24.2.10

SCREEWRITING: THE PROCESS

There's "Formula", and there's "Process", and most new screenwriters seem to get them confused. New writers, they hear about a writing "Process" and seem to immediately assume "process" means "formula". You'll be slave to a system, forced into a write-by-numbers approach, locked into a set of arbitrary "rules" who's sole purpose appears to be to decapitate any creative impulse until millions of us all end up writing the same story because that's what the "rules" lead us to.

I think they're mistaken. I think most new writers misinterpret the term. I think "Process" is our friend. From a creative standpoint, probably one of our BEST friends. I don't think "Process" means or leads inevitably to "Formula".

Process is what every professional writer has, and they're never the same. Yours shouldn't be. You're not Simon Kinberg, so why work like him? Or Robert Towne? Or Billy Wilder, or Billy Ray or fuck it - pick your favorite screenwriter (if you don't have at least 4 favorite screenwriters you can rattle off the top of your head, stop reading this blog and go back to working on your 7 act tone poem for the deaf).


The creative process is by nature different for everyone. You can't hear how some successful writer works and just emulate that. You'll inevitably feel constricted if you use someone else's process. So you must invent your own, and know what that process is. But in developing your own process you can certainly cherry pick techniques gleaned from other writers. Simply try different techniques and find out what works for YOU.

For example, Kinberg is big on detailed outlining, and detailed outlining is a writing technique that seems to work well FOR ME. So I've made it an integral part of My Process. I'm also big on theme. I think it's the heart of Story. So in my process, I never open Final Draft to write until I'm totally clear on my theme and have a solid outline.


MY PROCESS
Now what you've been dying to know (I just know you have): What is the Dangerous Screenwriter's Process? Glad you asked. Since I believe Theme is the core of all good storytelling as well as at the core of all good scenes, regardless of my story idea/concept/character idea etc., the first question I ask myself when designing every story I write is "What am I trying to say with this story? What is the story about?"

It is essential that I identify Theme first, because every scene, every subplot, every character and the plot itself all revolve around the theme. For me, if I don't identify a theme to work with as the first step in my process, everything's floating in space with no anchor. My Theme is the connective tissue for all of my scenes/characters/plot, but by no means is it set in stone. Throughout my preparation and first draft my Theme may change, but I need A Theme to anchor everything together and give my story a definite forward trajectory (notice I said my Theme may change, but not until after the first draft).

Throughout the entire preparation part of my Process I'm of course writing down anything - scenes, character traits, dialogue - ANYTHING that pertains to my story. I'm writing those things down, but I'm not working with them right now. That comes after I've identified my theme. Since my story is ultimately about my theme, once I know what it is my next step is to ask how I'm going to PHYSICALLY (show, don't tell) EXPRESS that theme. The answers to this question will dictate my settings, character actions scene content and settings/locations.


The first step in figuring out how those physical expressions will play out - the chronological telling of my story - is to ask myself "What is my main character's major flaw?". I design this flaw so it is in direct opposition to the Theme. This gives my story it's "drama", for whatever is opposing my main character are now the story's OBSTACLES, and they all relate directly to the Theme of the story. I can be as creative as I want, but within these guidelines I have no fear of drifting of on a tangent that isn't applicable to my story. At least, not too far.

For example, the theme of my current spec is "Life takes courage". So my main character's major flaw is he lives life/thinks of himself as a coward. If my theme is about courage and I have a main character who is the opposite of that theme, my main character now has a direction in which to grow. A direction that will be filled with obstacles which relate organically to the Theme and leads naturally to a solid CHARACTER ARC. Now I know that throughout the story my main character will grow from cowardice to bravery, or fail in that endeavor. Regardless of the story's outcome, since every scene is tied to theme and Character Arc, all scenes will now inevitably be an expression - positive or negative - of my Theme. My main character now has a solid Character Arc as well as a solid, PHYSICAL GOAL to fight toward.

Aside from a specific Theme, I now have my PROTAGONIST, my PLOT, my GOAL, my OBSTACLES and my STAKES. These are the core of my story, and they also happen to be the necessary components of my LOGLINE. It is at this point I feel I can now develop a "working" logline for my story.


Now that I've aligned my basic story components - plot, character, goals, stakes, obstacles and theme (as well as my logline) my next step is to create an outline or beat sheet. I start by identifying the beginning, first act marker, midpoint, second act marker and finale of my story. The objective here is to break a story into smaller pieces I can work with instead of writing a bunch of scene ideas and trying to fit them together like a puzzle. Might feel like an artistic process, but this is a business too, and if you want to get paid you need to turn things in on time, and to do that you can't put together puzzle after puzzle, never knowing how long it's going to take. A defined Process just makes things go faster. It's organization, nothing more. I'm setting dramatic markers within the story that my audience subconsciously expects, and they are aware when those markers have been violated. This is why people can say they like or didn't like a film, but can't express specifically why.
Also notice in designing my stories, I don't start writing until I know the end - what I'm writing toward. I think new writers who say "I'm just writing, letting it all come out, I don't know how it'll end" will never write a decent first draft (I can't speak for you pros). They'll have to do a TON of revision in the rewrites, because dramatic storytelling is all about SETUPS and PAYOFFS. How can you pay off something you haven't properly set up? How can you set up something if you don't anticipate what the payoff will be? By this point a lot of new writers may think I'm following a "Formula", but again, this is Process. My Process.

I feel like we're just passing the tip of the iceberg, and this post has become incredibly long already (even by my standards). So hopefully you'll be back shortly when I post part 2.

Cheers

17.2.10

WHEN Are You Writing?

One of my favorite screenwriters is Simon Kinberg. Love that guy. I can't stand to sit through Jumper or a XXX movie (the Vin Diesel ones or the ones hidden in your closet in shoeboxes; I fast forward). I liked Mr. & Mrs. Smith, liked his versions of X-men Last Stand & Sherlock Holmes. But Simon Kinberg the Writer? Love him (and the faults of those movies aren't necessarily the writer's).

What I love most about Mr. Kinberg is his process. Simon writes. Every day. Is he obsessive? Borderline, but he has to be, and so do we. Disciplined? Very. He has definite "office hours", and we should too. Do you have certain times carved out for you to write on a daily or weekly basis? If you don't, you're cheating yourself.

I'm well aware of how busy life gets and how unexpected things crop up (not to mention the expected stuff). I have a wife, a 4 year old, 2 dogs and a day job. I'm also in the process of moving into a new home which is a major fixer upper and will require more of my scant time. But at least 5 nights a week from 9 until 1/2 a.m., I'm writing. Plus any extra moments I can take advantage of. I take care of any other "computer business" - this blog, emails, web surfing, screenwriting/career research, etc. - at other points during my day so when that "writing time" comes, I can just focus on my projects.

I have a writer friend who has a high-powered day job and a family. But 5 days a week this guy wakes up at 4:30a.m., works out and showers, hits the computer by 6 and writes until 9. Then he goes to work, comes home to the family and squeezes two more hours in every night before bed. That's 25+ hours of solid screenwriting work this guy gets done every week. Yeah, he's tired. But he's also a working writer, living the "dream" and loving what he does. Where there's a will, there's a way. Do some research, you'll find every successful writer has definite hours for "butt in seat" time.

A screenwriting career is one of two things: a hobby, or a profession. There is no in between. If you structure your time and act like a professional (see A Major Difference Between Professionals and Amateurs), you are treating your "dream" like a reality. You're giving yourself the best possible shot you can.
But if the only time you write is "here and there, whenever I can", you're not giving your "dream" the respect and attention it deserves. You're treating your career aspirations as a hobby. Work that way, you'll never get anywhere, you'll just be one of the countless other "wannabies" and "dreamers".

Simon Kinberg knows this. My writer friend knows this. I do too. You?

Creative Screenwriting Magazine did a very insightful audio interview with Simon here about his work habits and process. I highly recommend it, as well as the hundred or so other interviews on there (I've listened to almost all of them).

15.2.10

What Are YOU Writing?

I was talking to a writer friend, someone in the same position as myself - talent, drive, great specs but no Hollywood sales yet. My friend mentioned the commercial potential of Dark Rum Chronicles as a "no brainer". I thanked him and asked what he was working on. He said an indie comedy, that's where his sensibilities lie. But wait - this friend wants to write for Hollywood! So, what's the problem?

The problem is the current spec market. If you don't know what I'm talking about, go to www.lifeonthebubble.com. Jason Scoggins runs this website, which tracks screenplay sales throughout the year. The numbers aren't pretty. In fact, you should probably be sitting down and have some sort of liquor close by before you take look. They're dismal. Which means a new writer getting a spec sold nowadays is almost impossible. Yes, impossible (almost).

Today's spec market is so slim and ultra-competitive you have to absolutely ensure you give yourself the best chance possible, or you'll never get work. How do you do this? Write what studios want to buy. What do studios want to buy? Properties that will make them MONEY. Like, Avatar/The Dark Knight money. Think your indie relationship film is going to do that? Neither do they. Which is why they won't even consider it past the logline.

Does that mean you have to "sell out" or write crap? Absolutely not. What it does mean is what you're writing has to be in line with your career aspirations. If your dream is to make indie films, I say go for it (I have a few indie ideas gestating myself). Just don't hold any illusions. The cold, hard truth is your intimate indie project will never attract Hollywood assignments. Not in today's climate.

That's not to say you can't go out & shoot it yourself - that plan of attack is probably the best way to go in any case. But if your eye is on a Hollywood career, you'll either have to shoot your own indie and hope it hits big (which are astronomical odds once you take a look at festival submissions and the indie market/financing in general), or write what Hollywood is buying. Specs from new writers rarely get sold. Today's spec market is dryer than ever. Now more than ever, you have only ONE CHANCE to impress "the gatekeepers" with your concept. So make sure your writing projects reflect the kind of career you envision. What are YOU writing?

9.2.10

Aspiring Screenwriter? This Article Could Save Your Life

Ever been to Wordplayer.com? If you aspire to a screenwriting career and haven't, you need to get there.
Now.
I'll wait.
Just bookmark it and come back though, start poking around and you'll be there for hours.
At some point, you'll want to read every article on that website, and you'll be that much further ahead of the pack for doing so. However, I'm writing this post regarding the subject of one article in particular: YOUR LIFE.

I urge everyone to read this, because ultimately, Terry is right. Harsh as it may sound, he's trying to do you a favor, so listen. If you're willing to be truly and deeply honest with yourself, this article could save your life:


http://www.wordplayer.com/columns/wp34.Throw.in.the.Towel.html



6.2.10

Proper Spec Format for New Writers

When it comes to the actual words on the page, it occurs to me new writers face quite a few different problems than pros, but not all new writers know this.

A great way to learn how to write professional screenplays is to read lots of screenplays written by professionals. Just be careful which lessons you're gleaning from a particular screenplay, because pros break a lot of rules new writer's simply can't. If you're unaware of that fact, reading those pro screenplays could lead you astray instead of closer to writing a sellable spec.

For example, though there are unspoken limits, pro writers are able to write using much more black ink than a pre-pro. Pros can afford to fill a few pages with ink, because they have proven track records. Therefore readers trust if there's lots of black on the page, the pro has good reason for doing so. Not the case with new writers. We haven't earned that trust yet.

So what are we to do when we have entire pages with no dialogue, few or no "Cut To"s or new slug lines and lots of action to describe? After all, film is a descriptive medium, better to show than tell, right? Part of the point of a screenplay format is to make for a quick, easy read. If there's lots of description for the reader to wade through, the read becomes long & laborious, which is a great way to piss off a reader. So how do new writers deal with the conundrum of showing - not telling through dialogue - yet needing to have ample white space on the page?

Solutions: is there anywhere you can make a natural page indent? Can you put a "Cut To" anywhere, a new slug line for a mini-location or is there any character dialogue you can slip in? Remember, the dialogue must be justifiable - as must new slug lines - but there's usually something your character(s) can say about whatever current situation you've put them in. I'm not suggesting some cheap exclamation like "Oh, shit" or "Uh-huh", be creative.

Also, you have pages before and after your problem page. Figure out ways to shorten your description lines on the problem page until it forces lines on the previous/following pages to transfer onto your problem page. For example, if there's a line of dialogue or a scene transition at the top of the next page, shorten the descriptions on your problem page until that dialogue or transition is pulled up to your problem page.

Look for any "orphans", single words that take up an entire line because the sentence you've written is too long to fit on one line. Find new descriptive words or a new way to write your line until the sentence is short enough for the orphan to disappear.
There are other tricks - again, just be creative - but large blocks of black ink on a spec script is a sure sign of an amateur. If you have an entire page of just scene description or action lines, it is imperative you find ways to break up that page.

Another rule I follow is every scene/action block must take up no more space on the page than four lines, and even four lines is pushing it. I try to keep all my description/action blocks limited to one, two or maybe three lines. That way a reader's eyes are naturally drawn down the page, making for an easy, quick read. I've heard this called "vertical writing". If I reach that four line mark, I look back at my paragraph to see if there's any way to shorten it or create a natural break into two separate paragraphs.

I'm sure you've read - or will read - some pro scripts that have four, five, six or more descriptive lines to a paragraph (check out some Tarantino, Wachowski, Eric Roth or J.P. Shanley scripts). Again, be careful what you glean from reading such scripts. They're usually great for breaking down how a master works with story structure, theme, rhythm, pacing, character development, etc., but they're terrible examples of screenplay format for newbie writers to emulate.
If you look at who wrote them, almost 100% of the time you'll find they were written by well-established writers, or writer/directors, i.e. the writer is writing with the intent of directing the screenplay him/herself. They are "names" in the biz already, they've already proven their talent and marketability, and therefore are allowed a certain degree of leeway. Once you've had a few sales and produced specs, you can loosen up on some of those rules too. Until then, your pages must always look uncluttered, simple and clean. In a word, inviting to a reader. I'm doing everything I can to make that happen... are you?