
I am also going to give this rough draft to my technical readers. As you know, if you've been following me from Day One that I am NOT writing about "what I know."
"Write what you know" has been screenwriting advice since the dawn of time. But I believe this is totally misunderstood. In a nutshell, I would advise to "write what you can feel."
I have to know my character's emotional reality. I don't have to know her world - at first. The script I've been blogging about is set in a world that I know absolutely zilch about. For the rough draft I simply worked on getting the characters through the story. When I hit a spot where they had to do something I don't have a clue how to describe accurately I just tried to make it sound as good as possible. I faked it.
Now that I think the story and the characters and the structure are on-line, it's time to start locking down the technical stuff. Let the research begin. I've found several people who are absolutely passionate about the world my script is set in. I'm asking them to give me notes with their red pens.
If they give me some story notes as well, then great. I'm just going to ask them to flag anything that they didn't believe and if they could explain to me how to get it right for people who know about this like they do.
I still haven't heard what my managers think - but as I said, they probably won't read it until this weekend. Which gives me time to work on the novel and the side-project I'm producing.
I am also going to give this rough draft to my technical readers. As you know, if you've been following me from Day One that I am NOT writing about "what I know."
"Write what you know" has been screenwriting advice since the dawn of time. But I believe this is totally misunderstood. In a nutshell, I would advise to "write what you can feel."
I have to know my character's emotional reality. I don't have to know her world - at first. The script I've been blogging about is set in a world that I know absolutely zilch about. For the rough draft I simply worked on getting the characters through the story. When I hit a spot where they had to do something I don't have a clue how to describe accurately I just tried to make it sound as good as possible. I faked it.
Now that I think the story and the characters and the structure are on-line, it's time to start locking down the technical stuff. Let the research begin. I've found several people who are absolutely passionate about the world my script is set in. I'm asking them to give me notes with their red pens.
If they give me some story notes as well, then great. I'm just going to ask them to flag anything that they didn't believe and if they could explain to me how to get it right for people who know about this like they do.
Tuesday, August 3, 2010
Day 26 - Finished. Fade Out. Now the Work Begins.
Something surprising happened yesterday. I got a late start, but managed to fend off the stress and just start. I had read through my first two acts over the weekend and made some small tweak-notes. I started with addressing those to get me warmed up and that lead me to rework the last scene I had written. Then I just kept going and before I knew what was happening - I was typing Fade Out.
And then I did something really insane - I turned it in.
All my trusted readers who aren't on my team are traveling and so I gave it to my great managers. They know it's a rough draft (best not to call it vomit when asking for notes). I felt like it was a good place to get a sweeping temperature read. So, we'll see.
Usually people in Hollywood don't read anything (unless it's something really pressing) until the weekend. They don't have the time. Maybe a slight draft of 93 pages (okay, I told you that was okay for the rough draft) might get a sneak peak. We'll see.
When they do get back to me, that's when the true work begins. I will stay open and listen without attachment. I will then step back and absorb. Then I'll plunge in and make the script rock.
In the meantime, I am charging ahead on my novel. My goal is to get the chunk I promised to show my agents finished by Friday. Now, if I can accomplish that - then I will most definitely take the weekend off. Or maybe I'll work on the project I'm producing and mentoring with a young and talented writer/director friend. Yeah, probably that.
Heck I have a 20 month old mouth to feed. Nothing like a little motivation! Happy Writing.
And then I did something really insane - I turned it in.
All my trusted readers who aren't on my team are traveling and so I gave it to my great managers. They know it's a rough draft (best not to call it vomit when asking for notes). I felt like it was a good place to get a sweeping temperature read. So, we'll see.
Usually people in Hollywood don't read anything (unless it's something really pressing) until the weekend. They don't have the time. Maybe a slight draft of 93 pages (okay, I told you that was okay for the rough draft) might get a sneak peak. We'll see.
When they do get back to me, that's when the true work begins. I will stay open and listen without attachment. I will then step back and absorb. Then I'll plunge in and make the script rock.
In the meantime, I am charging ahead on my novel. My goal is to get the chunk I promised to show my agents finished by Friday. Now, if I can accomplish that - then I will most definitely take the weekend off. Or maybe I'll work on the project I'm producing and mentoring with a young and talented writer/director friend. Yeah, probably that.
Heck I have a 20 month old mouth to feed. Nothing like a little motivation! Happy Writing.
Monday, August 2, 2010
Day 25 - A New Attitude
Okay - I am BEHIND schedule today. I'm two hours into my work day and have not written a word. Sometimes Monday's roll like this. The only thing to do is just jump in and not think about how you promised to have the rough draft to your managers this week. Or the fact that you are nearly to the point where you are going to have to show your novel to your agency.
But here I am nearing completion on two goals and I'm faced with a completely new experience: Fear.
Normally, by the time I have finished my draft I have fallen so in love with my script that I rush to turn it in.
This time, something different is cooking in my head. I'm not exactly sure why, but, this time as I approach the finish line (well, the first of many finish lines) where I will show my work to my managers, I'm excited, but NERVOUS.
Strange. For me. An Aries. Invisible. Always looking forward. This is strange.
Normally, here's how this goes down. I get notes. Love the ones I agree with, hate the ones I don't. Internally I resist the notes I don't agree with, especially if I know deep down they are right. I hem and haw and grumble. I complain to my husband, who must think Hollywood is the worst place on the planet (when honestly I believe it abundantly populated by extremely intelligent and driven people). Then, I sit down and address the notes.
Ultimately, I come up with a new draft that I am so in love with that again I rush to turn it in because I believe in it even more. Rinse. Repeat.
This time it's different.
I'm curious as to what people will say. I love my script and the characters just as much as in projects in the past, but in some way I'm just staying open. Maybe, it's drivel? Maybe it's brilliant? Probably somewhere in between. But, this time I'm honestly looking forward to letting people in. And that honesty fills me with nervous excitement. To be honest. A little fear. But, nothing I can't handle. I'm still an Aries with Leo Rising. So bring it on.
Perhaps because I've been writing both my script and my first novel simultaneously my ego doesn't know which house to live in and went on vacation. All I know is that this is very interesting and new. And it feels right. I'll keep you posted.
But here I am nearing completion on two goals and I'm faced with a completely new experience: Fear.
Normally, by the time I have finished my draft I have fallen so in love with my script that I rush to turn it in.
This time, something different is cooking in my head. I'm not exactly sure why, but, this time as I approach the finish line (well, the first of many finish lines) where I will show my work to my managers, I'm excited, but NERVOUS.
Strange. For me. An Aries. Invisible. Always looking forward. This is strange.
Normally, here's how this goes down. I get notes. Love the ones I agree with, hate the ones I don't. Internally I resist the notes I don't agree with, especially if I know deep down they are right. I hem and haw and grumble. I complain to my husband, who must think Hollywood is the worst place on the planet (when honestly I believe it abundantly populated by extremely intelligent and driven people). Then, I sit down and address the notes.
Ultimately, I come up with a new draft that I am so in love with that again I rush to turn it in because I believe in it even more. Rinse. Repeat.
This time it's different.
I'm curious as to what people will say. I love my script and the characters just as much as in projects in the past, but in some way I'm just staying open. Maybe, it's drivel? Maybe it's brilliant? Probably somewhere in between. But, this time I'm honestly looking forward to letting people in. And that honesty fills me with nervous excitement. To be honest. A little fear. But, nothing I can't handle. I'm still an Aries with Leo Rising. So bring it on.
Perhaps because I've been writing both my script and my first novel simultaneously my ego doesn't know which house to live in and went on vacation. All I know is that this is very interesting and new. And it feels right. I'll keep you posted.
Friday, July 30, 2010
Day 24 - How Long Should My Script Be?
So, I have finished my second act, one day ahead of schedule and now it's full-steam ahead until I type those two magic words... FADE OUT.
(Fade Out is a bit old-fashioned, but I also like eating soft-boiled eggs in antique egg cups. Humor me.)
My goal is to turn in my vomit draft to my trusted readers next week. I'll keep you posted. In the meantime, in order to get ready for our readers, let's discuss length and format.
A first draft can come in a little wonky in the length department - that's perfectly okay. Sometimes when you get to the end your script comes in a lean and mean 95 pages. Sometimes, you're at a heavy 125. I've had both. Neither is what you want to end up with after your next draft - but for the vomit draft - well done!
The goal in this rough, first draft is to finish. I highly recommend celebrating this moment. In this business the good times are very good, but they are also few and far between. To stay sane and out of rehab, I recommend commending yourself at every worthy occasion. Finishing your first draft is one of these moments. I try to drink a glass of champagne, or go out for a nice meal. I will also take the weekend off.
Why? Because even though you've come a long way, the hard work has just begun. Writing is rewriting. There's a very small window of time between when you finish a draft and when the notes come pouring in. This is your time to relax and bask in the delusion that the script's perfect and you are a genius. That window will slam closed on your fingers soon enough. But, for now... Enjoy.
Eventually you'll want your finished product to come in around 110 pages. Before the e-reader became the reading device of choice, there was a thickness by which screenplays were judged. As a former development executive, I'll admit "thick scripts" often went to the bottom of the read pile. I wonder now if people scan to the end of their pdf files to see what the total page count comes in at?
Just to be safe, try to hit 110.
Reading on a computer screen is here to stay - so I recommend reading your own script off the computer, too. (In addition to printing out pages and marking them up with ink.) Because the look of a script - how it meets the readers eye - is important.
Here's a quick list of what to do to make your script look right.
1. If you are a beginner, get your hands on some screenplays and check out their format. A script in Germany will look a lot different from a script in Hollywood - so imitate the market you're trying to sell to. (TV scripts are another ball of wax - but the same rules apply. If you are writing a single camera comedy - get a copy of a similar show. Etc.)
There are great resources online - but also the WGA library and the Academy Library have fantastic collections if you happen to be in Los Angeles. If not, there's a great on-line site where you can download all manner of scripts called Drew's Script-o-Rama.
2. Don't leave a word dangling by itself, forcing the sentence onto a second line.
There are a million ways to say the same thing, so pick one that won't leave one word stranded. Less is always more. Readers hate to read. Remember that. Readers love to be swept up in your story, make them forget they are reading. Then, they'll love you.
Paragraphs in screenplays should never be longer than five sentences. You might notice that most of this blog is chopped up into paragraphs of five sentences or less. Old habits die hard.
3. Don't overwrite your description. I am WAY guilty of this. Save it for your novel. If you have to explain what your character is thinking or feeling in the action - then you need to rewrite that scene. Find a way to show it. And I don't mean have your character talk to herself or a goat (which I just did yesterday in my own script). I'll fix it, don't worry. This is the vomit draft!
4. You don't have to use proper grammar if your style choice really drives your point home. But, too much of a gimmick really gets annoying, beware.
(Fade Out is a bit old-fashioned, but I also like eating soft-boiled eggs in antique egg cups. Humor me.)
My goal is to turn in my vomit draft to my trusted readers next week. I'll keep you posted. In the meantime, in order to get ready for our readers, let's discuss length and format.
A first draft can come in a little wonky in the length department - that's perfectly okay. Sometimes when you get to the end your script comes in a lean and mean 95 pages. Sometimes, you're at a heavy 125. I've had both. Neither is what you want to end up with after your next draft - but for the vomit draft - well done!
The goal in this rough, first draft is to finish. I highly recommend celebrating this moment. In this business the good times are very good, but they are also few and far between. To stay sane and out of rehab, I recommend commending yourself at every worthy occasion. Finishing your first draft is one of these moments. I try to drink a glass of champagne, or go out for a nice meal. I will also take the weekend off.
Why? Because even though you've come a long way, the hard work has just begun. Writing is rewriting. There's a very small window of time between when you finish a draft and when the notes come pouring in. This is your time to relax and bask in the delusion that the script's perfect and you are a genius. That window will slam closed on your fingers soon enough. But, for now... Enjoy.
Eventually you'll want your finished product to come in around 110 pages. Before the e-reader became the reading device of choice, there was a thickness by which screenplays were judged. As a former development executive, I'll admit "thick scripts" often went to the bottom of the read pile. I wonder now if people scan to the end of their pdf files to see what the total page count comes in at?
Just to be safe, try to hit 110.
Reading on a computer screen is here to stay - so I recommend reading your own script off the computer, too. (In addition to printing out pages and marking them up with ink.) Because the look of a script - how it meets the readers eye - is important.
Here's a quick list of what to do to make your script look right.
1. If you are a beginner, get your hands on some screenplays and check out their format. A script in Germany will look a lot different from a script in Hollywood - so imitate the market you're trying to sell to. (TV scripts are another ball of wax - but the same rules apply. If you are writing a single camera comedy - get a copy of a similar show. Etc.)
There are great resources online - but also the WGA library and the Academy Library have fantastic collections if you happen to be in Los Angeles. If not, there's a great on-line site where you can download all manner of scripts called Drew's Script-o-Rama.
2. Don't leave a word dangling by itself, forcing the sentence onto a second line.
There are a million ways to say the same thing, so pick one that won't leave one word stranded. Less is always more. Readers hate to read. Remember that. Readers love to be swept up in your story, make them forget they are reading. Then, they'll love you.
Paragraphs in screenplays should never be longer than five sentences. You might notice that most of this blog is chopped up into paragraphs of five sentences or less. Old habits die hard.
3. Don't overwrite your description. I am WAY guilty of this. Save it for your novel. If you have to explain what your character is thinking or feeling in the action - then you need to rewrite that scene. Find a way to show it. And I don't mean have your character talk to herself or a goat (which I just did yesterday in my own script). I'll fix it, don't worry. This is the vomit draft!
4. You don't have to use proper grammar if your style choice really drives your point home. But, too much of a gimmick really gets annoying, beware.
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