I'm in the middle of a rewrite & I got stuck today. I wanted to include some exposition via an argument, move the characters, and bridge to the next scene.
To make matters worse, my mind kept going back to a spec I'd read that was so entertaining, so fun, that I despaired measuring up.
But there was one silver lining: the spec reminded me that I was trying to stuff too many things into one scene.
Hmmm..writing less meant packing in more into a smaller space. How do I write less, but also write more? I believe I will take Shane Black's advice & go read a Walter Hill script, which inspired him to be very concise.
WHAT I'VE LEARNED: I get unstuck by the greats who have gone before me.
Tuesday, December 29, 2009
Sunday, December 27, 2009
TODAY'S NUGGET: Quirks are the Doilies of Scripts
I see scripts where the characters have a lot of quirks, tics, & other unusual behaviors, but lack traits. The writer seems to think the more quirks, the better to hide there's no three dimensional character.
Quirks are like lace doilies, i.e., they should be used sparingly. I wince at the thought of a doily laden table. Think of how I'd stomp all over a doily laden script.
Traits, on the other hand, are the bricks that build the story. They're not as exciting, but hold steady, because there is a purpose, a long gestating reason that characters have them.
Quirks are only good in the moment & can be used for spice & surprise.
Traits can play out over a series of scenes & usually tell you something more...gives you a foothold for subtext.
For example:
Quirk - Woman eats only white foods at the big banquet.
Trait - Woman cheats in her food journal about how many calories she eats (a la Bridget Jones' Diary).
Quirk - Man will not step on a crack.
Trait - Man avoids all authority, including traffic signs, and jaywalks deliberately.
WHAT I'VE LEARNED: Don't doily your scripts. Please. Restrain yourself.
Quirks are like lace doilies, i.e., they should be used sparingly. I wince at the thought of a doily laden table. Think of how I'd stomp all over a doily laden script.
Traits, on the other hand, are the bricks that build the story. They're not as exciting, but hold steady, because there is a purpose, a long gestating reason that characters have them.
Quirks are only good in the moment & can be used for spice & surprise.
Traits can play out over a series of scenes & usually tell you something more...gives you a foothold for subtext.
For example:
Quirk - Woman eats only white foods at the big banquet.
Trait - Woman cheats in her food journal about how many calories she eats (a la Bridget Jones' Diary).
Quirk - Man will not step on a crack.
Trait - Man avoids all authority, including traffic signs, and jaywalks deliberately.
WHAT I'VE LEARNED: Don't doily your scripts. Please. Restrain yourself.
Friday, December 25, 2009
TODAY'S CHRISTMAS NUGGET: Outlining & Rewriting
You drew a crisp outline.
You maneuvered your way through the 1st draft.
Now you need to rewrite, but you feel lost.
Has your outline has misled you?
Not exactly. Before and during writing, your outlines aren’t very precise. It’s like using a machete to hack your way through the jungle. It’s not pretty, but it will do.
However, the outline takes on a different purpose in rewriting. Now it’s a laser that cuts through the fat.
A few tips:
1. Before rewriting, look at your outline for holes.
- Does your script still have all the turning points?
- What page does your protagonist show up? Antagonist? How often do they conflict?
- Where does the tension screw stop tightening?
2. When you locate a hole, check internal, external conflict, subtext, emotional arcs, story arc. Five passes? I have to make five passes on one hole? Well, yes.
3. Does the fix continue to push the story? IT MUST PUSH STORY FORWARD. ALWAYS FORWARD.
4. Write with one eye on the script, one eye on the outline.
WHAT I’VE LEARNED: By now, your outline should be battered & well used. Kind of like a badge of the battle.
You’re circling the gold at this point. Even if you experience major earthquakes, don’t throw away the map! It can still help you avoid dead ends and paths already traveled.
Merry Christmas & Happy Holidays to all!
You maneuvered your way through the 1st draft.
Now you need to rewrite, but you feel lost.
Has your outline has misled you?
Not exactly. Before and during writing, your outlines aren’t very precise. It’s like using a machete to hack your way through the jungle. It’s not pretty, but it will do.
However, the outline takes on a different purpose in rewriting. Now it’s a laser that cuts through the fat.
A few tips:
1. Before rewriting, look at your outline for holes.
- Does your script still have all the turning points?
- What page does your protagonist show up? Antagonist? How often do they conflict?
- Where does the tension screw stop tightening?
2. When you locate a hole, check internal, external conflict, subtext, emotional arcs, story arc. Five passes? I have to make five passes on one hole? Well, yes.
3. Does the fix continue to push the story? IT MUST PUSH STORY FORWARD. ALWAYS FORWARD.
4. Write with one eye on the script, one eye on the outline.
WHAT I’VE LEARNED: By now, your outline should be battered & well used. Kind of like a badge of the battle.
You’re circling the gold at this point. Even if you experience major earthquakes, don’t throw away the map! It can still help you avoid dead ends and paths already traveled.
Merry Christmas & Happy Holidays to all!
Thursday, December 24, 2009
TODAY'S NUGGET: Outlining in the Trenches (During Writing)
I write.
I discover.
My script changes dramatically.
Crap.
That means I've got to revamp my outline too.
Question: So how do you maintain a cohesive story during the exploratory writing phase?
Answer: You got your map, er, uh, outline?
A couple tips:
1 - Realize your outline WILL change as you write. As your story adjusts with new setups and payoffs, adjust your outline to respond. Don't wait until after you write to adjust. Yeah, it's a pain, but it's really what you want. Otherwise, you'll have B story lines that no longer hold up.
2 - Problems are your friends. They bring to light weaknesses of the B.S. (Before Script) phase. If you get stuck, use your outline to help you define your target for the next scene.
ex. I get stuck on Scene #20 of my action script. The protagonist has met the antagonist & lost a fight. Now she is tracking the antagonist. But this is very boring. Now what? I look in my outline & see that these two characters are locked in a meat locker together in Scene #25.
So the target is Scene #25. First, I figure out what I'm trying to say at #25:
- Maybe the meat locker is the big reveal. (So I need to increase the tension in Scenes 21, 22, 23, 24 so the meat locker scene explodes from their fight.)
- Maybe the meat locker is a twist. (So I need to throw red herrings in #21-24 and #25 will be a surprise.)
- Maybe the meat locker was foreshadowed earlier. (So now #21-24 need to be filled with suspense for the payoff at #25.)
WHAT I'VE LEARNED: Even though outlines are fluid things, they help you keep your eye on the trajectory of your arrow to the bulls-eye. Don't leave home without one.
* Tomorrow's Nugget: Outlining & Rewriting
I discover.
My script changes dramatically.
Crap.
That means I've got to revamp my outline too.
Question: So how do you maintain a cohesive story during the exploratory writing phase?
Answer: You got your map, er, uh, outline?
A couple tips:
1 - Realize your outline WILL change as you write. As your story adjusts with new setups and payoffs, adjust your outline to respond. Don't wait until after you write to adjust. Yeah, it's a pain, but it's really what you want. Otherwise, you'll have B story lines that no longer hold up.
2 - Problems are your friends. They bring to light weaknesses of the B.S. (Before Script) phase. If you get stuck, use your outline to help you define your target for the next scene.
ex. I get stuck on Scene #20 of my action script. The protagonist has met the antagonist & lost a fight. Now she is tracking the antagonist. But this is very boring. Now what? I look in my outline & see that these two characters are locked in a meat locker together in Scene #25.
So the target is Scene #25. First, I figure out what I'm trying to say at #25:
- Maybe the meat locker is the big reveal. (So I need to increase the tension in Scenes 21, 22, 23, 24 so the meat locker scene explodes from their fight.)
- Maybe the meat locker is a twist. (So I need to throw red herrings in #21-24 and #25 will be a surprise.)
- Maybe the meat locker was foreshadowed earlier. (So now #21-24 need to be filled with suspense for the payoff at #25.)
WHAT I'VE LEARNED: Even though outlines are fluid things, they help you keep your eye on the trajectory of your arrow to the bulls-eye. Don't leave home without one.
* Tomorrow's Nugget: Outlining & Rewriting
Wednesday, December 23, 2009
TODAY'S NUGGET: Outlining B.S.
I do not like to outline.
I do not like it with a spoon.
I do not like it with the moon.
I do not like to outline.
I know that outlining B.S. (Before Script) is a necessary evil. But I don't have to like it.
How can I make it more efficient and more effective? Here are 3 things I learned from reading some great spec scripts:
1. Check so that your protagonist faces the antagonist in every scene. (Every scene? YES. In some way, shape, memory, or form, the antagonist needs to be there.)
2. Check so that your protagonist & antagonist both face his/her flaw & fear in escalating steps. It must be clear one wins, the other loses...then it switches. Is there enough one upmanships?
3. If you are too easy on your protagonist, you will struggle with plot. You'll run out of obstacles. You'll wonder why you're always stuck on p. 60. Throw everything you've got at him/her.
WHAT I'VE LEARNED: Skipping the outline is like going to the Grand Canyon without a map.
Smart adventurers know that no matter how many times you've been there, you always take a map.
*Tomorrow's Nugget: Outlining In the Trenches (During Writing)
I do not like it with a spoon.
I do not like it with the moon.
I do not like to outline.
I know that outlining B.S. (Before Script) is a necessary evil. But I don't have to like it.
How can I make it more efficient and more effective? Here are 3 things I learned from reading some great spec scripts:
1. Check so that your protagonist faces the antagonist in every scene. (Every scene? YES. In some way, shape, memory, or form, the antagonist needs to be there.)
2. Check so that your protagonist & antagonist both face his/her flaw & fear in escalating steps. It must be clear one wins, the other loses...then it switches. Is there enough one upmanships?
3. If you are too easy on your protagonist, you will struggle with plot. You'll run out of obstacles. You'll wonder why you're always stuck on p. 60. Throw everything you've got at him/her.
WHAT I'VE LEARNED: Skipping the outline is like going to the Grand Canyon without a map.
Smart adventurers know that no matter how many times you've been there, you always take a map.
*Tomorrow's Nugget: Outlining In the Trenches (During Writing)
Tuesday, December 22, 2009
TODAY'S NUGGET: "Location" vs. Story
I listened to a recent /Film podcast interview with Jason Reitman. Around the 2:08 mark, he said that the one thing his father taught him was that "location" isn't story.
In essence, he was using the term "location" to talk about the surface meaning, but story is really what the film is about.
ex. The location for "Thank You for Smoking" is cigarette lobbying, but the story is really about personal choice.
ex. The location for "Juno" is teen pregnancy, but the story is really the moment these characters must decide to grow up.
I see writers who don't understand this difference. They insist that the surface meaning = story. They argue it's obvious what they story is about. Yet, when I ask, it takes them two paragraphs to answer. I think I shook one writer when I said would probably pass on his script b/c the story was all about "location" & there was no point to the film.
WHAT I'VE LEARNED: Story is usually is very simple and understandable, even if the "location" is complex.
In essence, he was using the term "location" to talk about the surface meaning, but story is really what the film is about.
ex. The location for "Thank You for Smoking" is cigarette lobbying, but the story is really about personal choice.
ex. The location for "Juno" is teen pregnancy, but the story is really the moment these characters must decide to grow up.
I see writers who don't understand this difference. They insist that the surface meaning = story. They argue it's obvious what they story is about. Yet, when I ask, it takes them two paragraphs to answer. I think I shook one writer when I said would probably pass on his script b/c the story was all about "location" & there was no point to the film.
WHAT I'VE LEARNED: Story is usually is very simple and understandable, even if the "location" is complex.
Monday, December 21, 2009
TODAY'S 2ND NUGGET: Voice Overs
As another follow up on the #scriptchat discussion…
I agree with Steve Kaplan’s comment on the thread that V.O. is ok. I honestly don’t mind V.O., but newbies often overuse it as a substitute for ‘telling’ rather than showing.
Ex. The script opens up with the lead standing on a cliff. The newbie writer will write: “LEAD (V.O.): ‘I’m here on a mission of death.’”
What should the newbie do? Show him scouting the location, sharpening knives, counting bullets. Let us SEE rather than HEAR that he’s on a mission of death.
I agree with Steve Kaplan’s comment on the thread that V.O. is ok. I honestly don’t mind V.O., but newbies often overuse it as a substitute for ‘telling’ rather than showing.
Ex. The script opens up with the lead standing on a cliff. The newbie writer will write: “LEAD (V.O.): ‘I’m here on a mission of death.’”
What should the newbie do? Show him scouting the location, sharpening knives, counting bullets. Let us SEE rather than HEAR that he’s on a mission of death.
TODAY'S NUGGET: #scriptchat Follow Up - 1st 10 pgs.
Last night, I got a call to join a Twitter chat on the 1st 10 pages.
(This group, #scriptchat, gathers every Sunday night at 8 PM EST for a discussion. There’s an European version at 3pm EST. Yesterday they encouraged the participants to call their reader friends to join and answer questions. Hence, my call to join. Unfortunately, I couldn’t post due to a glitch. )
As I read the transcript ( http://www.scriptchat.blogspot.com/), I saw that everyone knows the 1st 10 pages should hook the reader, set up the universe, the rules, and the tone.
But I didn’t see any answers HOW to do it.
I don’t have all the answers, but I do have an example of what I think development folks generally want (though I can’t speak for anyone but myself.)
Yesterday, I helped a fellow writer who was having difficulty with the 1st 10 pgs. of her rom-com.
Here are the questions we went through that might help you as you write:
1. What is your main character’s biggest flaw?
The writer said her character was a workaholic. “Hmmmm… that’s a little vague. Drill down to more specifics,” I said. “The flaw is the key to the conflict, the structure, the dialogue.” We batted more ideas back & forth. Finally, it surfaced that this character was selfish. Ah-HA! That’s a very personal flaw, and more specific than ‘workaholic,’ which could mean a million things.
2. What do you want people to think when they meet your character for the first time?
A - Do you want to fool them?
B - Do you want to see him/her as he/she really is?
C - Do you want to show that this character wears a mask?
The writer chose B – she wanted to show the real character, not a mask.
3. How can you show the audience the character’s flaw and introduce you to her problem?
The writer wanted to tell the audience this character had very unrealistic and selfish expectations of others. The story begins with her getting dumped. So we brainstormed different ways to get dumped while being selfish.
WHAT I’VE LEARNED: The 1st 10 pages are important because they show the reader why they should follow this character for the next 90-120 pgs.
Things to do: Challenge your characters. Show their flaws. Give them hard obstacles.
Things not to do: Too much narrative setting up the universe. Too much useless action.
(This group, #scriptchat, gathers every Sunday night at 8 PM EST for a discussion. There’s an European version at 3pm EST. Yesterday they encouraged the participants to call their reader friends to join and answer questions. Hence, my call to join. Unfortunately, I couldn’t post due to a glitch. )
As I read the transcript ( http://www.scriptchat.blogspot.com/), I saw that everyone knows the 1st 10 pages should hook the reader, set up the universe, the rules, and the tone.
But I didn’t see any answers HOW to do it.
I don’t have all the answers, but I do have an example of what I think development folks generally want (though I can’t speak for anyone but myself.)
Yesterday, I helped a fellow writer who was having difficulty with the 1st 10 pgs. of her rom-com.
Here are the questions we went through that might help you as you write:
1. What is your main character’s biggest flaw?
The writer said her character was a workaholic. “Hmmmm… that’s a little vague. Drill down to more specifics,” I said. “The flaw is the key to the conflict, the structure, the dialogue.” We batted more ideas back & forth. Finally, it surfaced that this character was selfish. Ah-HA! That’s a very personal flaw, and more specific than ‘workaholic,’ which could mean a million things.
2. What do you want people to think when they meet your character for the first time?
A - Do you want to fool them?
B - Do you want to see him/her as he/she really is?
C - Do you want to show that this character wears a mask?
The writer chose B – she wanted to show the real character, not a mask.
3. How can you show the audience the character’s flaw and introduce you to her problem?
The writer wanted to tell the audience this character had very unrealistic and selfish expectations of others. The story begins with her getting dumped. So we brainstormed different ways to get dumped while being selfish.
WHAT I’VE LEARNED: The 1st 10 pages are important because they show the reader why they should follow this character for the next 90-120 pgs.
Things to do: Challenge your characters. Show their flaws. Give them hard obstacles.
Things not to do: Too much narrative setting up the universe. Too much useless action.
Friday, December 18, 2009
TODAY'S NUGGET: Good Title = Leg Up
At this prod. co., we get to choose scripts to read from a pile. As a writer myself, I always find it interesting what the other readers grab first, and what they leave to others to read.
Today I gazed at the bottom of the pile - about 5 scripts that no one wanted to touch, myself included.
The first script I did not like the title.
Two scripts were true life stories whose titles were unappealing.
So I had to choose between the remaining three. Two hit me as boring and I ended up with the one that might be somewhat entertaining.
I think the first key to having the readers fight over your script is to have a good title. What makes a good one?
I don’t like “Untitled Project.”
I don’t like titles that need explanation. Ex. “Skating 3-D” doesn’t tell me much, except it might be an animated movie.
I do like titles that capture my imagination. ex. "Interview with a Vampire" is an instantly intriguing title because how’d that person get to interview a notoriously reclusive vampire?
I do like mysteries, so I’m a fan of titles that make me curious or are a play on words. Ex. “Up in the Air” is more than a guy in a plane. “It’s Complicated” made me curious about what was so complicated?
WHAT I’VE LEARNED: Can a title put your script at the bottom of the pile? Yes...I’ve got 5 to show you.
Today I gazed at the bottom of the pile - about 5 scripts that no one wanted to touch, myself included.
The first script I did not like the title.
Two scripts were true life stories whose titles were unappealing.
So I had to choose between the remaining three. Two hit me as boring and I ended up with the one that might be somewhat entertaining.
I think the first key to having the readers fight over your script is to have a good title. What makes a good one?
I don’t like “Untitled Project.”
I don’t like titles that need explanation. Ex. “Skating 3-D” doesn’t tell me much, except it might be an animated movie.
I do like titles that capture my imagination. ex. "Interview with a Vampire" is an instantly intriguing title because how’d that person get to interview a notoriously reclusive vampire?
I do like mysteries, so I’m a fan of titles that make me curious or are a play on words. Ex. “Up in the Air” is more than a guy in a plane. “It’s Complicated” made me curious about what was so complicated?
WHAT I’VE LEARNED: Can a title put your script at the bottom of the pile? Yes...I’ve got 5 to show you.
Thursday, December 17, 2009
TODAY'S NUGGET: One Pages
When you're writing a one page summary ("one pager") for your script, I'd like you to remember me, i.e., the receiving end of that document.
I hate amateur one pages because they're filled with facts. Snore.
I do not want facts. I want story. Story story story!
What's the difference? Glad you asked.
If you want facts, check out the label of a soup can. Wow - that's a lot of salt. Didn't know that had phenylalanine (which isn't harmful unless you have PKU. Look it up.)
If you want story, check out the teaser on the back of a paperback novel. See how they lure you in with the promise of a good tale? See how they give you the gist, but not an encyclopedia? See how it MOVES you to WANT to read it? It sucks you in with emotion.
Your one page should look like that teaser. It should MOVE ME TO READ YOUR SCRIPT.
Your one pager is a SELLING DOCUMENT.
NO ENCYCLOPEDIA. SHORT. BAIT THE HOOK. SELL ME ON YOUR STORY!
AM I SHOUTING?! Why, yes I am.
WHY? Because I think newbie writers consider them a nuisance, an afterthought. They may not put as much time into them, thinking, "They'll read my script and see what I can really do. After all, it's the script that matters, right?"
Would you eat cake with garbage frosting? I wouldn't.
WHAT I'VE LEARNED: During the sorting process, the one page can put you in Pile 1 (exec's desk) or Pile 2 (slush).
I hate amateur one pages because they're filled with facts. Snore.
I do not want facts. I want story. Story story story!
What's the difference? Glad you asked.
If you want facts, check out the label of a soup can. Wow - that's a lot of salt. Didn't know that had phenylalanine (which isn't harmful unless you have PKU. Look it up.)
If you want story, check out the teaser on the back of a paperback novel. See how they lure you in with the promise of a good tale? See how they give you the gist, but not an encyclopedia? See how it MOVES you to WANT to read it? It sucks you in with emotion.
Your one page should look like that teaser. It should MOVE ME TO READ YOUR SCRIPT.
Your one pager is a SELLING DOCUMENT.
NO ENCYCLOPEDIA. SHORT. BAIT THE HOOK. SELL ME ON YOUR STORY!
AM I SHOUTING?! Why, yes I am.
WHY? Because I think newbie writers consider them a nuisance, an afterthought. They may not put as much time into them, thinking, "They'll read my script and see what I can really do. After all, it's the script that matters, right?"
Would you eat cake with garbage frosting? I wouldn't.
WHAT I'VE LEARNED: During the sorting process, the one page can put you in Pile 1 (exec's desk) or Pile 2 (slush).
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