Writers 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.
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.
Bliss.
And then somehow, that same dreamer (me), has to become... a player.
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.
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.
I have been getting into the game slowly. There are an amazing number of online opportunities that I have been exploring.
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.)
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.
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.
I am trying to be a player.
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?
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.
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).
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.
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.
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.)
No WAIT!!! The blog blabbering HAS helped!!! Oh happy day. Decision made. Just like that.
Quick rewrite on comedy, just so I can feel good about that.
Then onto a new sci-fi that's been brewing.
Novel writing will have to wait. Putting a pause on the marketing/player business.
I'm heading back into my happy place.
Oh yeah.
Since 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.
Friday, October 21, 2011
Saturday, June 11, 2011
6 months later...
Holy Crapoli, is it really 6 months since I last blogged? Damn. This might be a long one...
A tally up in brief:
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.
I have also finished the 1st draft of another comedy. It needs some work on the 2nd act. (Are you sensing a theme?)
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.
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.
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.
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!
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.
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.
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.
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.
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!
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.
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.
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
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:
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.
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.
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.
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!
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.
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.
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.
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.
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.
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.
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.
A tally up in brief:
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.
I have also finished the 1st draft of another comedy. It needs some work on the 2nd act. (Are you sensing a theme?)
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.
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.
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.
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!
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.
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.
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.
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.
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!
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.
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.
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
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:
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.
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.
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.
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!
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.
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.
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.
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.
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.
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.
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.
Sunday, December 19, 2010
Inspiration 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.
http://www.wordplayer.com/pros/pr04a.Petrie.Dan.Jr.html
He's my new hero. Dan Petrie, Jr. Along with Terry Rossio and John August.
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.
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.
The main thing is to keep writing, and keep the faith.
http://www.wordplayer.com/pros/pr04a.Petrie.Dan.Jr.html
He's my new hero. Dan Petrie, Jr. Along with Terry Rossio and John August.
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.
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.
The main thing is to keep writing, and keep the faith.
Don'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.
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.
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.
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.")
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.
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.
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.
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.
But I still hate it when people tell me what I can't do. It just makes me want to prove them wrong.
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.
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.
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.")
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.
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.
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.
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.
But I still hate it when people tell me what I can't do. It just makes me want to prove them wrong.
Saturday, December 11, 2010
The Lucky Star Diner
I 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.
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.
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.
Oh, here's the logline in case you're interested...
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.
Write on!
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.
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.
Oh, here's the logline in case you're interested...
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.
Write on!
Friday, August 27, 2010
5 more scripts
When 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...
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.
What the hell have I been doing for 10 years?
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.
So, then what the hell have I been doing for the 9 years before that!!
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.
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.
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.)
And all I can say is....
AUGH!!!!!!!!!!!! Augh.
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?
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."
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.
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.)
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.
What the hell have I been doing for 10 years?
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.
So, then what the hell have I been doing for the 9 years before that!!
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.
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.
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.)
And all I can say is....
AUGH!!!!!!!!!!!! Augh.
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?
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."
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.
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.)
Saturday, June 26, 2010
The 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.
So I did some research. Watched some flicks. Read some blogs (I want to be like John August when I grow up!), articles (William Noble has some great things to say about thrilling dialogue) 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.
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.
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.)
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.
.................................................
Set the tone early, and stick to it. How violent? How evil? How high are the stakes?
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.
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.
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.
Keep things unexpected. Keep the reader on the hook for what’s next.
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.
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.
Make the audience think they’re getting what they want, then take it away at the last second.
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.
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.
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.
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.
Be aware of what is motivating the hero, even if he isn’t sure himself. Don’t switch motivations half way through.
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.
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.
Dunk the hero in it. Over and Over. By the end of the script, the hero should hate you for putting him through hell.
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.
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.
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.
So I did some research. Watched some flicks. Read some blogs (I want to be like John August when I grow up!), articles (William Noble has some great things to say about thrilling dialogue) 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.
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.
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.)
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.
.................................................
Set the tone early, and stick to it. How violent? How evil? How high are the stakes?
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.
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.
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.
Keep things unexpected. Keep the reader on the hook for what’s next.
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.
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.
Make the audience think they’re getting what they want, then take it away at the last second.
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.
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.
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.
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.
Be aware of what is motivating the hero, even if he isn’t sure himself. Don’t switch motivations half way through.
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.
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.
Dunk the hero in it. Over and Over. By the end of the script, the hero should hate you for putting him through hell.
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.
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.
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.
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