A Dangerous Career Update

Sorry I haven't posted for months now, but I have a fairly good excuse: I've been writing! Or more accurately, rewriting. In my opinion, rewriting is the core of the writing process. It's where all the heavy lifting is done. It IS writing.

I just finished my structure passes; all I focus on is making sure the structure is solid and the core concept is  - well - still the core concept. After the structure rewrite(s) I reread the whole thing in one sitting - has to be one sitting - to see how the story "flows". If it does, I can now set aside any major worries about the WHOLE and focus in a little tighter on fixing the PARTS that don't flow, along with any major narrative/character holes. This constitutes another rewrite. Once that's done and I'm happy with every scene and the basic flow on a storytelling level, I give it to a few trusted readers. While waiting for feedback I either work on what I already know needs fixing, or set it aside for a week or so and brainstorm on my next project.

Once comments come back I take all issues into consideration, and rewrite where I see appropriate. I then move on to my character pass, which is where I'm at right now. My character pass involves listing all the characters, questioning their individual story functions, thematic functions and general personalities. I've done this once already, before I started writing the screenplay. But knowing what you're going to write and executing it precisely are two very different endeavors. Now that it is written, have I given my characters enough familiarity? Enough uniqueness? Enough to do in each scene? What do they add to each scene they're in? Etc. Once I'm done with this character pass, I'll move on to my "connection" pass. If you haven't the foggiest what that could be, you should check out Pilar Alessandra's podast On the Page episode 112 "Rewrite".

After a few more passes my spec should be in market shape. I think I'm getting close. Which is why, on the tail end of this script, I'm also starting to put together my new spec. Right now I'm fleshing out the plot - beginning, middle and end - characters, and theme. Taking copious notes on any pertinent ideas, looking for inspiration everywhere; sketching out scenes and making scene cards.
A side note - a business note - these 3 specs I plan on using as writing samples all have one major attribute in common: they're all high-concept tentpole genre films. I'm choosing to work on these projects as opposed to others in my catalogue because these projects serve to "brand" me as an intelligent, high-concept, tentpole writer. Seems a good move, since my goal is to write those types of movies.

I also feel I could be writing faster if I were more focused. Given the nature of the business, writing well and writing fast have to be second nature, right? So I'm giving myself deadlines on the next spec, we'll see how that goes.

Aside from writing, I've always been a reader, but only recently rediscovered the library. Remember those things? Feel like I've fallen in love with the written word all over again. I ALWAYS have a book with me now. Reading about movies and writing, but also reading authors and about subjects that excite and inspire me. Highly recommend a library card because it's FREE, and you can check out like 30 things nowadays. So I'm getting exposed to a lot of stuff I otherwise wouldn't have sampled because I'm interested, but not $24.95 interested. So hopefully I'll discover some new favorite authors soon.

Might be stating the obvious, but the library's also a great place to sit and think. Research. Dream. It's quiet and usually sunny, lots of windows, very conducive to creativity. Beats the hell out of trying to be open and creative amidst the clutter of posers littering Starbucks like a bunch of geeky little hipster alien tech-heads. No offense.

I'm also reading produced screenplays I admire, as well as giving feedback on various friends' screenplays - working those analytical muscles.

I'm also compiling a target list of managers to start hitting up. This means doing lots of research - scouring the forums at Done Deal, Artful Writer and others in the quest for mangers' names and affiliations, their track records, their reputations, buying habits, looking for personal connections, compiling email addresses,  listening podcast interviews with agents/managers/producers/writers, pouring over industry news coming from my subscription services, websites, etc., updating my contacts list and keeping connected. Any and everything to keep current and know who's out there - who's buying what, who's looking for what, and with whom I may have the best chance of building a stellar career.

So again, my sincere apologies (and gratitude) to those of you who actually read this blog for not posting in some time. I've been a little busy lately. But if you're a comer, hopefully you've been busy too!

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?