Like any up and coming so-called writer, I have a hard drive FULL of first drafts, half drafts, title pages, notes, treatments, and drool… but this is different for me, for some reason.  I wrote a couple of different drafts myself, ² then, at the point of my most subjectivity, I roped three unsuspecting people into workshopping it with me.

The workshop was comprised of my partner and two of my very close friends. These are among the very few people that I trust enough to read my work without fearing judgement, well, personal judgement.  There is a certain vulnerability to putting a work in progress out to be read.  Not only was I admitting that I put my best efforts into this 100 page pile of papers, but that after  my best efforts it still wasn’t finished.  On top of all that, I was asking them to spend a good chunk of time reading it and then committing several hours to discussing it with me.

After everyone had read it, the four of us talked about the script in general; the characters, the story as a whole, the holes in the whole, the strengths, the weaknesses, etc.  Then we sat down and went through the entire script page by page breaking it down further.  It took better part of a day and a half.  So two days, eaten out of their rare three day weekend.  All that for ONE free lunch.  It’s a big ask, and they were troopers.

It was an amazing process, the workshopping.  There were three very different voices coming at in in three very different ways, being very honest and open with how they felt with the script and the story.  I assure you it wasn’t two days of my besties talking about how awesome I was.  Far from it.  I took none of the criticism to heart, as a personal attack on me or my work, but as criticism and much needed objectivity that will help my project grow to new heights. I got so much out of it.  Perhaps one day when I can afford to buy them two lunches, and perhaps slightly fancier ones, I will do it on another project.  It was an absolutely invaluable process. I recommend it to anyone.

After that, I spent the last day of my holiday working in some of the changes we talked about.  Then every waking moment over the next week.  (Time was starting to bear down on me and I had a deadline to make.) I didn’t take everything they said word for word, because ultimately it was my script and I had to really discern what the story I want to tell was.  However, I now had a better sense of the flaws and how I could possibly make the story more precise and clear.

Then I made my partner read it twice more… in one day.  We worked on the typos and made sure all the lines read right and then… well, and then there was nothing more I could do.  Well, of course, there is always more to do, but I had gotten it to the point of a solid draft.  It told a decent story and showed off my writing potential (whatever that may be).  I was proud to submit what was in front of me.

Then it was gone.  Out of my hands.  There was nothing more I could do.  Now, I can only wait and see what happens with it.

And start on my next project, of course.

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I have decided that Draft 2 is my nemesis.  I sit there thinking “but it’s written, why is it not good enough for you people?!” and I am disheartened by the worthlessness I feel by not being some kind of prodigy.  It’s hard to go back and kill your babies, if you will, meaning taking out all the little gems that you think make the screenplay gold and unique.  It’s a pain, because you sit there thinking about how you will never be able to be as crisp, articulate or funny again.  It’s the danger of good one liners.  They either hold up the editing process or set the bar too high, either way, I’m digressing.

Then comes figuring out strategy.  Do I have to start with a blank page, or can I just walk through each scene and rejig what’s not working?  I’ve heard different schools on this.  Starting over completely is intriquing because it really is a blank slate.  You are coming up with out of your head again.  Yes, you have points in your head, but you don’t have it sitting in front of you, forcing only the important points to stick out in your brain.  On the other hand, Draft 1 couldn’t be all that bad, surely there is something working enough that’s worth keeping.

I’m experimenting with a new technique on my current screenplay.  I call it the “Draft 1.5.”  Though I’m sure I’m not the first person to ever do this, or a variation thereof, I’ve never heard of anyone speak of it specifically.

I’m writing the first draft by hand.  This means that I force to get my idea out of my head onto paper and because there’s no curser I can’t just go back and change anything I want.  It keeps the temptation to be constantly rewriting at bay.  Hopefully this means I’m less likely to burn out, get to close to the story, write myself in a corner, and get the draft complete.

Eventually, after I have gotten as many ideas on paper as I can at the time, I will have to transcribe it onto the computer.  Agents very rarely accept spiral notebooks as manuscript these days, especially with the chicken scratch known as my handwriting.  This is when I can start seeing what works and what doesn’t.  As I go through the screenplay I can massage what I have already written and see what works and what doesn’t.  It’s an automatic second pass of the story without having to start completely from scratch.

Hopefully, by the end of it, I will have an insanely attractive first draft and not some pile of poo.  Then I can take a week off, forget about it and go back for my real second draft.  Maybe by then I will be able to decide what strategy I wan to take on tackling it.
Draft 1.5 will either be insanely efficient or a massive waste of time.  Only time will tell.

So I sit down with my ever so slightly used gel pen and my ever so slightly used airport-purchase steno pad.  And proceed to stare at it’s mocking blue lines for two days.

Yes.  It has happened.  Again.  Writer’s Block.

But how, one might ask.  I have all these ideas whizzing through my head.  Worlds.  Characters.  Themes.  Gags.  Humor.  Emotions.  All of which I’m sure if I could get onto to paper, the world at large (or at least a decent sampling) would be amazed, or at least entertained.  But they all remain there like shoppers trying to get out of the bottle necked Walmart parking lot on Christmas Eve.

A quick Google search turns up hundred of articles similar to this one.  Particular theories on what causes and what could help cure the elusive Writer’s Block.  Mr. Taylor’s causes are as follows:

• Cause 1: Writers are sometimes not ready to write
• Cause 2: Writers are sometimes afraid to write
• Cause 3: Writers often try to compose in their heads
• Cause 4: Writers often start in the wrong place

These “causes” are fairly straight foward.  Don’t get ahead of yourself.  Don’t micro-manage.  Start broad, then narrow.  Take it one step at a time.  You have to walk before you can run.  Doodle before you can draw.  The usual.

Now, if you’ll refer back to my own list of the exciting locked up things in my brain, you’ll notice that the word “Story” does not appear anywhere.  I have worlds and themes and emotions and people all hanging around.  All the ingredients sitting in my pantry but no idea how to put them together to make a damn good soufflé.  Hell,  I don’t know if I could even manage a box of Jiffy at this point.

David Taylor’s silly little advice points are too vague, too 101, and probably too true.

Perhaps I am doing all the wrong things, but it’s how I’m going to get to write things.  And damn it, one day I will have something better and more exciting than a blog post full of useless comments about not writing.

Now to the favorite part of my day.  Lunch.

When writing a movie, I think writer’s are often out to create a script that “changes people’s lives forever.”  I guess this is either because they want an Oscar or they are just blinded by their own pretension.  It can go either way really. I agree with Mr. August that there are many profoundly inspiring movies, but I don’t think that’s necessarily because the writer started out with that goal in mind.

I think that it is very easy to forget about the story we want to tell.  We spend so much time toiling over the bureaucracy of structure, ¹ the turmoil of the craft and the creation of the subtle, yet well-honed message that we forget about making a good story.  I vote that here and now is the perfect oppurtunity to knock down the walls of pretension and just let ourselves be swept away by the utter enjoyment of being completely entertained by story.

I’m not saying that all movies have to become fluff or lack substance (or subtext).  SciFi movies are known for being  commentary on our actual society, but you don’t feel like there’s propaganda being hammered into your skull for two hours straight. It’s just that, without story there is no film.  Period.

Story is good.

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Math class is boring as hell.  There are only 10 different numbers that you can put together in various combinations, but there are 26 letters that you can assemble to make much more interesting ones.  You fall asleep in History class because, frankly, the stories in your head are a lot more interesting then the one you’re reading about in a textbook.  Something deep inside of you tells you that you are destined for something else, but common sense says “shut the hell up.”   So, after scratching a many idea onto diner napkins, a few people that hold a certain amount of sway in your book say “Hey, you can write!”  To which you reply with a grunt of some sort, nah, but then for some reason you find yourself enrolled in a Screenwriting course of some fashion.

The man lecturing you is a burly man, with mucho body hair, and has a down to earth yet holier than thou aura about him.  You feel the need to both reject every thing he says to you while simultaneously soaking it up.  He prattles on about the elusive “Three Act Structure.”  This is something you must know if you are to ever write a successful screenplay and as he continues on about innercaves and midpoints and elixirs, you think obviously, this does not apply to me, for I am a natural talent not bound by silly mortal rules.

Then you find yourself stuck on page thirty two.  So fine, you pick up a book on screenwriting and once again this three act structure dealio comes up.  It’s worded slightly different, but you aren’t fooled, you’re a cunning one you are, and it’s most certainly another theory on the the Three Act Structure and to be perfectly honest, it makes no more sense to you than when your writing guru was trying to explain it to you a week ago. Being the persistant hero that you are, you continue reading various books and watching “Hero Journey” movie examples like Star Wars and The Matrix.

Just before you are about to give up and go back to your old ways of writing in circles, this structure stuff clicks.  You’re not sure why, but it does.  You suddenly understand what that Vogler guy mean by “elixir” and what “Saving the Cat” is all about.  You can’t explain it, but now you have all this power floating around in your head, and you are going to use it for good.

ACT II

For all your hard work, you finally get to coast.  Planning out stories has never been easier.  You know where the story starts and where it has to end up.  It’s awesome.  It’s like a weight has been lifted off of you.  As you flex your muscles, you are able to see the Hero’s Journey in every movie you watch. ¹  You can now construct and deconstruct at the same time!  Life was never better and you start to think wow, I’m really going to make it as a screenwriter.

Then one day, this three acts thing hit you like a ton of bricks and you can’t get out from underneath it.  You start to ask why did you bring this curse upon yourself?  You start to long for the days where you could just write a script — or at least watch a movie — without having to think about what step you’re at.  You have an awesome first act written but for some reason you can’t figure out how to set up Act II so that you can go into the innermost of the innermost caves. ²What will be the sword?  What will be the ultimate Elixir? You don’t know, and honestly, you have no idea how caves and boons have to do with your romance comedy.  

You go back to your burly lecturer and ask him to solve your problems.  Well, he can’t.  Only you can.  He says you must learn and then you must forget.  What the…  He’s cryptic and annoying.  So you take your stack of paper and go back to your laptop.

But you plow through. Then the next three attempts at story you’ve hand in are rigid and formulaic.  Just like you expected.

What is a screenwriter to do?  You win some, and you lose some.  You may be able to write a text book satisfactory story but you seem to have lost all sense of originality.

So you say, screw you three act structure! You betrayed me with your false promises and now I’m going back to how I was.  But you can’t. Something is missing.  You try to write but there’s always a sense of longing that you can’t get past.  And the montage music just won’t shut up.

But then a glimmer of hope…

Act III

You pick up one of the screenwriting books that you have been using as a table leveler for the last several weeks.  It brings back good memories of discipline and structure.  You smile to yourself as you flip through the pages.  And realize, Three Act Structure is not the enemy, neither is the Hero’s Journey.

As it turns out you had the message all wrong. Three Act Structure is a only a tool.  When examining a draft (or writing one) you look at it and think hm, something is missing and that’s where the Structure is comes in.  Allow me to explain.  It dawns on you that in the middle of your script, there needs to be a change of some sort.  A big kick in the nuts.  Otherwise what are you building too?  You always want your story to be taking new and unexpected turns, and halfway through seems to be a good a place as any.  So what’s the best middle of your story?  Take a step back.  Look at your story as a whole.  Where is the story most likely to end up?  Take your cue from there, because as Michael Hauge asked in his Screenplay Mastery seminar, “How do you know if you’re halfway done with a marathon if you don’t even know where the finish line is?”

Story structure isn’t a template, it’s a guide.  Use it as a tool to help you when you’re stuck or to get the ball rolling, but don’t rely on it solely to tell your story.  Ultimately your instinct is what’s going to make the best story possible, but there’s nothing wrong with asking for help along the way.

So there, you return to your world, having it changed forever… and hopefully for the better.

The End. Roll Credits.

If you are interested in learning a bit more about the Three Act Structure and/or The Hero’s Journey, there are so many talented people with their own takes on the idea(s).  Browse and see which one is most accessible to you.  And if you don’t like any of them 100%, that’s fine, do what I do, and mix and match.  ³

Joseph Campbell started it all with his book Hero with a Thousand Faces.  Though, when he wrote this, cinema wasn’t around yet, but it’s where most of the other story-tellers get their ideas from.

Chris Vogler took Cambell’s book an rand with it and adapted the Hero’s Journey in The Writer’s Journey: Mythic Structure for Writers.

Syd Field has THE go-to book on screenwriting.  Screenplay is one of the first and still most widely used book on the craft.

Blake Campbell has an interesting and accessible take on the Hero’s Journey in his book Save the Cat (and followup book Save the Cat Goes to the Movies).  This book takes out a lot of pretension and puts the How-To book in Laymen’s terms, which I find helpful to newcomers.

These days good advice isn’t just limited to the dead tree variety.   John August and Alex Epstein both have incredibly helpful and informative blogs about screenwriting, most of which are inspired by reader’s personal questions.  Epstein has also written two books Crafty Screenwriting and Crafty TV Writing.

Last but not least, Michael Hauge is worth checking out if he is ever conducting a seminar near you.  He also has authored a couple books and has videos of his presentations available at his website.

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The age old debate continues.  Superman, or Batman?

I have read more than one article/blog now saying big movie execs are worried about the future of a squeaky clean Superman in the dark realm of heroes such as Batman and Hellboy.  In a way, I guess I can understand the panic.  In a world of self-professed cynics we relish the the flawed hero, or even the anti-hero, which I guess is fairly interchangeable at this point. For Pete’s sake, even the Harry Potter movies fight for that dark and broody, angst filled atmosphere… and they’re based on children’s books. (Go back and read the first four novels… Not broody or cynical.  Children’s books.)  You know what, that’s fine.  Largely those movies work and for various reasons, and are hugely popular, but just because a couple movies work one way, doesn’t mean they all have to.

Superman has always been a much lighter hero, right up to the bright blue spandex.  He is the squeaky clean, super human, bringer of hope.  To change that for box office purposes would completely change who that entire character is.  Where Batman sees the flaws and warts of humanity,  Superman sees the strength and good-will of it.  What’s wrong with that?  In today’s world, where bombs are being dropped on various countries by various enemies, children are shooting their peers, and politicians play bloody knuckle boxing with tax-payers, why can’t we go to a movie to see someone actually be able to save the world, just because he wants to?

Superman is an idealist.  He does not seek revenge or have too many inner-demons to battle, and though he may not represent the ever-popular downfalls of humanity, he does represent the hope that we have all seem to have forgotten these days.  He doesn’t need to be the same as Batman to succeed.  He’s Superman for Heaven’s sake.  Use what you have on the table in front of you, don’t go stealing off of other people’s tables.  With the USA being ripped apart by this year’s election over issues that there seems to be no Right or Wrong answers for, and when the people are doing nothing but screaming for a savior,  ¹ why not just give them one?  Superman does not play in the grey areas, he’s so Black and White, so good vs evil and he wins everytime.  Don’t underestimate people’s need for that.

Superman and Batman are different heroes, that’s why there’s two of them.  Let Superman stay Superman.  Batman gets to come into his own being Batman.  So, let Superman come into his own by being Superman.

That being that, onto Topic #2, and I wouldn’t mind someone swooping in and saving the day.

Today I will finish Draft Two of one of my screenplays  – that is, if I will get off the internet and finish it’s last sequence.  It’s a decent draft, much better than the first, but it is still facing a lot issues, a lot of which I created for it with the premise.  Six redheaded women are forced to stay under the same roof after the death of the patriarch.   Adding to the claustrophobia, two of the women are former wives of the man while the other four of the offspring of the respective unions.  The fact that the action takes place under one roof where little happens in terms of plot stimulus, the women are forced to continually rehash their past with one another.  Anyone who has taken Screenwriting 101, or even has just SEEN a movie, knows that the last thing that any audience wants to sit through is a bunch of people sitting around talking about the past… except, for some reason, in The Big Chill, that was a huge success. ²  I am completely stuck on how to bring about keeping the story in the present as well as bringing a bit more action³ to it.  So yeah, that’s where I am with that.

I feel as though until I can work out some of the big flaws, as well as a title⁴, it would be pointless to pursue another draft.  And to be honest, I don’t think I could do that right now.  It has worn me out, and I need a break.  So where do I go from here?   I have a few options,  I suppose:

1. I have another screenplay that I have draft 1 already out there for.  It needs a lot of plot work, as well, in order for another draft to be attempted.  It’s difficult but not impossible.  I like this project, it’s a bit lighter in tone and not quite as soapy  – though I never intended my Redheads project to fall under the “soapy” category, for the record.
2. I also have a TV Show that I am trying to develop.  If I had to choose, this would probably be my “passion project.”  It’s something that I have been swirling around with for a few years now.  I’ve written scraps that could eventually wind up as a bible and a draft of the pilot episode.  Both need considerable work before they have the ZAP and PUNCH that I think is completely achievable with the idea and that’s fine.  I can work with that.  It’s my favorite idea so far, but honestly, probably the one that’s least likely to get me any work at the moment.
3. This last week or so I have been itching to get started on this new idea that’s been brewing in my head.  It’s the idea that the more I think about the project I’m working on, the more I think about starting this idea. It is called Finding Geraldine and it is to be a feature film.  I have deliberately suppressed working on it because I would get swallowed by it and never finish Redheads. I’d love to start now, but I fear taking on yet another project would just cause me to neglect my existing ones and they would never get any further.
4. Hopefully next year, I will be applying for the ABC Disney Writer’s Fellowship. Hopefully.  It is an intensive (and very competitive) program where they throw you into the TV writing business and help you hone some skills with on the job training.  It is how many TV writers in L.A. get their start.  In the application you must submit a TV Spec episode (essentially a glorified Fan Fic ep) of a series in production.  This will probably take me months to do because of all the research  – which I promise involves slightly more than just watching the series over and over — and planning involved.  I have a little less than year to get this underway.

So there you have it.  How do I spend my days now?

And also I would much appreciate your advice on how I can get out of the house in the process.  I’m tired of being here all day alone with my body image.

I don’t know how Meredith Grey does it.  I’m completely surrounded by doctors and ailments that I can hardly concentrate on getting to the fun relationship stuff.   I don’t know how she does it. All I can say is that I have truly underestimated writers who do this sort of thing for a living.  I don’t know how the writer’s of Greys or All Saints can do this without ten years of med school…

Hopefully I will get around to a draft this weekend so I can get it done.  But next week is hectic too because I’m supposed to be completing my second draft of one of my features this coming week.  AGH.

WII FIT:

Lost .5 kg and .15% BMI.  GO DIET SHAKES!

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Also, another thing that the developers at Celtx have done is started releasing short films about filmmaking.  They have a channel over at Blip.tv  where they have started releasing quick little shorts titled “Motion Sketches” and I’ll give them credit, they relay a lot of easy to digest information in short amount of time.  I’ve only had time to look through a couple, but if you have any interest in filmmaking or how cinema is evolving, I would check them out.  The current one is about the role of the producer but their first episode is about how the definition of Cinema has changed over the last several years due to what is referred to as the “digital age.” 

I watched the first episode last night entitled “So this is Cinema?,” where the host, Mike Jones (who I will talk about later) starts off by telling us that Cinema is so much bigger than sitting in a big dark room. There is an old way of thinking that a writer writes and a director directs and a cinematographer… cinematograph-erises… but there is room for us writers to be better if we are educated about post production and if editors were educated about pre-production, and so on.  According to this sketch, 21st Century Cinema is about empowerment and being self-sufficient.  Software has started to be bundled together so that any filmmaker, at any level in their career, can start thinking about all the processes instead of just the one stage they’re on now and worry about the next step when they come to it… only Mike says it much better.  If you have five minutes check out the first Celtx episode here.  And if you have more time, visit the channel.

MIke Jones, who is heavily involved with Celtx development down here in Australia, also happens to be a friend and mentor of mine.  I am going to let you in on a little secret about Mike; he knows everything.  I am not lying here or exaggerating, ask him how to do anything and he can tell you.  It’s really shocking.  That aside, he is also a fellow geek, and has some great insights on cinema that you might not get from the more wanky variety of filmmakers  – what it is, where it came from, where it’s going, etc.  On his website he has written articles about Cinema as a Spatial artform, an audio AND visual artform and how the old way of “film” is dead.  Though he’s a little bit more in love with the digital age than I and I have some differing opinions on the validity of gaming and cell phones as legitimate forms of cinema delivery, his opinions are worth reading and I promise you you’ll learn something new with every article read. 

I will be adding Mike’s blog to my links as well, something I should have done sooner.

As for Wii Fit, it’s a disaster. I didn’t make my goal, so I have started a new one and of course have not exercised since. Sigh.