tag:blogger.com,1999:blog-52531950594380378172024-03-19T05:44:50.166-07:00Fuzzy BunnySince I've started this blog, I've learned a ton about writing. About pitching, notes, persistence and humility. Humor is mandatory to survive in this crazy ass business. And the belief that no matter what, this is what I am meant to be doing. This is my path of trying to get a "written by" screen credit.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-5253195059438037817.post-36911041588577134642015-04-21T13:54:00.003-07:002015-04-21T13:55:57.096-07:00Ladder ClimbingI've been feeling a touch jaded lately. And I don't like to feel that way. I like enthusiasm and positivity. I'm a hopeful realist. I realized my glumness is because there's no new tidbits to get me fired up. I've been working my ass off. Things are progressing. There's been some nice things happen. But there's been no new peeks lately. And then I thought about ladders. <br />
<br />
I think the journey of screenwriting like a series of ladders. And
what you get excited about depends on where you are on the ladders.<br />
<br />
Here's my ladder analogy... <br />
<br />
There's
the "hobbyist ladder". This is the one where you really have no fucking
clue, but writing is the bomb. You're filled with hope and ideas of
success and getting involved in the whole world of screenwriting, but
you haven't quite committed to it. You might not tell anyone you're
writing. You've never had professional feedback. You're not even sure
what that is. Your mom likes your scripts. By the time you climb that
ladder, you've made the commitment to learn the craft. It's time to get
serious about becoming a screenwriter. Many drop off here or just stay
on this ladder, where it's fun.<br />
<br />
Next, you jump over to the
"amateur ladder". This is the learning ladder. The social ladder. The ladder of hard work and dedication. The ladder where you enter the society of writers. Courses, books, articles,
webinars, social media, you troll professional blogs and are a sponge.
You find your homies (writing groups). You write a lot. You get better.
You get professional feedback. You get better. You enter
contests. You get better. You rise in the ranks. You might win a few. You get some reads by legitimate execs. You
might make a short or help on other people's. Then you maybe get a
manager, or get an option, or contracted to write something. Feels great to be at the top of this ladder. <br />
<br />
And then you jump to the bottom of the "professional
ladder". This is the ladder where you're trying to get paid and eek out a
living as a full time writer. You get pro champions for your work. You
build relationships with producers/directors. You probably write on spec
for "up-and-comers" in the hopes that something will come of it. You
might make more shorts. You might get small gigs, and then hopefully
bigger ones, that pay... And climb that ladder.<br />
<br />
The higher the ladder,
the less people are on the ladder with you. At the bottom, there's a shit ton of climbers. You're climbing all over each other, hard to tell everyone apart. But if you are original enough, good enough, then you might be able to catch a higher rung and climb. The higher you get, the farther apart the
rungs are. The pro ladder is a long and hard fucking ladder. You grow
tough. Calloused. You may get a bit dinged up. But you hang on. Because
you've just climbed too many damn ladders by now to give up. <br />
<br />
I don't know what the pro ladder looks like after that. Maybe once you really break in with the first decent sale, or the first film produced, or a well paid contract the rungs start to get closer together again. I live in hope to see that part of the ladder. I imagine that section is really fun and crazy. Like Wonderland in a wild, action-packed theme park. There's flying monkeys and carnival mirrors. <br />
<br />
Then
there's the "elitist ladder" (or A-list ladder), but I have absolutely no
clue what that ladder looks like. I'm sure it's made of gold, and
there's beautiful people serving you champagne and feeding you grapes
while trolls lurk behind the ladder and try to push you off. Maybe. <br />
<br />
SO... that's the ladders.<br />
<br />
Side Note: Of course, everyone's series of ladders are going to be slightly different, but you get the general idea. <br />
<br />
I think on each ladder, there are different
things to be excited about. I
remember almost shitting my pants when I won a few comps. I mean, the
bubbles came out, I was ecstatic for months! I felt a great sense of
accomplishment. When I first started getting reads from proper execs!?!
Holy shit, that was awesome. I mean G. Del Toro's company was reading MY
script! Fuck me. I was sure each time (in the beginning) there was a big deal waiting for
me. And when I got a manager, I celebrated like mad. And all of these
things were absolutely valid excitements. I was climbing. Moving
"onwards and upwards".<br />
<br />
And all you can really see from the
ladders are the rungs below you. But the ones above you are in the
clouds. You can't anticipate those. Like life, I guess. But I think the
more rungs below you, the more you learn to temper your excitement,
because along with more accomplishments, there are inevitably more
rejections too. And if you allow the roller coaster to get out of hand,
you're going to barf. Maybe even let go of the ladder. So, I guess it takes more now to get me excited. It needs to be something new. <br />
<br />
My short script won 2nd place
recently in a comp, and I wasn't even excited. No bubbles.
Shame really. What we get excited about
shifts. Now I'm pumped about a potential book option. Things that will help me keep climbing. And yesterday, I got a whiff of something very exciting, but it's WAY too premature to even think about, let alone speak about. That's the other thing... you learn WHEN it's appropriate to even allow yourself to get excited. <br />
<br />
It's an individual sport of climbing ladders. But it's great to be excited for someone else's achievements, regardless of where you or they are on the ladders. You can relate if you've already been on that rung. You can get a glimmer into the clouds if that rung is above you. And you can just be damn happy that someone's climbing those ladders, just like you are. There's strength in that. Comradery. There's no limit on goodwill. God knows we can use all of that we can get. I think that's a good way to avoid falling too far into the jaded pit. I'm very grateful for my homies. You need friends to laugh with on those fucking ladders. Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com3tag:blogger.com,1999:blog-5253195059438037817.post-54367477421242699092013-11-22T16:05:00.003-08:002013-11-22T16:07:17.416-08:00Episodic vs FeaturesA few years ago, I was asked to write a few TV pilots for a producer in LA. It was a mad time, churning out 4 action pilots in as many months. And I had no idea what I was doing. I studied screenwriting, not TV writing. I'd only written feature scripts till then. The producer said "Just think of it like a shorter script, that doesn't have to wrap everything up." The gig came and went, studio contract fell through, whatever. But it got me thinking about TV... and how much more complicated it was than what that producer tried to lead me to believe.<br />
<br />
Cut to now. I've written more spec features, and finally feel like I'm starting to get the hang of it. But now, the buzz is that it's smart for a feature writer to also be involved in writing episodic. (I'm calling it episodic because it's not just TV anymore, is it? TV is just one platform of many to watch series programming.) I've heard several times from various pros that I should change my sci-fi feature script into a series. <sigh>. What to do. What to do. </sigh><br />
<br />
So rather than ditch my feature efforts and jump on the episodic trend like a desperado out for a paycheck, I wanted to see if this was something I really wanted to do. It felt so different to me. Like another world, with different people, different rules, and a new way to look at writing. Lots to learn. And after all my feature efforts... did I want to start over again without feeling like I've given features my best shot? <br />
<br />
So I did what I do when unsure... research. I've read a few great books on writing for TV (one book in particular I thought was great, link below), read some TV scripts (link below of a great source for TV scripts), I've listened to Jane Espenson talk about how much she loves episodic and why, (she's written for so many of my favorite shows!) I've also watched The Hollywood Reporters roundtables of showrunners. Illuminating. My manager is a wealth of info about episodic, and how it works, and what exactly is a showrunner, etc. (THR Roundtable of Showrunners link is below) <br />
<br />
What I'm learning is that in series writing, there's the creator of the show, often the exec producer. There's the showrunner, who is the creative voice of the show and head of the writers. Sometimes the creator and showrunner are the same person. Aaron Sorkin for ex. As for the directors, on some shows, the directors are rotated, and have much less say than even the main actors. Some shows have different guest directors, while others have a more consistent force in their director. With some big film directors doing episodic, I'm sure the traditional hierarchy is somewhat different. David Fincher is a director and an EP of HOUSE OF CARDS, and well, he's David Fincher. I imagine he'd be the boss. <br />
<br />
From what I can tell, it used to be that a new writer wouldn't become a showrunner. That position was filled by the network with experienced writers if your show got picked up. So as a new writer, the best you could hope for would be to retain "created by" credit, and then give up the writing to someone else. But that seems to be changing as well. (Maybe??) Well, there seem to be many more extenuating circumstances lately, and new writers are getting more of a shot. My optimistic viewpoint prevails.<br />
<br />
And of course, there's the Netflix factor with HOUSE OF CARDS... instead of doing many pilots and testing them to see which one to produce, Netflix jumps in with both feet, and makes an entire season of a show, "airing" the season in it's online network all at once. Sadly, I've only heard about Netflix, like a beautiful land of endless fun, because it hasn't come to NZ yet. (grumble grumble) But it's forging a brave new way to produce and watch entertainment. And it's working. From what I can tell from listening to interviews, etc, it's also changed how writers look at the pilot, and how they unfold the story. They can take their time, and let us into the world more slowly, without feeling that they have to make the pilot whiz bang with everything, or the show will never see the light of day. That's pretty damn cool new system I think. Yay Netflix. (now come to NZ please!)<br />
<br />
The other big thing I've learned about episodic is that things move (a lot!) faster than features. There's less outside influence and fewer opinions that have to be catered to than in a film, for a writer. It does sound quite stressful, but at the same time, things get done. You write an episode one week, and it's being shot the next. Unlike a feature that might take years (and years) to ever get shot. You live and die by quick decisions, but at least you can still remember what you wrote and why. <br />
<br />
AND... it seems that more risks are now being taken with episodic than with film. Or specifically, networks, Netflix or webseries are taking more risks than the studios. And this is exciting for a writer. (John Landis has some interesting things to say about this. Link below) <br />
<br />
So what I've discovered, in broad general strokes, is that episodic is more of a writer's arena, where the pace moves at a clip, and you can develop a world, story and characters in a kind of depth that you never could with a feature. Sounds pretty awesome. <br />
<br />
I won't give up on my feature scripts, or my dream of seeing my story and characters played out on a big screen. I really do love the movies. I will always love the movies. <br />
<br />
But seems that I can have my cake and a glass of wine too! Today, there's not such a line to cross with writing for features or episodic. Writers can do both! That's even more awesome sauce.<br />
<br />
And that seems to be where I find myself now. I have been brought on board this insanely cool sci-fi episodic project in it's development stage. The director is visionary, and a joy to work with. It's an independent production company, with independent financing. After reading my sci-fi script and many chats later about the concept, life and the human or alien condition, he's asked me to write his show. Just like that. I still pinch myself every day and am grateful every day to play in this amazing world he's created. <br />
<br />
In the meantime, I'm still in development with a producer on one of my feature scripts. We're making (slow) progress, and I hope to have her a new draft early in the new year. Fingers crossed that it makes more definitive strides next year into getting produced. <br />
<br />
So, with a foot happily planted in both boats, I am having the time of my life! <br />
<br />
Here's the links I promised... Enjoy! <br />
<br />
John Landis interview...<br />
<a href="http://www.hollywoodreporter.com/news/john-landis-rails-studios-theyre-659222">http://www.hollywoodreporter.com/news/john-landis-rails-studios-theyre-659222</a><br />
<br />
THR Roundtable Drama Showrunners...<br />
<a href="http://www.youtube.com/watch?v=vc-PeN1nMnE">http://www.youtube.com/watch?v=vc-PeN1nMnE</a><br />
<br />
THR Roundtable Comedy Showrunners...<br />
<a href="http://www.youtube.com/watch?v=H6XMHVTKaLk">http://www.youtube.com/watch?v=H6XMHVTKaLk</a><br />
<br />
TV pilot scripts for download<br />
<a href="https://sites.google.com/site/tvwriting/uk-drama/pilot-scripts">https://sites.google.com/site/tvwriting/uk-drama/pilot-scripts</a><br />
<br />
The book I'm reading, so far it's very good...<br />
Writing the TV Drama Series by Pamela Douglas<br />
<br />
If you have any tips or links or info on writing episodic, lay it on me! I'd love to hear it! <br />
<br />
<br />Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com0tag:blogger.com,1999:blog-5253195059438037817.post-51972483474341380522013-09-26T15:47:00.001-07:002014-06-10T06:17:49.650-07:00If I love you, I'll forgive you anything. <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">I just watched "THE ICEMAN". <spoiler alert=""> The protag is a complete psychopath. He does brutal things with absolutely no remorse or emotional residual effects. He's cold, detached, and unable to comprehend basic courtesies. BUT he has an unbreakable rule that he doesn't kill women and children, and he is a completely devoted husband and father, and he adores his family. I wanted him to be okay. Part of me felt bad for him (certainly his wife) when he was finally arrested. That's some kind of brilliant film that can make me feel badly for a cold blooded assassin who's killed over 100 people. </spoiler></span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">I've been studying this "character sympathy" thing feverishly for a while now. Emotional connection. That's what it's all about. If I'm in love with a character(s), I will forgive plot holes (as long as they're not too gaping), or poor fight sequences, or bad vfx, or almost any sin with the rest of the film. But if I'm not connected to the character(s), it had better be a pretty brilliant, well executed concept. And even then, the best I might come away with is "it was good". </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Some friends have given me some great books on the subject. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">One is called "The Story Solution" by Eric Edson. And the other is "The Art of Character" by David Corbett. (Thanks John and Dawn!) </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Check out this incredibly helpful list from The Story Solution...</span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">http://www.thestorysolution.com/how-we-feel-a-story-by-eric-edson/ </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">I've also taken the 10-day Advanced Dialogue class at Screenwriting U, which is a repeat for me, but I wanted a refresher, and refreshed I got! It's stellar info! </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">And of course there's Orson Scott Card's book "Character and Viewpoint" which is fantastic. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">So... what have I learnt (and am still learning...)? </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">That there's no magic formula to making people fall in love with your protag, just like in real life. But there's things that your character needs to have right from the get-go, as their char arc is just starting, before they transform into the person they'll become at the end. Things that are part of their char profiles. Their personalities. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">I've been working with an exceptionally clever producer developing one of my scripts, and I'm also learning things like make sure the protag has a clear and definitive goal. And they're taking steps towards that goal. Wishy washy, floundering protags aren't who we bond with. We bond with people who are trying to get somewhere. Want something desperately, or desperately don't want something to happen. I know this sounds obvious, but when I went back to my scripts, in every case, this could be clearer. In some cases, much clearer. Damn it. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">We also want strong protags. They can be shy, or lack confidence, or be terrible with the opposite sex, but deep down they have to be somehow a strong character. Believe in something strongly. Have a strong moral code. Be a presence. They have to be someone the audience is going to want to follow for two hours. They have to be smarter, or wittier, or tougher, or more calculating, or kinder, or braver than ordinary people. They have to be an expert in something, even if it's compassion. And preferably, they have to be an expert in whatever thing they need to reach their goal. Maybe it's determination and drive they need (like Rocky) over actual skill, but he had enough determination to overcome his lack of skill. Even if they're an "ordinary person in an extraordinary situation", they need to have something extraordinary about them to start with. It has to be part of their nature. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">I read CHILDREN OF MEN the other day. Brilliant script. The main character is a nobody. EXCEPT... he used to be a rebel fighter, and one of the best. And he's the only one that the rebel leader, his ex-girlfriend, trusts. So he's strong, courageous and trustworthy. Even though he seems like a nobody. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">I found a list of the 100 greatest movie characters of all time. Each of these characters is somehow a strong personality, with inherent qualities in their nature to make us emotionally connect to them. And they show who they are through what they do. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">http://www.empireonline.com/100-greatest-movie-characters/</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">I smell more rewrites in my future. </span>Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com2tag:blogger.com,1999:blog-5253195059438037817.post-46067401789634277862013-05-18T20:20:00.001-07:002013-05-18T20:20:23.287-07:00Digesting Big MF'ing Notes. <div class="MsoBodyText">
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{page:Section1;} </style><span lang="EN-US">Although nothing really “happened” this
week, it was nonetheless eventful and enlightening for me. The beginning of the
week, I got notes. They weren’t the notes I was hoping to get. They were the
kind of notes I wanted to hide under my covers from. They were the kind of
notes that I would have to change the fundamental way I thought about my story in
order to address. They were the kind of notes I wanted to ignore. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">I have always said… I’ll do anything to
make the story better. I’ll rewrite it any way that will help the script sell
or get made. I’m not precious. I understand the business of screenwriting. I
get the whole “kill your darlings” thing. Change the protag to an
alien? Sure! I had no darlings. I was open. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">Ha! I was wrong. I guess it’s inevitable
that we get attached to our ideas. In order to work through my resistance to
these notes, I did some honest digging. I wanted to know what was causing my
resistance and then what to do about it.</span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">The Honest Why’s to Resisting Notes…(in any situation, not just the one I was facing this week.) </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">- Burn out. I’m not a lazy person by
nature, but hell, everyone gets tired. I’ve spent a lot of energy, time and
effort on this story. At a certain point, even the smallest change can feel
like Mount Everest. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">- Being too close to it. When every
word has been considered, dialogue dripping with subtext, it can feel like a colossal waste
of effort to even consider ditching those crafted little details. Forest. Trees. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">- Being scared that I won’t be able to
pull off something different. That I won’t be able to make all the pieces fit
as well. That I’ll screw it up.</span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">- Losing the passion for the story. I
have started on my next screenplay, which is all shiny and new. This unexplored
world beckons me, while I am faced with a broken world waiting to be fixed. I
am a product of our instant-gratification, throwaway society. This also falls
into the “too impatient” category. I’ve never been praised for my patience. I
am getting better with effort, but that’s simply part of my nature that I’ll
have to do battle with forever.<span style="mso-spacerun: yes;"> Breath by breath. </span></span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">- The person giving the notes seemed
condescending. Now, this shouldn’t even enter into the equation, but it does. I
suspect we all want respect. We want our hard work recognized and understood.
So, when I get notes that seem to disregard my efforts, I can feel myself shut
off. I try not to, but it’s like a door that has a will of it’s own. SLAM. It’s
not helpful. It’s ego. Yuck. But true. I read in some management-training book
somewhere that people need to hear ten times the positive reinforcement to
negative reinforcement in order for the negative to be accepted. Jesus, we’re
fragile beings. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">- There is of course, the first reason I
tell myself why I am resistant to notes. That the notes suck. And sometimes,
even after an open and honest evaluation, this is true. Not every story is for
every person. Not every person giving feedback is a good, objective story
analyst. Sometimes, the note-giver might know something’s wrong, but they don’t
know how to fix it. Or they don’t know how to express the problem. That's very
common. So this is the easiest way for me to fool myself when I get a note that
makes my heart sink for any of the above reasons. I will try to justify why the
notes suck, instead of why I am resistant to giving them a fair chance. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">So, the first thing I’ve learned to do
when I get this feeling of opposition to notes is to step away. Distance myself
from the whole affair. Do things that inspire me. Watch movies. Read a good
book. Or as this week was the Cannes Film Festival, I engrossed myself in that.
I let the filmmakers’ excitement and love of storytelling infect me. I listened
to Stephen Spielberg; I read articles about the films in the festival. I
watched interviews where actors talked about the scripts that inspired them. I
saw audiences moved by the films they saw. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">And I was back. Inspired. Full of energy.
Both eyes on the prize. Flying over the trees to see the forest. Ego in check.
Door wide open. A willingness to do anything to make my story better; which
would eventually get my script sold or made. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">I re-read the notes. It’s much easier now
to resist the urge to fall into darkness and despair. Now it’s time to do the
work. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">The biggest decision at this point is whether to
take the notes on board. This depends on how I feel about the person giving the
notes. Do I trust their opinion? Are they invested in helping me improve the
script? Did they put time and effort into their feedback? Are they someone who
could help me with my end goal of a sale or a "written by" screen credit? </span></div>
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<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">If I answer yes to any of those
questions, then the next step is figuring out the reason for the notes. People DO give notes for a reason. I’d be a self-indulgent idiot if I didn’t think all
my stories could be improved. That’s not a lack of confidence, or false
humility. It’s just true. So I have to figure out what didn’t click for them, or make them feel the
way they hoped to feel. What was missing for them? That is the art of note
deciphering.</span></div>
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<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">I am incredibly lucky that I have people
I trust and respect that I can ask for help. My manager, John, is
one, and my friend and story analyst, Joey, is another. They both have a
brilliant instinct for story, and clarity for the bigger picture that is rare and
invaluable. I also have a very close-knit circle of wonderfully talented writer
friends, and we constantly share and learn from each other. I’d be lost without
these people. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">So, once I’ve accepted that I need to
really consider the notes, I must leave everything I’ve done behind. Everything
is liquid once again. Anything can change. Nothing is pre-determined. I’m back
to “what if…?” It took me a long, hard week from getting the notes to here.</span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">And here’s the funny part. Once I arrived
at this point, and started working through the new perspective of the story,
brainstorming ideas and figuring out how it could all work, I started to get
excited. This was good shit. This could be a better story. I could see how it
was clearer, with a better structure, and still held the mystery and emotional
content of the relationships that was so important to me. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">I wrote up a new 4-page synopsis of the
story in half a day. I guess really it was a week and a half a day, if you
count all my mucking around. Some might call that the “creative process”, I
guess. I call it somewhat embarrassing, but a great week of discovery. </span></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<span lang="EN-US">Onward and upward! </span></div>
Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com0tag:blogger.com,1999:blog-5253195059438037817.post-86264426212005909882013-03-16T21:45:00.000-07:002013-03-16T21:45:57.716-07:00My 11 Commandments<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
I did a consultation with<span lang="EN-US"> a development exec about a month ago. His knowledge about comedy and story are impressive. I'm looking forward to our next consultation with a new draft based on all his clever suggestions. </span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US">One of his suggestions was that I
should list ten things to use as my commandments. Put them on a wall. Let them be a reminder of what I need to do. Wall. Blog. Same thing. </span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US">I ended up with 11. I’ve
compiled it based on some of the wonderful things I’ve learned from people like
that devel exec, Orson Scott Card, John Cleese, The Actor’s Studio, my friends,
and my mom.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US">1. Don't be married to words. Be married
to the ideas behind them. Too many great words kill a good read.</span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US">2. Use the best characters for my story
and it's audience, not just the ones I enjoy writing. </span></div>
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<br /></div>
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<span lang="EN-US">3. Don't settle on the first idea no
matter how brilliant. I can always come back to it, but never pass up an
opportunity to brainstorm. It’s is a free ticket to go nuts. Use it to be bold.
Sexy. Inappropriate. Angry. Wild. Random. Idiotic. Truthful. </span></div>
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<br /></div>
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<span lang="EN-US">4. Listen to my gut when it's telling me
something needs more work. If I have to ask... "Is this too..." the
answer is always "Yes". Convincing myself something is good means
that it isn't. </span></div>
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<br /></div>
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<span lang="EN-US">5. Don't simply watch the movie unfold as
I write. Live it. Be in it. Feel what the characters are feeling. Wear their shoes.
</span></div>
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<br /></div>
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<span lang="EN-US">6. If I don't adore my main character, if
I'm not anxious for them, horrified, elated, devastated, then no one else will
be. </span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US">7. Keep it simple. One goal. One story.
One theme. Overcomplicating is easy. Simple is hard. </span></div>
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<br /></div>
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<span lang="EN-US">8. Write a killer logline before
committing to the story. If I can't interest someone in the concept, then it
doesn't matter how it’s written. No one will read it. A logline is the quickest
way to see if I'm about to waste a colossal amount of time and effort.</span></div>
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<br /></div>
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<span lang="EN-US">9. Learn from the least likely source. If
someone is willing to help me, be grateful, regardless of their suggestions.
Ideas are like balls in a pinball machine. The more they bounce around, the
more points I'm going to get in my game. </span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span lang="EN-US">10. Trust my path. It's not going to be
the same as anyone else's. If someone says I can't do something, remember
that's what they feel they can't do. Listen. Learn. Evaluate. Be open-minded.
Be honest. Keep going. Onward and upward. </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">11. The very best way to learn how to write
is to write lots. </span></div>
Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com1tag:blogger.com,1999:blog-5253195059438037817.post-41685919095363495082013-02-26T10:47:00.000-08:002013-02-27T14:52:33.668-08:00Awesome Madness<div class="MsoNormal">
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--</style><span lang="EN-US">My last post I was waiting for a lot of
things. Well… since then… </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">My sci-fi didn’t advance past the semi’s of
Nicholl, but I had no idea that the semi’s would still get me reads! And it
did. I got 14 script requests from various producers and managers to read that
script. And from those requests, a few read more of my scripts… and from that…
I’m getting ahead of myself. </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I have been entering The Page Awards for
many years, and each year, I did a little better. I feel like I have been
growing up with Page, their competition tracking my progress. They are always filled with such enthusiasm and support. I went from quarters, then
semi’s and then last year one of my scripts (a comedy) got into the finals. So
it was super significant for me when I won 3<sup>rd</sup> place for another
comedy script last year. I found out in October. (I partied hard.) From that placement, I got 12 script
requests from various managers and producers, and a few read more of my
scripts… and from that… well, I’m getting ahead of myself again. </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">In October, I met The Happy Writers. These
guys have changed my life. No joke. My friend, Caz, recommended them to me. I
went to them for script consulting. I knew as soon as Joey emailed me back
within 5 minutes that I’d hit on a company that was different. He was
personable, for God’s sake. Not like ScriptShark, or any other consultant I’ve
used. The feedback was stellar, totally bang on. I did more consulting. And
more. They showed me how to look at my script from a producer’s perspective.
I’d never had that before. Eye opening. </span></div>
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<br /></div>
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<span lang="EN-US">Then Joey told me about the Skype pitching
services they were doing. You pay to have the opportunity to pitch via Skype to
a manager, agent or a producer. My friend Caz helped me with my first pitch.
Thank God. I was crapping my pants in that first pitch. But it went down well,
and a lovely manager asked to read my script. I was hooked. Joey and Alexis
helped me even more with my pitches. I started pitching like mad. </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I want to just pause for a moment, to say
how much my yearlong association with Toastmasters paid off in spades for me. I
was able to do my pitches without throwing up from nerves. Seriously. I am so
grateful to them for helping me through my issues with public speaking. Nevermind the difference it made in my face to face meetings… but again, I’m
getting ahead of myself. </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">In Nov, I found out that my drama won the
Reel Author’s awards, which was awesome. It’s the first time I’d actually won a
contest. A few weeks later, I found out that I’d won The Happy Writer’s contest
with the same drama script. Now, I was chuffed that I’d won the Reel Authors,
but I was over the moon that I’d won THW. Part of the prize was that they would
set up meetings for me in LA. And another part was that I got my services from
them for free for a year. That’s right. Free pitching. They’re crazy. I pitched
to EVERYONE. I have done 39 pitches since last October. I’m a pitching fool. </span></div>
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<br /></div>
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<span lang="EN-US">I just came back from my 2 week trip to LA,
where I got to see my mum, and so many of my wonderful friends (I lived there
for 7 years) did 4 Skype pitches with THW, had a consult with an awesome guy
from Disney on my comedy, met Joey and Alexis (LOVE those guys!!!!) met with a
manager I was connected to via Page (more of that in a mo), met with an amazing
A-list producer, 3 devel execs from fantastic production companies, and 2 other
managers - all via Joey (truly he’s a superstar!), met the exec director of
Page (she’s such a sweetheart!), and the judge who read my script (so
incredibly helpful and lovely! A working writer for the past 20 years!), met
with a director who was interested in one of my scripts via Nicholl (more of
that in a minute), and as if all that wasn’t enough… my brother, who I hadn’t
seen in 17 years, flew over from NYC to see me, which I can’t even tell you how
wonderful that was.</span></div>
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<span lang="EN-US">F*ck me. Quite a trip. </span></div>
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<span lang="EN-US">The tangible results from those two weeks
are that I now have :</span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">- A manager whom I adore. I met John via
The Page Awards. I would be friends with John even if we didn’t have a 2-year
contract. (I’m SO thrilled). John is everything I wanted in a manager. We had
two amazing meetings, and I feel in my gut that we are going to have a lot of
fun together for many years to come. </span></div>
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<br /></div>
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<span lang="EN-US">- An option deal for my psych thriller,
that John is working through right now. If it all goes through, as I hope hope
it does, then I’ll tell you more about it. For now, I’ll just say that I had
two meetings with this director (that I met via the Nicholl Awards), and he’s
Awesome. We had a 3-hour story meeting, brainstorming and going through the
script. It was a first for me, talking turkey with the director and his
fabulous assistant, and really getting to the heart of the story, and bringing
it to another level. I learned so much from them, and am so excited about the
rewrite. We left feeling like family. I couldn’t have asked for a better
experience for my first (potential) option. </span></div>
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<br /></div>
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<span lang="EN-US">- Connections with some amazing people via
Joey, who have all told me to stay in touch. They all want to read my scripts,
some need rewrites, some haven’t even been written yet. Ha! One of the devel
execs I met will come visit NZ, and stay in our guest room. These meetings went well because I had so much experience pitching with THW. I was never caught out by a question I hadn't heard in some form already. I knew all my stories and pitches with ease. And I also felt comfortable talking with each of them, as I had already pitched to them all once before. I had no idea at the time I was pitching that it would save my ass later. </span></div>
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<br /></div>
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<span lang="EN-US">- My brother Jonathan, who is a brilliant
composer/lyricist told me that he and a fabulous woman he writes with, want to
turn one of my comedies into a musical. This is so incredible for me. First of
all, I always saw this story as a musical. Don’t ask me why. Unlike my brother,
I am not musical in any way. But the main reason I’m so excited and honoured
that this is happening, is that I’ll get to work with Jonathan. Imagine that.
Couldn’t be happier about this. </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">The intangible results are that I got to
hang out with my Mom and her hubby. Which was awesome. I really miss her.
Jonathan and I got to spend a lot of time together, getting reacquainted. I am
so proud to be his sister. And I got to hang with many of my dear friends. I
had a blast. We went to the Magic Castle (thanks Michael! And everyone who
came. So awesome to see you guys!), the Getty (Great suggestion Robin!) and did
some fabu shopping with Lisa! Keg had bubbles at the ready when I got the
option (you so ROCK!). Got to meet Joey and Alexis in the flesh. How can you two be so fabulous and so gorgeous as well? Met up with my wonderful friends from the first writing group I ever belonged to. So great to see you guys! Had dinner with some old friends, which was just
amazing. Big love and hugs to you all. </span></div>
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<br /></div>
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<span lang="EN-US">I didn’t get to see some pals… Christina,
Karen, David, Erin, Barb… I’ll see you guys all next time!! </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">And that’s the news. I’ve gotten such
amazing support from so many people during all this madness. It really does
make all the difference. </span></div>
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<br /></div>
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<span lang="EN-US">I am one lucky puppy. </span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US"><span style="mso-spacerun: yes;">And I have a lot of writing to do...</span></span></div>
Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com3tag:blogger.com,1999:blog-5253195059438037817.post-64779294146157878262012-09-09T12:18:00.001-07:002012-09-09T12:18:33.896-07:00Waiting and WorkingA few things on the go that I wanted to share. Plus my latest writing revelation. (I think it's a biggie)<br />
<br />
My sci-fi script, GAME OF THE GODS, is in the semis of the Nicholl Fellowship. I'm still in shock. They are down to 129 scripts of nearly 7200 entrants. Now they tell me 4 Academy members read my script. And my name goes on a list that gets sent to around 200 agents/producers/managers, etc for becoming a semi-finalist. <br />
<br />
My comedy script, 10 INTERVIEWS, is in the semi-finals of the Page Awards. I have no idea how that happened. <br />
<br />
A fantastic manager has contacted me (unsolicited?!) and requested to read GAME OF THE GODS. He didn't say anything about Nicholl, but why else? <br />
<br />
I'm waiting to hear back from a producer in Vegas about my script set in Vegas. He seems lovely, and liked my script enough to pass it onto his director to see if there's interest. On his request, I've sent him a new outline based on some comments he made, and thoughts I had. I've basically changed more than half the script. But it will be so much better. I'm grateful to him, even if he passes. <br />
<br />
So, yeah. F*ck me. Patience is key. <br />
<br />
But I love having a few things on the go. That means I'm not pinning all my hopes on one thing. I think it's important for my moral. I've entered many more contests, and contacted more producers, and had other rejections, but the more I do, and the more I put my scripts out there, the more of a chance I have. Fingers, pies, many.<br />
<br />
While my "business side" waits, my writing side is working away. I have the usual long list calling me. First is to get some of my sci-fi concepts in line. Then the rewrite of the Vegas script, and finally, I have a new sci-fi (a space cowgirl flick) that I'm dying to get at.<br />
<br />
But I've also been thinking a lot about emotional content. I have come to the conclusion that I haven't been infusing enough emotional content into my scripts. I'm plot driven. So it takes me a lot of drafts to get the emotion into the script. But it's the emotional content that makes someone fall in love with a story and a character. So I've been reading some books on Method Acting. That's right. Because the theory (from what I can tell) about Method Acting, is that you don't play the part, you are the part. That way you aren't acting, you're feeling. It's intuitive. You can't hide from the emotions of the character, because they are your emotions. And this has made me ask myself, when I'm writing, do I simply watch the story unfold, or do I live the story as it's being told? I can put myself in my character's shoes, but it's more of an empathetic stance, than a completely personal stance. And I think there's a world of difference in that. So, while writing my next script I'm going to engage in the exercises a Method Actor does, and find shoes that my character would wear, and literally walk in them. Yup. I'm going to actually wear their shoes while I write. Of course, as a writer writing all the parts, instead of an actor acting one part, that's a lot of shoes. But it might work. Or I might go mad. But I think it's going to be worth a shot! I'm excited. Method Writing. WTFN? Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com5tag:blogger.com,1999:blog-5253195059438037817.post-62808067881994269912012-07-21T23:04:00.001-07:002012-07-21T23:06:23.815-07:00Life Lessons<span style="font-size: small;">Tomorrow night I am giving my 8th speech in my Toastmasters Group. Three more speeches to be deemed a "competent communicator". Woot. I love my group, and have gone from thinking I will throw up before a speech, to enjoying the experience and having fun with it. I hope this will translate into pitching scripts, which was my reason for going. I couldn't have gotten worse. And the fact that I'm not obsessing, feeling ill, or getting nervous ticks indicates I've come a long way baby. </span><br />
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;">In any case, my speech tomorrow night is about storytelling, and what life lessons it's taught me, so I thought I'd post it, as I've been slack with the posts, and what the hell, I'm a lazy ass and this is already written. </span><br />
<span style="font-size: small;"></span><br />
<br />
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">I have been learning how to write
screenplays for a while now, through books, university courses, online courses, seminars, coaches, consultants, managers, agents, website and webinars. For the most part,
from what I can see, there’s a definitive way to tell a good story. </span></span></div>
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<br /></div>
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<span style="font-size: small;"><span lang="EN-US">You have a
beginning, something happens, there's trouble, it goes from bad to worse, then completely horribly wrong, there's a
choice, fight back, a crisis, win/lose something (often both), a resolution. </span></span></div>
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<br /></div>
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<span style="font-size: small;"><span lang="EN-US">That’s pretty much
how most stories go. Give or take. </span></span></div>
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<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">But a good story
isn’t just structure. And here’s where storytelling gets interesting. The art
of good storytelling is in engaging</span><span lang="EN-US"> the audience. Somehow, they have to connect to the story.
Become emotionally invested</span><span lang="EN-US">. </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">How<b> </b></span><span lang="EN-US">does a storyteller do that? I've narrowed it down to three things. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">ONE. Characters.</span><span lang="EN-US"> You love them, hate them, they make
you laugh or cry. And here’s the catch. The best characters have flaws</span><span lang="EN-US">. They are not perfect. We don’t find
perfect characters interesting or endearing. What we find engaging in
characters are their flaws more than their virtues. </span></span></div>
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<br /></div>
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<span style="font-size: small;"><span lang="EN-US">For example: </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">Captain Jack
Sparrow</span><span lang="EN-US">. He is a bit
nasty, and a drunk. But we love him. </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">Indiana Jones</span><span lang="EN-US">. He’s a thief. Grave robber. Cocky. And he
can’t hang onto anything he steels. </span></span></div>
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<span style="font-size: small;"><span lang="EN-US">Batman</span><span lang="EN-US">. He’s out for revenge. He’s emotionally unstable.</span></span></div>
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<span style="font-size: small;"><span lang="EN-US">TWO. Villains</span><span lang="EN-US">. We love good villains. Really bad, scare
the pants off you, terrifying evil people. Because we love to see them
defeated. The bader the better. The stronger they are, the more we want them
taken down. The harder it seems for the good guy to win, the sweeter their
victory will be. </span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">For Example: </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">Jaws.</span><span lang="EN-US"> That shark is terrifying. Who didn't cheer when that sucker blew up? </span></span></div>
<div class="MsoNormal">
<span class="st"><i></i></span><span style="font-size: small;"><span lang="EN-US">Hannibal Lecter. He’s a frickin' nightmare. And a starling has to
take him down. </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">Darth Vadar</span><span lang="EN-US">. He is not just the baddest ass villain, he's your father. </span></span><span style="font-size: small;"><span lang="EN-US">Say no more.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">THREE. Relationships.</span><span lang="EN-US"> We love to watch how characters relate to each
other in a story. We want them to have someone to share a revelation with. Or a moment of
glory, or the aftermath of victory. Love. Friendships. Rivalry. We can connect
to characters based on the relationships in their lives. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">For example: </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">Obviously the
romantic comedies like Pretty Woman. And buddy movies like Men In Black, or
Butch Cassidy and the Sundance Kid. But take an action movie. </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">Die Hard.</span><span lang="EN-US"> If his wife wasn’t in the building, and we
weren’t already hoping they would get back together, it wouldn’t have mattered
as much if he won. </span></span></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">The Hunger
Games</span><span lang="EN-US">. It’s a sci fi
action adventure. But the thing that kept me hooked through the story is who
will she end up with? And I loved her because of her unconditional love and
sacrifice for her sister. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">So, to recap… </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">1. Being
perfect is over rated.</span><span lang="EN-US">
It’s boring, and no one will find you interesting. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">2. Getting
something good is sweeter with sacrifice</span><span lang="EN-US"> and hardship. We like to earn our glory. We find it
more satisfying to work for it than to have it handed to us. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">3. Ultimately, what
matters the most to us, are the people</span><span lang="EN-US"> in our lives. Without someone to share the ups and
downs with, the hardships and the glory, life can be a bit shallow. </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: small;"><span lang="EN-US">Storytelling has taught me to </span></span><span style="font-size: small;"><span lang="EN-US">embrace my flaws, welcome my
challenges, and enjoy the
people in my life.</span><span lang="EN-US"> These are the key
ingredients to my own good story. </span></span></div>
<span style="font-size: small;"><br /></span><br />
<span style="font-size: small;"><br /></span>Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com0tag:blogger.com,1999:blog-5253195059438037817.post-9912180237422717092012-05-12T00:07:00.000-07:002012-05-12T03:16:35.449-07:00The Almightly Logline<div class="MsoNormal">
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</style><span lang="EN-US">Logline: A sentence that gets your script
read, or more heartbreakingly, not read.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I shudder when I have to write one. I am
constantly re-thinking them when I do. And I’m never, and I mean NEVER happy
with them, even after the 50<sup>th</sup> rewrite of that one, short, simple
little line. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Because this one simple line has to sum up
a gigantic volume of time, effort, passion and polish. This one line might
encompass a year of your blood, sweat and tears. (Oh come on, admit it. You’ve
have too cried over your stories.) </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">And regardless of if you do well in a
contest (which is truly great, I’m not saying it isn’t) or if your writing
group thinks you have a sure fire hit (which is also incredibly rewarding, no
doubt about it), or if you know in the pit of your gut, in that one place that
never ever lies, that this is a damn good script… </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">It doesn’t mean jack if you can’t get it
read by that Influential Group of agents/managers/producers who can get real
traction for your script. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">And they only read it if the logline grabs
em. </span><br />
<br />
<span lang="EN-US">Just to be clear. I’m not talking about
a writer whose name is what gets a script read. So, for example, if Terry
Rossio & Ted Elliott have a script, their logline could suck ass, and
everyone would be climbing over themselves to read their script anyway. Maybe
they don’t even have to write loglines anymore (why should they?!) but I’m
talking about Ms. No-Name-Writer here, with “please-read-my-script” tattooed on
her forehead. The thing that will get my script read is a good logline. </span><br />
<br />
<span lang="EN-US">Is that fair? Damn straight it is. Because </span><span lang="EN-US">the flip side to this is, I often only see a movie if the
tagline grabs me via advertising. And that’s a whole completed movie that
potentially took years, and tons of people, and lots of money, and I bet their
fair share of tears, to make. And I can judge all that work by one line in two
seconds and sum it up with “Nah sounds boring.” And I move onto the next
movie in the list. I do this. I sometimes even judge a whole body of work on just the title
alone! I do. I bet you do too. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">SIDE NOTE</span></div>
<div class="MsoNormal">
<span lang="EN-US">“Abraham Lincoln: Vampire Hunter”. There is
no way I’d see that movie. And there are other people who are dying to see it.
All based on the title alone. Nevermind a logline. Which btw, if you’re
interested is: “Abraham Lincoln, the 16th President of the United States,
discovers vampires are planning to take over the United States. He makes it his
mission to eliminate them.” Anyway… Seth Grahame-Smith wrote it, and he’s on
the hot list now. He wrote Dark Shadows. So I’m obviously talking smack. Vamp
Hunter is probably going to rule the box office. But it will rule it without my
$15. </span></div>
<div class="MsoNormal">
<span lang="EN-US">/SIDE NOTE</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">So I don’t BLAME the Influential Group for
judging my script on a logline. I get it. It’s how it works. It just makes me
so super-hyper-aware of how important that damn unforgiving logline is. </span><br />
<br />
<span lang="EN-US">Before
I started marketing my scripts, I knew I had to write one; I saved it for the
end (procrastinated), categorized it under “cursed marketing” and didn’t really
give it much weight. WRONG. I couldn’t have been more misguided. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Now, with a bit of marketing experience
under my belt, and seeing what scripts of mine get requested, and which ones
don’t (despite being a finalist in Page) I see that the logline is KING. So
much so that I can’t afford to think of it as a royal pain-in-the-ass anymore. In fact, I have to start thinking of the logline as something that's not only used to get someone to read my script. I have to start thinking of it as a development tool for my story. </span><br />
<br />
<span lang="EN-US">It will show me if my main character is
worth writing a story about. It will tell me if the conflict is big enough and
if the stakes are high enough. But most importantly… it will tell me if my
story has heart. It will show me if it’s a movie I would want to see or if I
would pass over it in a listing of 15 other movies with “Nah sounds boring”. It
would make it perfectly clear to me, what is it about this story that I simply
have to tell it? It will sell me on my story. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">I’m finding it interesting to go through
IMDB and my cinema guides, and read the loglines of movies that have been made.
Some of the loglines seriously suck. And some of those movies are good too, and
the logline doesn’t do it justice. Which just confirms that loglines are
freakin’ hard! But when I come across a good logline, it sticks out. It
makes me smile. I nod my head. Yeah… I’d see that. You know the idea has heart.
Even if the resulting movie was terrible, that script got read!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Obviously, getting a request to read a script
is just step one, but without passing step one… you’re still at step one. And a
logline does not determine if the script is good. But it will determine if the
concept is good. And maybe even more importantly, it will show if the story has
that special something that everyone looks for, but no one can define. In the
age of ADD, I call it AAK (An Attention Keeper). </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">So, that’s my weekend task. I am going to
re-examine 2 of my loglines, and see why they are not getting script requests. I sense a few rewrites in my near future once I figure out the problem with The Almighty Logline. </span></div>Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com2tag:blogger.com,1999:blog-5253195059438037817.post-75965054900575399002012-02-09T03:14:00.000-08:002012-02-09T11:43:52.916-08:00My latest revelationOK, so you probably already know this. And I guess I did too on some level, because it just makes sense. But it's finally hit me what is the main thing I yearn for in a story, the thing that keeps propelling me through pages, or screen time. The thing that makes me love a movie or book.<br />
<br />
This came to me in a variety of ways, all accumulating to my big revelation.<br />
<br />
First, were the managers. Several managers liked the logline of one of my scripts enough to request I send it to them. The feedback I got was positive, it was a solid script, well written, well crafted, yadda yadda... but bottom line was they didn't fall in love with it enough to campaign for it. <br />
<br />
Then, after several friends recommended I read "The Hunger Games" I picked up the first one, and devoured them straight through till the end of the 3rd book.<br />
<br />
And finally, I read this article that a friend emailed out. It's about a producer named Lindsay Doran, and what she thinks makes a movie joyful. She talks about a bunch of things, but there was one point in particular that she made that stood out to me.<br />
http://www.nytimes.com/2012/01/15/movies/lindsay-doran-examines-what-makes-films-satisfying.html?_r=2&pagewanted=all<br />
<br />
Here it is. Here's my big revelation.<br />
<br />
The two things that hook me in a story, that make me turn the page as fast as I can to see what will happen, are:<br />
<br />
1) If I fall in love the main character. <br />
2) To see what will happen with his/her relationships. <br />
<br />
It's not to see how they'll get out of jail, or get rich, or learn a secret, or save a city. Nor is it to see if the bomb goes off, or the bad guys die, or the mystery is solved. I mean, I care about those things. They have to be good. Put me on a roller coaster. Make me tense and scared. But that's not what makes me fall in love with a story. <br />
<br />
It's the people. And who they care about. And what's going to happen to them. <br />
<br />
Lindsay Doran said that “Audiences don’t care about an accomplishment unless it’s shared with
someone else. What makes an audience happy is not the moment of victory
but the moment afterwards when the winners shares that victory with
someone they love.” <br />
<br />
What was it about The Hunger Games, that I had to see what happened? Sure the games were horrible and graphic, and the distopian future was engaging and the premise and the story line, and all that was fast paced and interesting. But the one question that kept popping into my mind, the one that I had to find out the answer to, was... who would she end up with? I fell in love with the main character, and I loved the people she loved and I had to know who she would end up with from this romantic triangle she was caught in. And the scenes where this was touched on, the emotional moments she had with the two prospects, were the ones I savoured.<br />
<br />
Maybe I would have been embarrased to admit that before, so I never really recognized it. Does a wonderful sci fi tale really all come down to trashy romance? Yes. It does. Those are the juicy bits. Of course, the story has to be good, and engaging and that needs to move forward, uping the stakes and so on. But the thread that gives a the heart a tug, the emotional yeaning, the thing that makes us fall in love with the story, are the relationships. <br />
<br />
Lindsay Doran also said when the hero realizes the relationship is more important than the achievement, that makes us happy. But also, this doesn't mean that it has to end all peaches and cream. A movie can end with the lovers not getting to be together. Look at Casablanca. He gives up his own love for her to be happy, and he finds another relationship that will be meaningful for him. But it's still about the relationships. That's what we want to know about. It's not about what kind of man will Rick turn into. It's who will be in his life? Who matters to him? Will his relationships come to a satisfactoy conclusion?<br />
<br />
Harry Potter. Would we have cared so much about this boy if he didn't have friends he loved to share his adventures with? If it was just Harry against the world, alone, fighting for good, I doubt it. <br />
<br />
I thought of the managers. One said "I didn't fall in love with it enough to campaign for it." And I now know why. I had no one, not really, for her to share her conquest with. It was hers and hers alone. The relationships in my story were secondary to the plot and action. I got it backwards. What we love the most, are the relationships. The connection between people. Whatever causes emotions. Love, hate, jelousy, fear, passion, shared joy. These moments are made between people. These moments are the ones that makes us love the story.<br />
<br />
Thanks to The Hunger Games, I also realized that for me, I must love the main character, in order to really care about his/her relationships. I can like a story where I don't love the main character, but I won't love it. What makes me love a main character? When they love someone else more than themselves, or if they are kind to someone when no one else was, or the relationship they have with another person, even if it's in need of repair. What makes me love them is how they relate to other people (or sometimes animals). <br />
<br />
And then I thought of all the books I've loved the most, the movies where I would hold my breath and then cry the hardest, were all because I loved the main character, and I became invested in the relationships in their life. Some of the greatest moments in movies are that moment when the relationship is resolved, or a success is shared. Or a loss of a relationship is felt. <br />
<br />
For example:<br />
"Sense and Sensibility" - when Edward tells Elinor that he's not married, and all her reserve shatters into sobs of relief and joy. (this still makes me cry!)<br />
<br />
"When Harry Met Sally" - it's New Years Eve and Harry give his speech to Sally, ending with "When you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible."<br />
<br />
"Dangerous Beauty" - when she's at trial, and the love of her life, a man who was more concerned with his status than their relationship, stands up in front of everyone to defend her, causing a chain reaction of all the men who secretly loved her, and who's lives she touched, to defend her. <br />
<br />
"Blade Runner" - The scene on top of the roof in the rain when Roy says to Decker "All those moments will be lost, like tears in the rain." It's the moment that Decker sees Roy as human. Their relationship changes in that moment just before Roy dies.<br />
<br />
Sure I have favorite moments that have nothing to do with relationships, but it's the relationships that make me fall in love with the story in general, and how the main character relates to others is what makes me fall in love with them. <br />
<br />
I am rewriting my sci fi story now. I am focusing on the relationships in her life, as she goes through her journey. Focusing on the people she loves, and her difficulties with them. I'm excited. This is the stuff that moves me. And I'd somehow neglected this most crucial part of storytelling.<br />
<br />
Onward and upward.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com0tag:blogger.com,1999:blog-5253195059438037817.post-35163432367825148952011-10-21T18:24:00.000-07:002011-10-21T18:24:41.851-07:00Dreamer vs PlayerWriters are dreamers. We live in other worlds, in other people's heads (characters are so people!) and in a constant state of "what if". I love to be some place else than here. Not that here is a bad place. My here is awesome. I love my here. But when I drift and explore, which is only too often, I find answers. I find hope and courage and passion. I find gut wrenching agony and despair. I find the truth.<br />
<br />
I love writing. It's like a drug. I feel high when I'm in the zone. I am brought to places, situations and people I could never hope to meet in my real life. There is no limit to how far I can go, or where I can wander. It is the ultimate freedom. Alone in a room with nothing but my dreams and a keyboard. <br />
<br />
Bliss.<br />
<br />
And then somehow, that same dreamer (me), has to become... a player. <br />
<br />
Well, if I have a hope of selling anything, then I do. It's a game. I'm not saying that I have to become an insincere twat. The opposite actually. I have to become personable. Good with people. Good at being concise and interesting. Good at selling. And develop a ginormous amount of patience. <br />
<br />
I am heading off to LA in November for three days of meetings set up by screenwritingU for their alumni. It's a seriously amazing opportunity for 22 of us. We will meet with 20 producers, and hear their take on the industry, what they're looking for, and other golden nuggets of info. I'm so excited, and kind of shitting my pants at the same time. I'm out of practice at the game of interacting with other players. I've been living in my quiet lovely secluded life, and in my dreams for a while now. Time to dust off the cobwebs, get out of my jammies, and polish myself up.<br />
<br />
I have been getting into the game slowly. There are an amazing number of online opportunities that I have been exploring. <br />
<br />
I'm a member of the new and exciting "Production Arts Group" which has been set up from the fine folk at The Page Awards. They have (for a fee, but so worth it!!) three managers/agents a month that you can pitch to. They do interviews with each manager/agent so you get invaluable info about what the industry is doing, what they individually are interested in, and tips and tricks about how to hook someone with a logline and one page. I'm telling you, this is the bee's knees. I have learned so much already just in two months. I've gotten some amazing advice, and I even had a request for one of my scripts. Woot! (http://productionartsgroup.net if you're interested.)<br />
<br />
I've also joined Stage 32, http://www.stage32.com. It's a social network (free) for anyone in the movie making business. It's very cool. It's new, and it's growing. They have a blog of other cool players and their stories.<br />
<br />
I continue to get InkTip's newsletters. And send out queries and scripts when requested (waiting for one reply now). I have purchased the CS directory. I joined a group called "She Writes" a site for women writers. http://www.shewrites.com/. And so on. <br />
<br />
I am trying to be a player.<br />
<br />
The problem is, I'm getting confused. I'm switching between player and dreamer so much that I don't know which foot is in front of the other! I just finished a big rewrite on my sci-fi script, and I now face the decision of what to tackle next. I'm continuing to work on my marketing docs (logline, one page, pitch, etc). But I am feeling anxious. I haven't been dreaming in a while, and I need my fix! I have a rewrite looking at me on another script based on some great advice from a manager. It's going to be great. So why aren't I chomping at the bit? Why aren't I diving into it with my usual gusto? <br />
<br />
Here's the thing... the thing that is paralyzing me at the moment. At what point do you let the work you have be, and move onto something else? At what point do you take on board everything you've learned so far, and simply just go onward and upward from there? Marketing can be a full time occupation, as can rewriting. And there's talk of branding, that you should pick one genre, and master that one, and brand yourself as a "__" writer. I have two comedies, one sci-fi and a drama. That is so not branding. <br />
<br />
So, I could do some rewriting. I could do more work on my marketing. I could submit more queries, and (catch this) I could write my sci-fi script as a novel to help with marketing (it's been suggested several times).<br />
<br />
OR I could just start something new. Something that will help with my sci-fi branding (at least that's one decision made! What genre to be in!). Oi! I need three more days in a week so I can do it all! That or I need a manager to just tell me what the hell to focus on. <br />
<br />
I guess the trick to being a successful dreamer, is to know when to dream, and when to be firmly planted on the ground. And how not to let the reality of "business" kill the joy of writing, but instead guide and enhance it. <br />
<br />
I'd hoped that this blabbering on my blog might bring some clarity. Nope. I guess I'll just pick from a hat. (this too has been suggested.) <br />
<br />
No WAIT!!! The blog blabbering HAS helped!!! Oh happy day. Decision made. Just like that.<br />
<br />
Quick rewrite on comedy, just so I can feel good about that.<br />
Then onto a new sci-fi that's been brewing.<br />
Novel writing will have to wait. Putting a pause on the marketing/player business.<br />
<br />
I'm heading back into my happy place. <br />
<br />
Oh yeah. <br />
<br />Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com0tag:blogger.com,1999:blog-5253195059438037817.post-1840133844108081502011-06-11T17:03:00.000-07:002011-06-11T17:03:50.336-07:006 months later...Holy Crapoli, is it really 6 months since I last blogged? Damn. This might be a long one...<br />
<br />
A tally up in brief:<br />
Over the last six months, I entered my low budget comedy into a few comps, and it placed in one (Bluecat) and I've yet to hear from Page. BUT I got some amazing feedback from Bluecat and friends, and have had a few ideas on how to fix my 2nd act! Yippie! Ah... that 2nd act. But I'm getting ahead of myself already.<br />
<br />
I have also finished the 1st draft of another comedy. It needs some work on the 2nd act. (Are you sensing a theme?) <br />
<br />
This gives me three scripts now that I'm not embarrassed by. Two need rewrites, but I could pitch them in a pinch. In a few weeks, I will start on a big rewrite of an action/adventure. Once that's done, that will make 4. <br />
<br />
Number 5 is a special one. Two amazing writers (one in the US and one in Australia) and I are writing a script together. Sorry, I have to take a moment, and just say how incredibly lucky I feel to have found and become a part of this "magic trio" for this script my writing partners and I are doing. We have only ever met online, distance being the key force in that, but we have shared and connected in a way that baffles me still. These two women have become my "sisters" and our script has become a truly passionate project for us all. We are inspired by it and each other, and it's taking my breath away. <br />
<br />
Finally, I have a concept for a sci fi thriller, which once completed, will see me at my goal of 6 scripts. I'm feeling good. <br />
<br />
And it wouldn't be a good goal without a crazy deadline. I want to have these 6 scripts in marketable shape by this time next year. There's several pitch fests going on this time of year in LA, and I intend to go to them, as much as that thought makes me hyperventilate and shake like a bowl of jello! <br />
<br />
But what's made me blog today, other than the fact that I don't want to lose track of my adventures, is the topic that was up for discussion at our monthly Guild meeting last week, thanks to Sean. "What have you learned lately in your writing". And it really made me take stock of the things I've learned over the past 6 months. <br />
<br />
I've read some great books. The one I'm reading now "20 Master Plots and how to Build Them" by Ronald B. Tobias is fantastic. I highly recommend it. "The Comic Toolbox" by John Vorhaus is proving to be a good read. He's funny, which I can't say for many books I've read in comedy writing. I've also dipped my toe into the waters of Joseph Campbell, and in turn Chris Vogler. All crazy eye opening stuff. I have taken bits of each on board, making me completely confused, but hopefully also somewhat wiser. <br />
<br />
I've read some great scripts. Some from friends, where I always learn a lot, and a few produced ones. I want to read more scripts of my favorite films. Learn more from how the pros do it. <br />
<br />
But by far, the best thing I've EVER done in terms of learning and improving my screen writing skills has been an online course called "The Pro Series" from Hal & Cheryl Croasmun at Screenwriting U. http://www.screenwritingu.com It is FULL ON. A 6 month intensive course covering an astounding amount of information, all practical hands on eye openers. I mean, you think you've read it all, heard it all, McKee, Truby, STC, etc. BUT Hal has a different approach. One that works WITH you, to develop your skills as a writer. There is massive homework (1-2 hours writing/night), all relating to a developing and writing a script you start in the class from concept stage, and building up to completing that script. <br />
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The way the course is structured is that there are 10 sections altogether. Each are 9-10 days, and we have a week of feedback between sections. My class (PS32!! I feel a cheer coming on...) has one more writing section left in our course, and then a section on Marketing, and then we graduate! I can honestly say that I am emerging a completely different writer than I was 6 months ago. My writing is now deliberate, thought out, full of subtext and rich characters, with better conflicts and more satisfying pay offs. And the skills I have gained will keep improving my writing the more I use them. I am pumped! <br />
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It sounds like I've been converted to a freakish cult. Maybe I have. There is an Alumni Group after you graduate, that is an incredible group of writers, all supported by screenwritingU. Hal helps get scripts in production hands, and plays matchmaker to script requests with writers. He's very active in the Alumni's success. He's like the Wizard at the end of the Yellow Brick Road, only he's for real. I kid you not. <br />
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But wait, there's more. Oh yeah. I have made some beautiful friendships from my class that I will nurture forever. Friends that have made this amazing, difficult, revolutionary experience very personal, and incredibly fulfilling. We have shared triumphs, frustrations and supported and encouraged each other throughout this process. It might be an online course, but it has been much more intimate than many of the real life experiences I've had. <br />
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BTW, if the thought of 6 months of this isn't your bag, then Hal also offeres short 10 day classes. I blogged before about the comedy one I took. It got me skipping down the road of comedy writing, which is huge for me! I love it! Hal does all sorts of shortie classes. If you do one nice thing for yourself and your writing career, do one of these. You won't regret it. Here's a list of the short classes. http://www.screenwritingu.com/screenwriting-classes/40-10-day-stand-alone-classes<br />
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Some of the things I've learned from the ProSeries, (not giving too much away, because you really have to discover these things for yourself, and there's a confidentiality agreement I signed and respect as well) are: <br />
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1) Concept is key. If your concept isn't marketable, it's a very long up hill battle you're fighting. And there are definitive ways to tell if you've got a marketable concept. But without a doubt, make sure you are writing about something you care about. Otherwise, don't bloody bother.<br />
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2) brainstorm. Constantly. Don't write the first idea that comes into your head. Come up with tons of ideas. Then you can pick the one that is best for the situation. Don't be married to something before you know where you're heading with the story. Give yourself freedom to brainstorm without limits. <br />
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3) Character profiles. Do them! Know who your character is. They don't have to be complicated. But they have to be interesting. The more defined they are before you start, the more they'll get into your heart with their own voice and the more meaningful their conflicts and char arcs will be. Hal gives a 10 day course on this. It's brilliant stuff. <br />
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4) There is a LOT of thought and work that should go into building your plot and outline. A ton to consider, set up, create suspense, levels to construct, tension to build, and more (much more), in order to put the reader on that emotional roller coaster ride, and have it be satisfying in the end. It's completely overwhelming. And it should be. There is an art to a good story. I've learned not to take this lightly. That said, Hal provides a sh*tload of amazing practical ways to approach building a plot, scenes and writing an outline. He chops the mountain into smaller bites, and even provides some alka seltzer. It might be overwhelming, but it's a mother load of fun! <br />
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BTW, as an aside, I've learned that for me, the 2nd act is where it's all at. What it's all about. The place to make or break it. The core of what will be great about the story. Traditionally, I've put so much emphasis on the "first 10 pages" (because they need to keep reading) and the satisfying ending (because you need to leave them with a lasting impression), that my poor middle is left with the scraps. It seems to me that all the beats and turning points can be hit, but it's the substance in the middle of those that will make the difference. This is probably the biggest lesson I've learned of late. The 2nd act isn't something to just get from the beginning to the end through, it IS the heart of the story. It breathes life on the fires. <br />
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5) Subtext. I freaking love subtext, thanks to Hal. What I learned about this is that it doesn't have to be complicated. In fact, subtext can be quite obvious. It's about having the characters say something different to what they're thinking/acting. Simple. But so effective! Do this 10 day course if you can. It's gold. <br />
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6) And then there are a million other gems that I've learned from Hal's lessons, specific and practical ways to approach all aspects of writing a script. If you want to know them, you can! Just take his course. (Please don't ask me to send you his lessons. I won't.) But it will be the best thing you've ever done for your writing career. And I swear, I get nothing for saying that. It's more like when you discover say... a cupcake shop. And it's the best damn cupcakes you've ever seen or tasted in your life. You just HAVE to tell everyone about it. And then when they go try the cupcakes, you both just giggle, nodding, knowing that you've shared the most amazing cupcake experience in the world. Well, it's like that. <br />
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I've had three other ah ha learning moments lately not really to do with Hal and the class. One is that I need time between drafts to let everything sit, incubate and detach. There's no question that I want to make my scripts as good as they can be, but there's a perspective that needs to be regained. You work your ass off, it's fun, but hard, you celebrate the 1st draft, and then feedback comes and each critique is like a pin in your voodoo doll. But with blessed time comes perspective, and suddenly you can ditch characters, and loose scenes that you swore were the core of your story before. Time. And patience for the breakthroughs to happen. Good stuff. <br />
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I've also been starting to think about the whole marketing thing next year. I'm not kidding, it really is one of my biggest fears. I'm not good at public speaking, or pitching. Actually, this is a horrific understatement! My attempts have been embarrassing and completely uncomfortable for everyone. But I am determined to sell a damn script, and pitching might be a necessary evil to that end. So I started thinking about ways to get over this. And I've decided to start with Toastmasters. I'm going to give them a shot. It can only help really, and hopefully will only hurt a little. <br />
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The other breakthrough I had was thanks to Sarah McLachlan. I was listening to her music, and thinking how amazing she is. And it struck me that there could be some people (I don't know who??!) that don't think she's amazing. It shocked me. How I could be so in awe of her, and someone else might not even like her?? And then I realized that it didn't matter. Not everyone has to love her. It's not about that. She does what she loves to do, the best way she knows how. And there are people who are inspired by her. And that's enough. So hell, if that's enough for Sarah... sure is enough for me. <br />
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So, that's been my six months in a nutshell. Today I'm going to assemble notes and start on a 2nd draft outline for my comedy rewrite. Time has passed. I'm feeling strong. Inspired. I'm going to put on some Sarah, eat a cupcake and do what I love to do, the best way I know how.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com1tag:blogger.com,1999:blog-5253195059438037817.post-36336945157688848282010-12-19T21:00:00.000-08:002010-12-19T21:00:46.452-08:00Inspiration at last!After copious discouraging words in many different blogs, articles and interviews today, I finally came across the site I should have spent all my time in. It's not a new site to me, but I find the navigation on this site a bit confusing for my linear mind. Anyway, I persevered, and came across this article written by a humble, good humored and very successful screenwriter. I pinky swear, it's true. He's all these things. <br />
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http://www.wordplayer.com/pros/pr04a.Petrie.Dan.Jr.html<br />
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He's my new hero. Dan Petrie, Jr. Along with Terry Rossio and John August. <br />
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Writers who are gracious. Who suggest and encourage, but in no way dictate or assume. I think there are two kinds of successful writers. The kind that enjoy the elitism of success and try to make it as hard for others to join in the fun as possible. And the kind that feel like the more the merrier, come on to the party. Sort of like high school. <br />
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My point is, that there will always be the people who are not particularly inspirational (a big shocker to me was Aaron Sorkin... NOT inspirational) and the ones who are. Just like there will always be advice you take, and the rest you bin. Some people eat raw fish for God's sake. And say I'm crazy when I dunk a fry into some ice cream. The trick is to try it all, read it all, listen and learn, and then figure out what's going stick to your ribs and go with that. There's as many different ways to sell a script as there are people who've done it. <br />
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The main thing is to keep writing, and keep the faith.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com2tag:blogger.com,1999:blog-5253195059438037817.post-69768971977802326372010-12-19T15:30:00.000-08:002010-12-19T15:30:12.697-08:00Don't tell me what I can't do.When I was in art school many moons ago, we would get guest speakers in to tell us all about the real world. And they all, without exception, would tell us of the hardships of being a commercial artist, the low wages, the menial jobs, the arduous and uncertain road to success. They told us not to get our hopes up, and not to expect too much, certainly for the first five years, if we make it that far. <br />
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What assholes. I would get a rising fury grow inside me as they discouraged and depressed my classmates. As soon as they left, I would make my way around to each and every one of those sad little faces and tell them not to listen to a word! That just because the speaker is bitter, jaded and unsuccessful, doesn't mean this will be what happens to my talented and bright fellow students. I heard years later that only 10% or some equally pitiful number of students ever made it in the arts. And these kids were a talented bunch, let me tell you. I shouldn't have even been in the course, but I think they took pity on me after I begged to be allowed in. <br />
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It always stuck with me, that outrage of a stranger telling me what I can't do. For the record, they were dead wrong too. <br />
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This week I've been reading a lot of articles online. I seem to have gravitated to a particular theme. Do you have to be living in LA to be a successful Hollywood screenwriter? The more I read, the more of a sick feeling I got in the pit of my stomach. Most (all?) of them said an unequivocal and resounding yes. Forget it if you don't live there. If you can't take a meeting at any time, and schmooze the exec at the corner Starbucks, you'll never make it. (I'm getting a tee-shirt printed that says "I'm a writer, not a schmoozer.")<br />
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The first thing I don't quite understand, is how do they think people who aren't Americans can live in LA in the first place? You need a work visa. And as a Canadian who worked in the states for 7 years, I can tell you this is not as easy as it sounds. It's hard and expensive to get a work visa there. Maybe they aren't even considering that someone who isn't from the US could become a Hollywood screenwriter. <br />
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The second thing I don't get is why many of these industry people look down their noses at the online services that are available now to market your scripts. Why? I've found them to be pretty freakin awesome, thanks. I've made contacts and gotten my scripts read through online services. <br />
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And then I get that fury building up inside me. The same one I felt in art school. I'm hearing them try to tell me that I have to work as a reader for a studio, or fetch coffee for an exec to learn the ropes and get my foot in the door, and then maybe one day, if I kiss enough ass, then I might meet someone who knows someone that might get my script sold. If I'm lucky and if I last that long. <br />
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Who are these people? These nay sayers. "I did it this way, so that's how you have to do it." Or what, I say? I'm learning a lot about how other people have made it, and I'm getting a lot of good tips and I'm formulating a plan, and maybe one day I will move to LA again. <br />
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But I still hate it when people tell me what I can't do. It just makes me want to prove them wrong.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com0tag:blogger.com,1999:blog-5253195059438037817.post-63506887001963554952010-12-11T10:03:00.000-08:002010-12-11T10:03:43.219-08:00The Lucky Star DinerI am shining up the 1st draft of my next script. I am pleased as punch it's almost done. It's a low budget comedy. It makes me laugh just to think that I wrote a comedy. It wasn't the original intention.<br />
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It's all due to the online comedy class I took from the Screenwriter's U. It was a fabulous class, and it changed my low budget thriller to a comedy in 10 days. I highly recommend any of this guy's classes. His name is Hal, and although is personal involvement in the classes is nil, the material he gives you is gold. http://www.screenwritingu.com/ in case you're interested. The class is intense, and time consuming, but pretty freakin awesome. <br />
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Once my 1st draft is all shiny, I'll submit it to my two favorite competitions. The Page Awards, and Blue Cat, and see how it fares. Fingers crossed. <br />
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Oh, here's the logline in case you're interested... <br />
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When a successful Vegas businessman loses everything except a run down old burger joint to his bitter ex-wife, he finds out just how much can change in one crazy night at the Lucky Star Diner.<br />
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Write on!Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com0tag:blogger.com,1999:blog-5253195059438037817.post-38051589563276593342010-08-27T23:25:00.000-07:002010-08-27T23:25:42.750-07:005 more scriptsWhen the idea of screenwriting took proper hold of me, maybe a decade ago, I thought... right. I'll write 6 scripts. Then maybe I'll know a thing of two about writing. Then maybe I can go forth into the world with my 6 scripts, and say... If you don't like that one, then how about this one? Or maybe this one...<br />
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Currently, all tallied up, I have 4 more scripts to go. And one major rewrite on one of the ones I have written. So basically, I have one script. ONE script that I can present without an overwhelming sense of anxiety and shame. <br />
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What the hell have I been doing for 10 years? <br />
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Other than working and socializing and welding and doing heaps of other things other than writing!! That said, I have spent the past year as a writer for hire for Producer Joe in LA, which has been a blast, and with any luck and the grace of God, will turn into a real live screen credit and cold hard cash. <br />
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So, then what the hell have I been doing for the 9 years before that!! <br />
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This has come to my attention because some people have asked to read one of my scripts. The one. The only. I am screwed if they say "What else have you written?" Bubkis doesn't sound good. But it's the horrific truth. If the ball starts rolling, it's not going to roll far. <br />
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I need to get offa my ass. Big time. And I feel that now is the time. I have studied screenwriting up the jing jang, analyzed, evaluated, read, practiced, blogged, joined groups, and talked about screenwriting until the cows have come home, been butchered, the steaks have been cooked, digested and pooped out the other side. I'm sure there are a million things left to learn. But this phase is done. <br />
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My friend, Producer Joe, told me that I have ten good screenwriting years left in me, and if I haven't made it by then, no one will want me because I'll be too old and so will my stories. He also told me I should be writing 10 scripts a year. And that I should be writing full time. (I guess the 10 scripts a year would indicate full time.) <br />
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And all I can say is.... <br />
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AUGH!!!!!!!!!!!! Augh. <br />
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I am toying with the idea of taking 3 months off, and writing 3 scripts. A script a month. It's doable (don't tell me what I can't do!). I have three outlines done. Mostly. More or less. A good solid month on each, and I would be that much closer to my 6 script goal. The question is when is it ever appropriate to take 3 months off work? <br />
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Today I spent the day at a workshop listening to the incredibly kind, giving and clever Christopher Vogler. He wrote the hugely popular "The Hero's Journey". It was an amazing day full of insights and gems. The last one being "Trust the Path."<br />
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So, I will trust the path. I trust that I will complete my 6 scripts. I might not have the details worked out, but somehow, someway, they will be done before end of next year. It's a mystery. And it's kind of exciting.<br />
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As always, encouragement is gratefully accepted. (I believe that you can never encourage a writer enough! We are generally a pit of exposed nerves, that only a kind word about our craft can protect.)Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com5tag:blogger.com,1999:blog-5253195059438037817.post-52184490995805747902010-06-26T21:13:00.000-07:002010-06-26T21:16:58.575-07:00The thrill of a thriller.I have a new writing contract. Yippie. It's to write a low budget action/thriller. Which is wicked cool, except I realized that I wasn't really sure how to do that. I work in big budget visual effects. It seems to be the modern day way of creating those thrilling moments in a big budget movie. Or is it? Do they just provide the moments, but not the constant undercurrent of suspense? There's been a lot of proof of big effects in wretched movies. I asked myself what exactly makes a thriller thrilling? I came up short.<br />
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So I did some research. Watched some flicks. Read some blogs (I want to be like John August when I grow up!), articles (<span lang="EN-US" style="font-family: Times; font-size: 12pt;">William Noble has some great things to say about thrilling dialogue)</span> and scripts of action/thrillers (Bourne, The Godfather, The Game). What I discovered was illuminating for me. It will change how I write not just thrillers, but everything.<br />
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First let me say, that although the 70's and 80's were jam-packed with action/thrillers, it seems to me that these don't quite hold up to the modern day thriller anymore. I know I know... sacrilege! Everyone has a few faves from that time that they swear are still awesome. And I'm happy for you. BUT the fact is, that the pacing just isn't what we've come to accept in this fast cutting, insane onslaught of the senses that modern movies have become. We just aren't held in suspense as easily or as slowly as we used to be. Well, I'm not. They bore me. I'm sorry. They do. <br />
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So let it be noted that although I'm sure the oldies used the same tricks to have us sitting on the edge of our seats back then, they weren't the ones that helped me come up with this list. (I am not including horror. There's a big difference between horror and thriller. I don't do horror.) <br />
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I've made a list of the tricks and tips I've come up with, which I thought I'd post. They are in no particular order. Some are specific for thrillers. Some are obvious for all stories. <br />
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Set the tone early, and stick to it. How violent? How evil? How high are the stakes?<br />
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Keep the pacing going, tension building; don’t let up. If there’s a reprise in the tension, make it brief, and make the next thing much worse than the last.<br />
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Always force the audience to think, “What’s going to happen next.” Make everything point to the grim/tense future that’s ahead. This will create a script that’s a page-turner.<br />
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Answer nothing. Keep the audience guessing. Don’t answer any question with a straight answer. Don’t solve any problems or make anything clear. Dialogue should always point to the future or more questions.<br />
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Keep things unexpected. Keep the reader on the hook for what’s next.<br />
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Hold onto the tension until the last possible minute in every conflict. Even the small ones. Don’t give the audience what they want until the end.<br />
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Every relationship or action should have conflict. Villain vs hero, hero vs his own team, hero vs himself. Everything has to be against the hero.<br />
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Make the audience think they’re getting what they want, then take it away at the last second.<br />
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Always show the hero’s character, specially when he’s being defeated, and he’s losing hope. Know who he is, where his weaknesses are, and exploit them. Hero’s are more endearing when they have a weakness. We will care more about them, and care when they are being hurt where it counts.<br />
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Explain any technical details quickly and without any fuss. For example, why there is no communication to the outside world available. Don’t dwell on this. Be brief, and move on. Focus on accepting that this is the case, and we’re on our own.<br />
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Keep action descriptions short and punchy. Don’t explain everything. Just enough to get the jist. Keep the action moving. Keep the tension in the flow of the read.<br />
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Keep hope alive, despite all odds being against us. If we loose hope, we loose the tension that hope keeps alive. Keep the reason for hope, and the fear of loosing it, pressing. New hope adds tension; crushed hope releases tension. Keep the cycle going.<br />
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Be aware of what is motivating the hero, even if he isn’t sure himself. Don’t switch motivations half way through.<br />
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Be aware of what’s motivating the audience. It should be the same as what’s motivating the hero. If it’s to save another person, don’t kill them. If it’s revenge, then make sure the audience feels the same need for revenge.<br />
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Make sure the pay off is as great for the audience as it is for the hero. If you take away everything the hero cares about, then there’s not much for the audience to be invested in for his success. If it’s only the hero that we care about, then make sure his living is more than just about one person surviving; that it has basic human rights and principles at steak.<br />
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Dunk the hero in it. Over and Over. By the end of the script, the hero should hate you for putting him through hell.<br />
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Put the Hero in situations that you don’t even know how he’s going to get out of, caught, beaten, lost for dead, then figure out how he escapes. Once he escapes, have him run right into the next impossible situation.<br />
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Don’t loose the sense of danger. Always have someone in the shadows. Someone waiting round the corner with a knife. It’s never safe. Keep the state of constant fear. <br />
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Make the villain even more despicable than he thought he could be. Make him complex and interesting, although horrific. If the villain isn't worthy of the hero, then you will cheapen your hero, and loose the audience. Put as much (if not more) time and effort into developing the villain than the hero. He will be the catalyst of the suspense. The more you fear and hate him, the more suspense you'll be able to create.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com8tag:blogger.com,1999:blog-5253195059438037817.post-84985743955891406732010-02-25T01:05:00.001-08:002010-02-25T01:21:25.168-08:00A near miss with a critter in the nightI was almost upon him, the two eyes poking out of the trembling little curled body on the road. If I had of been daydreaming of the leprechauns in the clouds instead of the bugs flying into the headlights of my car, I would now be feeling the pangs of remorse of taking a furry little life. As it is, I swerved, missed the petrified soul, and in my rear view mirror, saw his stubby tail disappear into the night. I killed nothing. Except the bugs. But if I were a bug, and there was a chance at an afterlife, I'd be thinking of that as a favour. Onto the next life, I say.<br /><br />I digress before I even start.<br /><br />This is the first time I've felt like writing in months. Months I tell you. I wouldn't call it writer's block. I had lots to say (sadly, this is always the case, much to my fella's remorse). It was more of a lack of inspiration. No mojo. I could say something, but why? Who cares? Not me. Bladdity blah blah.<br /><br />And then... tonight, I met up with my writing buddies. They get it. They know what I'm talking about. They encourage me anyway, and low and behold, I'm starting to feel a little tingle of mojo in my toes.<br /><br />And here I am, blogging and can't shut me up. I'm thinking of an outline for a script I've been avoiding. One that I should work on, that in fact is already sort of past due, and I don't even have a main character yet. But I'm starting to think of one, and I'm feeling... good. Yeah. Good.<br /><br />Thanks guys. You rock.<br />hugs,<br />LyseLyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com1tag:blogger.com,1999:blog-5253195059438037817.post-58325697690514192352009-12-18T15:03:00.000-08:002009-12-18T23:09:43.882-08:002009 - a wacky kind of yearSince my last post, 100 work weeks on Avatar have ended, Tintin work has started, I have drifted roles again, from Matte Painter to production in costumes (I know??!!), and the one-hour TV show that I've been writing with Producer Joe (prolific Hollywood producer who's been the first big fish to put faith in me) has blossomed into writing a spec pilot for a possible series that none other than James Manos is now consulting on. Imagine my thrill and surprise.<br /><br />It's been a hellova year.<br /><br />As of yesterday at 5pm, I am officially on holiday. Work has shut it's doors and asked us not to come in for the holidays, which gives some sad insight into the workaholics that are abound in this industry. Of course, I don't feel I am one of them, despite what people say. Workaholic comes with more negative connotations than alcoholics. Like I can't find a real life, so I depend on my job to fill the emptiness inside. Let it be known, I am not empty. I am happy. I have a life. I just seem to work a lot. It's different. So there. And I am relieved and overjoyed to be off work for 3 weeks. I only plan to go into work once, maybe twice while on holiday.<br /><br />Year One of trying to sell something I've written has been a bumpy, exhilarating, deflating ride. But I feel that I actually got somewhere in the end tally. I'm happy with the progress of Year One. I am excited to see what happens in Year Two. Excited and terrified. Mostly excited.<br /><br />Some things I've learned... for this was the original point of my blog... to share things I've learned along the way, and hopefully get back tips from other writers as well. Which I have. And I thank you.<br /><br />Right, what I've learned....<br /><br />Right Attitude:<br />In order to stay sane in a world of make believe, superstars and the one minute pitch, I found a fine concoction of determination, good humour, common sence and a dose of whimsy works well. It's the business of entertainment. An oxymoron from the get go. Oscar Wilde said <em>Life is too important to be taken seriously</em>. So is the movie business.<br /><br />Don't be Desperate:<br />I'm happy I kept my day job. Don't get me wrong, I want to write for a living. Obviously. But I also want to eat. In nice places. With nice wine. I don't want to resent writing if I couldn't afford to do those things because of it. So, I've made nice with my job. I've stopped saying how much I have to get out and do what I really want. I've come to realize that I'm already doing it.<br /><br />Don't Piss Anyone Off:<br />Hollywood is all about connections. If someone is being a dick, and all you want to do is tell them to piss off, don't. Seriously. Take the hit. Do the time. Work hard with your head low and bum up. Treat everyone like they could be the one to help you land a deal. Because they could be. Bad reputations are death.<br /><br />Get Support:<br />I love being around my writing friends. They all have war stories. They all have interesting perspectives. Writing might be a solitary act, but it's like falling down the stairs. It's only funny if someone sees it.<br /><br />Read:<br />I've read a ton of books this year. And I've gotten heaps of info and insipration and reality checks from all of them. There are so many awesome books out there. So much help available. One of my favorite quotes is from "Breakfast with Sharks" (of course, now i can't find the damn quote to confirm this, but what the hell, correct me of it I'm wrong). Micheal Lent said that no one ever fails in Hollywood, they just give up. Which brings me to...<br /><br />Don't Give Up:<br />I now look at this endeavour like a marathon with lots of breaks, not a sprint. It's a process of connections, rejections, advice seeking, following leads, and waiting. Pushing, and knowing when not to push in order to save a relationship is important. But above all, not giving up. It's all part of the process. Every rejection goes into the pile of necessary rejections. Every bit of priase and encouragement pushes the door open just a bit further. No one phone call, or email is going to end with a million dollar check. It takes perseverence, a thick skin, and unshakable hope.<br /><br />Writing Gets Good In The Rewrites:<br />Learn as you go. Be open to self critisism, but don't let it cripple you. Kill your darlings, as McKee says. Be brilliant, but don't stall if you're not. That's what rewrites are for. And always, no matter what, be willing to improve your script. Even if it means putting it away for a while. Don't settle. Be happy with what you've done. Because if you're not, if you get an incling that something isn't working, then I'd bet my bottom dollar, you'd be right. Ask for help. Join a writing group. Pay for a critique. Read a book called "Rewrite". Polish the f*ck out of it until it sparkles. I have found that the rewrites are my favorite part.<br /><br />And lastly... above all else...<br /><br />Have Something to Say:<br />It goes without saying that writing is a lot of work. It's frustrating, and makes your head hurt. My all-knowing new mentor has told me, you have to love what you're writing about. You have to have something to say. Otherwise, what's the point? 10% of the 10,000 writers in the WGA are making a living writing. That tells you how hard it is to do. Manos told me something, and he told me to remember it, and I will. He said that "No one cares about your words. They care about how you see the world." What a trip, huh?<br /><br />So, my cheriched blog pals, I hope you all have a wonderful holiday. Thanks for playing with me this year. See you in 2010!<br /><br />LyseLyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com6tag:blogger.com,1999:blog-5253195059438037817.post-8579571645237445012009-10-28T13:06:00.000-07:002009-10-28T14:10:18.306-07:00NaNoWriMo - WTF?<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRAkat5kjh83c7-IKKnBbgafOI5B-rHrT0O4HR8USb56oi3R929mvMkXB8fzEhpZA9dnL9y9uP3NdOMIFa25M10iPBtNOgiqhZnJiLmcBBeTako_vzRZwlA_r7q9IEN-HJvlqrOhxOPdIG/s1600-h/header.gif"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 32px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRAkat5kjh83c7-IKKnBbgafOI5B-rHrT0O4HR8USb56oi3R929mvMkXB8fzEhpZA9dnL9y9uP3NdOMIFa25M10iPBtNOgiqhZnJiLmcBBeTako_vzRZwlA_r7q9IEN-HJvlqrOhxOPdIG/s200/header.gif" alt="" id="BLOGGER_PHOTO_ID_5397754085164700578" border="0" /></a><br /><br /><br />I hadn't heard of it either, until yesterday. But something led me to it. Like the fate of the cows to the slaughter. I have been thinking that perhaps a wee break from screenwriting wouldn't be a bad idea. I've been wanting to write a book for a decade now. But it's daunting for a screenwriter. Where's the structure? Where's the snappy dialogue and the craft of minimal phrasing with maximum punch. There's the fear that I would ramble endless given the freedom, and at some point forget what I was even talking about.<br /><br />What was I talking about? Oh ya... writing a book. SO a friend told me that November is "write a book in a month" month. I googled, and found this NaNoWriMo site. There all these people all over the world who are peeking with excitement, forming community groups in their regions (yes, there are over 900 New Zealanders on the band wagon!) and preparing to write a book in 30 days, along with over a hundred thousand other international writers. Woowza.<br /><br />I was intrigued. I read a bit more... http://www.nanowrimo.org/ and then in a rush of reckless abandon, I signed up and have commited to writing a 175 page (50,000 word) novel in 30 days. I don't have a story. The book I want to write (eventually) is not one that can be rushed. Obviously, as it's taken me a decade to work out the story. It's an epic sci fi, and one that's near and dear to my heart, so 30 days is not going to do it justice. So what to write about for the next month? What to write. What.<br /><br />My coworkers suggested various forms of stories about working in the visual effects business. It's something I know. Of course, it will have to be completely made up, and have no resemblance to any person, living or pixel, as I am not quite ready to retire (ie get fired). But it's given me some ideas, and this is where I'm leaning. I have 2.5 days to figure it out.<br /><br />And then the madness begins.<br /><br />Interested? Wanna take the plunge? It's just for a laugh. Like a fun run for cancer, but you're running for yourself, so that in the end, you have a book. It's basically a kick up the ass. No one even has to read it. It doesn't have to be good. In fact, from all I've read, it's supposed to be utter shite. A first draft. You win just by pouring the words into the word counter on the site. If you reach 50,000, you win! Along with everyone else who makes it. All cheering each other on. Good times. You know you want to.<br /><br />If you do have a moment of madness and sign up, make me your buddy. I need all the encouragement I can get! And I'll do the same for you. My username is lysebeck.<br /><br />On your mark...Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com2tag:blogger.com,1999:blog-5253195059438037817.post-57254100352270368822009-10-26T20:12:00.000-07:002009-10-26T20:46:54.296-07:00Feeling like a ClicheToday's a blue day. I'll warn you right now, my disposition is not sunny. It's raining, I'm tired, I have ground hog day syndrome, and yet, there's a burning fire of discontentment inside me that won't let me rest. I hate that. I want it to piss off and let me be content to try to live a mediocre, less than average life. But no. I have bought into all the crap that says "Live today as if it's your last." "Live a life of meaning." "Do something that scares you every day." "Shoot for the stars and land on the moon." "If you're going to try, go all the way." "Rejoice in the road less traveled."<br /><br />Well f*ck yous.<br /><br />Today is a day like many others. A day that will be forgotten amongst the endless forgettable days I have lived. It is not an extraordinary life I lead today. I have done nothing I'm proud of, or scared of, except maybe drink some iffy milk past it's expiry date. There are no stars to shoot for, on account of the gray overcast sky. And screw that road less traveled. No one's on it for a reason. It sucks.<br /><br />I warned you. I get like this sometimes. You know, the whole, "What's the point?" argument.<br /><br />The good news is that this too, as everything, shall pass. I will forget this forgettable day. I will laugh at something ridiculous, I will cry at something happy, and I will feel the wonderful amazement in all that is possible from one little life. I will be so bloody full of good cheer and giggles that you, and I, may wonder who the hell it was that posted this miserable drivel.<br /><br />But not today. Today I feel the need to shit on optimism. I am enjoying pissing downstream (I'm blue, not stupid) in the winds of hope. Screw ambition. Ya, baby, feels good to be a lazy bad ass no-goonick sometimes. Where's that drink?Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com6tag:blogger.com,1999:blog-5253195059438037817.post-90075405108510210302009-09-13T12:24:00.000-07:002009-09-13T13:38:03.491-07:00stay loose and write fastAbout 10 days ago (Damn, feels A LOT longer!?), I answered a post on Inktip for a Canadian writer, and sent in my script as a writing sample, and got a contract (thanks Steven at the guild for all the great advice!) to write a one hour action movie for TV. It still makes me giggle, as A) I've never written for TV before B) the audience is all male, blue collar, beer drinking, fight loving, sports lovers. C) They start shooting in Nov. Which is when we deliver the effects for Avatar, and I'm already working 70 hour weeks without the writing gig. But when it rains...<br /><br />And what the hell, you can sleep when you're dead, which, at this rate, might come sooner than I think.<br /><br />But I'm having a blast. Despite the fact that I'm writing this on spec and as a writer for hire (read free till they use it, and I own nothing) this has been an invaluable experience for me as a writer. Quick story changes, working with notes from the producer/network, trying to write what they want to see, in a style in which they want to have it in.<br /><br />And for the first time, I'm working with a "consultant" (not exactly writing partner, as I still write everything, and the producer has said there is no credit available for him, but of course, i'll split my dosh with him if we get paid) to help me out. He's a marial arts expert and a fight correographer. As well as an ex-prison guard and ex-cop. ha! How awesome this that?! So, he's agreed to help me, and it's been awesome to work with him, bounce ideas around and get some cool action scenes from him. I think knowing exactly what our arrangement was from the get-go, and who was doing what, playing on each other strengths, has really made this work. We're both having a laugh.<br /><br />And I love action movies. Seriously, I will nearly every time, pick an action movie over any others to go see. And I love writing action. You can let your imagination run so crazy, and do lots of dumb ass sh*t. It's fun. And my producer has told me that there can't be enough action. Our audience doesn't want a lot of chit chat or any of that drama nonscence. Fair enough.<br /><br />But the story isn't quite locked down, although I have complete the first 45 page draft. We're not quite sure exactly how to play our main character. It reminds me of many Fox movies I've worked on. It's not decided until it's done. And it's not done until we run out of time. That's cool. I can stay open. And write like the ever changing wind.<br /><br />I'm planning some time off when it's all over (Dec??) to calmly work in my garden.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com4tag:blogger.com,1999:blog-5253195059438037817.post-994052448803519762009-08-25T11:24:00.000-07:002009-08-25T12:37:05.227-07:00Belated report on an awesome dayI have lost all sense of time. I think the workshop was last week... no wait... the week before. Nevermind, it was awesome. The NZWG put this workshop together (many thanks Steven, Sean and Benedict!). And here's how it went...<br /><br />First up was Linda Niccol, co-writer for "Second Hand Wedding". If you've never seen it, you should. It's adorable. Linda gave us some gems for writing for low budget. I was pretty engrosed in what she was saying at the time, so didn't make many notes. But a few tips stood out to me...<br /><br />1) It's easier to get investors to come on board if there's nothing too controversial in the story, and no sex, no drugs, no swearing. (Shit. I love swearing.) No big sets, no special set dressing, no special effects, limited characters and limited extras.<br /><br />2) Write to location. It's easier to write scenes for low budget if you have a particular, feasible location in mind.<br /><br />3) Make the story character based. Make memorable characters. Add drama and conflict, with backstories, and lots of layering for the characters.<br /><br />4) A good logline, synopsis and treatment are escential for marketing and getting financing. Be creative with your marketing. Put yourself and the project out there. Note: Linda took an add out (she's in advertising) and that's how they got an investor. haha!! Cool.<br /><br />Linda was charming and funny, and a pleasure to listen to. She answered questions with an openess and honesty that was much appreciated.<br /><br />Next up was Steven, our fearless leader of the NZWG talking about contracts and dispute resolution. He made this potentially dry section of the day full of laughs and valuable info, that even the most un-business-minded writer would have to stop and take notice. Steven mentioned a few things that I'd never even heard of, like "moral rights" of the writer. Which apparently, is one of the first things you have to give up, but hey, good to know what it is you're giving up. Basically what I got from the contracts section was IF I ever get to that point, I should send my contract to Steven for him to check before signing anything. Awesome.<br /><br />Then came the conflict resolution tips. And I liked them so much, as I think they are good rules for life, I wrote them down, and will include them all. (the stuff in parenthasis are my little additions. I couldn't help myself.)<br /><br />1) Be calm and assertive. (a powerfully rare combo.)<br />2) Have all the facts at hand, in writing. Keep coorespondance and timelines. Be organized. Ducks in a row.<br />3) Secure an agreement that there is a problem to be resolved. (God, how horrible it would be to be the one in angst, and no one cares!)<br />4) Work towards a resolution (not just looking for an ear to moan to)<br />5) Never underestimate the power of shutting up. (I bloody love this point! Must try to take this one on board more.)<br />6) Know what you want. Know what matters the most short term and long term. (seems obvious, and yet...)<br />7) Know what comprimises you're willing to make. (ah, yes... comprimises. Everyone's got to give a little bit.)<br />8) Seek mediation sooner than later. (don't let things fester. It will get infected, and then you'll just need a bigger needle.)<br />9) Approach the mediations proffessionally. (don't be a drama queen, or a pathetic bitter person)<br />10) Set a time frame to meet. Be realistic and fair to both parties. (Don't make the date on your mortal enemies wedding day.)<br />11) Agree to disagree on stuff. And then LET IT GO. (No one likes a vengeful, bitter whiner. And it's not good for your insides. Live and learn.)<br />12) The solution must be acceptable to both parties. (fighting is a two way street. Know that the situation didn't blossom into this mess without some help from you.)<br /><br />Then we chowed down on pizza (thanks Steven) while chatting with enthusiasm. There was lots of great energy in the room at this point. I was feeling buzzy myself.<br /><br />Next up was Graeme Tetley. After hearing this man talk, and enjoying his energy, I have become a most enthusiastic fan. I am late to this party, joining his many long standing fans. He has had 7 films made, and more are under his bed. I wrote very litte in my notebook while Graeme was talking. I was too engrossed. But I did scrawl a few things quickly...<br /><br />Often the contradictions that you find in research are as interesting as the commonalities. (Here he was talking of the interviews and accounts that he gathered when researching for "Out of the Blue". I thought this idea was facinating.)<br /><br />Graeme likes using music in scripts. (I'd never really thought of that.)<br /><br />And when being asked to do some revision which you think is a load of shite, the best thing do to is "smile and nod". Awesome.<br /><br />Graeme had much more to say, stories were told, and advise was given. But I was caught up in the moment, and as I have such a poor memory, this is all I can recount.<br /><br />Our last session was on pitching, with Jane Wrightson (a big cheese at NZ On Air) and Paul Swadel (a new big cheese at the FIlm Commission). You could feel the power emulating...<br /><br />I took the most notes here, not because it was any less interesting. But there was a lot of practical advice and lists given that were easy to write down. Valuable as.<br /><br />Paul gave me my latest moto... "RTFO" which is Refuse to fuck off. I like it.<br /><br />Paul gave these pointers on pitching...<br /><br />1) Know who you're pitching to<br />2) Why are you there? (not sure how you wouldn't know this... to get your film made, no?)<br />3) Give the person you're pitching to the tools to take the pitch to the next level (their boss)<br />4) Say your name and the name of your project often.<br />5) Slow down and punctuate.<br />6) Take notes.<br />7) Pleasentries are important. (I tried that once, and mentioned how much I enjoyed his previous movie to a producer, but turned out he hated it! oops.)<br />8) Show your credentials, don't undersell yourself, but stay humble. (ah... credentials...if only I had some to show.)<br />9) Tell the story. Say the genre, the hook, the main characters, what happens, the conflicts and what's at stake.<br />10) Good to get them asking questions. Get them engaged.<br />11) Get a commitment for when they'll read/call.<br /><br />A few other pointers that came up in the discussion...<br /><br />Structure of the script is important (ha! I say.)<br /><br />Know why is your idea different. Know what the idea is. What your story is about. (you know, I thought I knew... and then when I tried to tell someone, I floundered. I think this is a really important point. try to tell someone, anyone, a random person on the street is ok, what your story is about. See how you do. In fact, several books I've read on screenwriting, and selling it, tell you do to this. I see why. It will show a multitude of sins.)<br /><br />Don't bash other projects. (doh!)<br /><br />Write what you love, and let that love and enthusiasm come across in the pitch. (not just your shaking hands and bundle of nerves. Focus on the story, and not the importance of your presentation of the story. I tell myself...)<br /><br />Know the audience for the film your writing. (I can't believe how often this question has been asked of me. I always think... it's it obvious?! But I guess they want to hear it from you...)<br /><br />Loglines are crucial. Make sure the logline matches the script. This will tell if you really know what your story is about.<br /><br /> A synopsis should say who, what they want, and how do they get it in 4 paragraphs.<br />1) 1st act.<br />2) 2nd act, beginning<br />3) 2nd act, end<br />4) the end<br /><br />(which I hate to admitt this, but it goes to prove Malcolm's theory that the 3 act structure is in fact, a 4 act structure. OK, Malcolm, but it's still a structure!!)<br /><br />12 points to tentpole moments. (OK, I don't really know what this means, but I wrote it down, so it must have seemed important. Can anyone shed some light please?)<br /><br />It's important to appear proffessional, and confident that you can pull off the idea.<br /><br />The Film Commission looks for writers notes which are 2-6 pages of the writer talking about where the story comes from, and what was the passion for telling this story. It should be written by the writer, and can include notes from feedback sessions, etc. (I think this is brilliant!! You get to straight talk all the morality and preachiness that you so pain stakingly had to leave out of the script, and just infer and hope that someone got it. You get to talk of the reason that you wanted to write this script, and what gave you the idea. I never thought anyone would actually give a crap about this. It never seems to come up, ever. And I always wonder why. I love to hear this stuff. What the motivation was for the script in the first place. And low and behold... the Film Commission wants to hear your inner workings. Awesome!!)<br /><br />Some things that the writer's notes could include are:<br /><br />1) character and structure<br />2) Script assessment and what the writer will do about it.<br />3) the forward plan<br />4) outline the problems with the script, and if there's any ideas on how to fix these problems (I don't know about this one... both Jane and Paul were quite enthusiastic about this point. But I think why would a writer submit something that they thought still had problems. Wouldn't you want to re-write and try to work all that out before you shot one of your silver arrows?)<br /><br />More tips included:<br /><br />- It's good to know what the budget is for the film. Perhaps in a cover letter from the producer.<br /><br />- Make the inciting incident happen early.<br /><br />- Make sure your protagonist is active an on a journey. No passive protags.<br /><br />- Go to events held for producers or directors, like Spada confrences. You'll be the only writer there. (the trick is to be able to talk to them and not stand in the corner as some writers tend to do...)<br /><br />Some advice for low budget (under $200K)<br />- no night shoots (I hadn't thought of that one)<br />- limited chars<br />- no special effects<br />- 1-2 locations. (wow, that's sparce!)<br /><br />Then there was some chat about why the Film Commission needs a producer attached to a project before they'll look at it, and it all kind of went a bit strange and then quiet. My guess is so that they can weed out the crap scripts, as a producer won't want to support one of those either. Otherwise, think of all the drivel that they'd have to read... Unpopular to say, but I can't say that I blame them really. Doh!<br /><br />And that was the day. It was great. I was buzzing from the energy of it all. A few of us went for a drink after, and buzzed some more. I was inspired. I am thinking of tackling a NZ story next. I say thinking and tackling, because I'm Canadian. I feel cheeky writing a NZ story. But I am thinking of writing about a Canadian living in NZ. A low budget film. Seems to be the call of the day.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com5tag:blogger.com,1999:blog-5253195059438037817.post-89347843931441160462009-07-29T13:39:00.000-07:002009-07-29T16:05:42.578-07:00Ready for the next wave...<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Q9cO4ZXO8eWCsLLI1ZtpdajOUNv7cMHfC7BTcq4poIhEw7uRYH4QE3r5h1cvcsd8cjI5Js-CftzEjk3DGQPARUqchhe_xQhfK3ANcbyONbJqmlxhtYtnQQhXF568pKVSIGkWui4lM5ux/s1600-h/sleepy"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 200px; height: 137px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Q9cO4ZXO8eWCsLLI1ZtpdajOUNv7cMHfC7BTcq4poIhEw7uRYH4QE3r5h1cvcsd8cjI5Js-CftzEjk3DGQPARUqchhe_xQhfK3ANcbyONbJqmlxhtYtnQQhXF568pKVSIGkWui4lM5ux/s200/sleepy" alt="" id="BLOGGER_PHOTO_ID_5364022131004633858" border="0" /></a><br />It occurred to me today, that now that my re-write is done, I suddenly have spare time! I slept in until 6:15am today. Luxury. I had an invigorating run (read: struggle up the hill) with the dogs. I made breakfast. And what I wasn't doing, was working on my script. I wasn't reading it for the 100th time. Making notes, tweaking dialogue. I didn't turn on my computer. I didn't even go into the office. It felt strange.<br /><br />So now... I plot. And send. And wait. And hope. And plot some more. And send some more.<br /><br />I have some friends who are helping me plot and send. Bless their cotton pickins.<br /><br />And here's the kicker. I think that the film making industry is ready to look at specs again. At original ideas. In case you've forgotten, "original" means something that hasn't been done before, new ideas, not a rehash of a comic book, a bad tv series from the 80's or a toy franchise. New heroes. New concepts. Out-on-a-limb, taking a chance, no merchandising made yet, stories. Ones that make us feel something more than motion sickness. Ones that (god forbid!) encourage us to think. Ones that the studios can't predict how much money they will make on the opening weekend.<br /><br />I say that the time has come because there's been talk. Noise is being made about how we, the movie going public, and we, the ones involved in film making, have had enough of this regurgitated drivel. It was fun, it served it's purpose in a financially scared market, but it's time is up. We need to move on. We're starved for something original. Our juices are flowing. A new day is rising. Film critics, renown directors, and certainly writers are all ready for the next wave. Not to mention the public with their ticket purchasing power. And where there's a demand, there is product.<br /><br />The question is will the studios change with the times and return to a more risky, but innovative approach? Or is there a bigger change a-foot in movie making in general? Will movie makers forge on ahead, as some have been doing recently, and make movies their own way? Without the studios. Here's two examples of two such director/producers. My humble hat off to both for their passion and their drive to give us something wonderful and original.<br /><br /><a class="moz-txt-link-freetext" href="http://latimesblogs.latimes.com/herocomplex/2009/07/peter-jackson-movie-fans-are-fed-up-with-the-lack-of-original-ideas.html">http://latimesblogs.latimes.com/herocomplex/2009/07/peter-jackson-movie-fans-are-fed-up-with-the-lack-of-original-ideas.html</a><br /><br />http://geektyrant.com/2009/07/exclusive-interview-director-sandy-collora-the-road-from-batman-dead-end-to-hunter-prey/Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com5tag:blogger.com,1999:blog-5253195059438037817.post-14873930655834321242009-07-17T14:30:00.000-07:002009-07-17T14:45:48.003-07:00What happened to Wed, Thurs and Friday???The days are starting to blend. I have to focus really hard to remember what month we're in. I'm gaining weight. It must be deadline time. Working 60-70 hrs/week now in my paying job. Feeling the pressure sinking in behind my eyes. 16 more weeks of this. Now, I'm not complaining... much. This is the wave in vfx. You ride it or get off. But I am having trouble finding the energy to finish the next draft of my script. That said, motivation is high. Aug 1st is the Page Awards next announcement for the semi-finals. Now, I've not got much hope for moving into that, BUT if I did, then I can submit a new draft, so being a good boy scout, I'm planning on being prepared. Plus, for extra motivation, my friend and producer is pushing me to get her the next draft, so she can push it. There's real motivation for you. So I plan to get my ass out of work at a decent hour today (yes, it's Saturday) and sit down at my desk, and lock myself away until the thing's "done" like dinner. The good news is, after an incredibly beneficial feedback session with my writing group pals, I have a very clear idea of what needs to be addressed. Gratitude abound. And the changes, if I can pull them off, will finally make me happy with the story I'm trying to tell. Good as gold.Lyse Beckhttp://www.blogger.com/profile/13937970137947610228noreply@blogger.com8