The Writing Week (Vol. 4) part 196 - Developing (More) Ideas (Again)

Another week, another set of experiences and work. following a recent discussion I had with my manager, in which he told me that - due to the fastidious state of the spec market industry now - I should consider developing some more ideas to pitch as my next script. Unfortunately, that means temporarily casting aside the Medieval spec, which I already did two drafts of. C'est la vie. 


He gave me some guidance for going forward with crafting these new loglines. The short of it is that I should come up with something tried and true (i.e. a hitman on his final job), but with a unique twist (his targets are monsters). [Aside: this probably isn't unique - I can almost guarantee it isn't - but hopefully you get the idea.] The theory behind this notion is that Hollywood is particularly finicky now, and that the only way to really break in with a spec is to do so with something that's been seen, but is a new angle for the premise. My post-Apocalyptic spec fits this criteria (though, that wasn't intentional on my part); it's a post-Apocalyptic detective story. So far, though, that hasn't amounted to a sale or even really any glowing interest. Again, c'est la vie. 


Now, I can imagine that there are a lot of detractor out there who feel that this sort of advice is a corruption of a writer's "artistic integrity." You're probably right. I probably agree with you. But we have to keep a couple things in mind when discussing this holistic approach to writing a spec. First, the compound ideas that I'm talking about relate more to giant blockbuster tentpole ideas (summer action or horror flicks) than to smaller indie ones. If you write smaller scale character dramas, you needn't concern yourself with the above. Secondly, as much as it might seem like selling out to some people, I feel you have to ask yourself; "would I rather break in with something I'm not quite as keen on than not break in at all?" 


That's an oversimplification of the issue. Let's look at it this way: Sure, mashing two ideas together to create something commercial and "new" as your inaugural script might seem like a less inviting way to explore your writing skills. However, these projects can still be a Hell of a lot of fun to write. More so, if they take off and you nail that major sale, then soon enough, with a few more projects under your belt, not only will you be able to support yourself as a writer for a bit, but you will gain the coveted and necessary power to pitch your dream project. And, quite likely, to get it made. Now isn't that a fair trade off?

The Writing Week (Vol. 4) part 195 - Slight Frustrations

You know, the screenwriting market is a fickle thing. One day, something's a good idea, and the next, it's decidedly not. On paper, in logline format, and idea sounds great, promising even. In reality, the full script presents marketing issues. Unfortunately, it can be tough to tell what the case is going to be, until the pages are all there to be read and judged.


This, sadly, is something I recently experienced. I had turned in a copy of my Medieval spec to my manager. He gave me a ring late last week. While he liked it as a first draft (I knew it needed a lot of work, and sent him an email to that effect when he indicated that he wanted to set up a call about it), he didn't think it was the kind of script the market would really take to right now. Not that it's a bad idea - in fact, we had both agreed on it as the idea I should most ardently pursue a few months back. Rather, it just doesn't offer enough of a hook to set itself apart in the industry right now. And, there's little that can be done about that without altering the entire story, which neither of us want to do and is a bit beyond the point anyway. 


Does that mean the idea will never be a valid one? No, of course not. However, right now, after reading the draft, my manager just didn't feel as though it has the necessary components to work in a very competitive market right now. What are those components? It's becoming increasingly difficult to tell. But this is a pretty straightforward revenge story set in the Middle Ages. Knight and king stories haven't done remarkably well recently, so despite the fact that the logline was promising, the more full execution proves itself difficult from a marketing point of view.


Whether this is the end all and be all answer remains debatable. You might disagree. Other representatives might disagree. Even I have the right to disagree. At the end of the day, though, if this isn't material my manager feels very strongly about - and he has his reasons and insider knowledge - then it's probably not one I should pursue. At least not right now. (A quick aside before I go much farther - I don't advocate sending material out when you know it needs a lot of work; I did this, because I was confident that the second draft I presented to the League was strong. It was, well, stronger than the first, at least. When they pointed out some things I hadn't previously seen about it, I sent a follow up to my manager letting him know I would be doing another overhaul of the script.)


My main concern these days is my lack of production. By that, I don't mean not having a movie produced. Rather, it's almost a year to the day since I landed my agent at UTA. When that happened, my manager promised him I would deliver two scripts a year. To date, he has seen nothing new from me. I've developed a lot of material and did two drafts of the Medieval spec. But nothing completed has gone out. I have that - and the sense that my "one shot" might have peaked - hanging over my head. The only thing I can do about it, though? Keep writing. I have to develop new ideas, ones that my manager will take to again, and push through with them. To the end. To my agent. To, hopefully, a sale.

The Writing Week (Vol. 4) part 194 - Minor Updates

The screenwriting business is an exercise in patience. If I haven't said that now (I have... many times), then I'll say it again now. When trying to become a screenwriter, be prepared to wait. When things happen, so I'm told, they happen very quickly. But until they do, things can drag. And drag. And draaaaaaaaaag. 


This isn't to discourage you. The last thing I want to do is discourage other writers. It's good to be aware of what's to come, if for no other reason than to steel yourself against silence, which can often be mistaken for rejection. Take my post-Apocalyptic spec, for example. It's been over two years since I first signed an option with my producer. We have - in the meantime - renewed it twice. A second producer has joined our team (which also included a manager from the point of union). And an agent. And a lawyer. 


A big producer with the backing of a major production company kind of came on board. Then went away. Then came back. Sort of. Then left. We sent to a (large) handful of other producers. They all passed, some providing general reasons why; others didn't. We're not waiting on another group of contacts, these direct buyers at studios. My producer keeps assuring me that something will come of it, and that all we need is one "yes' in a forest of "no thank yous." This part is very true. One yes, and all things can change. 


Until we get that head nod, though, we wait. There's little we can do in the interim. Not everyone reads immediately - though for a hotter project or in a better spec market, they would probably read more quickly. It might take a week or two to make it to the top of an ever growing read pile on some poor (well, not financially), over-worked, stressed producer's desk. We just have to hope that when it does rise to the summit of that pile, it does so when the reader is in a good mood, his/her studio's latest action or Armageddon flick has done well for them, and he/she hasn't just read something else that is equally (hopefully not more) equipped to fill the necessary action tentpole space in the slate. If all those things come fall into place, and he/she likes the script, and everyone else who has to weigh in likes the script, then maybe, just maybe, we'll get that yes. 


I'll be typing with my fingers crossed until then.

The Writing Week (Vol. 4) part 193 - Slowly Starting to Get Writing Again

It can be quite the long road back to productivity after taking a hiatus from writing. However, I think I made some (small but good) progress this past week. The biggest - though it might also seem most trivial - step is that I finally found that my Medieval script was sneaking its way back into my thoughts. It may seem completely pointless to even mention that, let alone tout it as an accomplishment, but I bet many of you readers would agree that when your mind's not on the work, even allowing an errant thought about it can be a losing battle. To discover that, suddenly the other day, my mind was back on the script... what a great feeling.

Beyond thinking - albeit just briefly - about a script, I actually made some strides in other areas this week, too. I'd say the results are tangible, visible ones, but that only really applies for me. Realizing that I had other things I wanted to say, other stories I wanted to tell that are not suited to the feature scripts I'm writing at this moment, I actually launched another blog. Well, sort of. I created one. I did the design and layout for it. I even began posting. Only, it's not public. Not yet. I want to work out a few kinks in the voice and, to be one hundred percent honest, remove my info from it. I like the idea of it being anonymous. It's not something I plan to advertise. When I click to make it public (I'm even going to disassociate it with my profile here), I'll let it be its own thing. If people find, read, and like it, fine. If not, also just as well. It's for me. It's an outlet for what's on my mind now. Maybe that's all it needs to be. Hell, maybe that's what my scripts are lacking - the "me" element. 

In terms of the post-Apocalyptic spec, we're still waiting to hear back from companies. My producer's going to be in the City later this week, so it will be nice to grab a drink with her. Hopefully, we'll have some good news to toast while she's in. If not, it's just the same waiting game I've grown very used to. All I can do is sit back, wait, watch, and write.

The Writing Week (Vol. 4) part 192 - Back on Schedule

About damn time it happened. The first Monday Writing Week in... months? Scary how quickly time can fly, and at what point that triggers a realization of completely thoroughly a schedule was abandoned. Well, at long last, I'm back on track. With the Writing Weeks. My script is another story, all together. 

Unfortunately, this return to routine has yet to include any progress on the Medieval spec. And, I realized this afternoon while buying deodorant (how the mind does wander), tomorrow is our League meeting for the month of September. My script was reviewed back in August. That means, it's been a solid month since I touched the script. Blame some of that on being out of town (because excuses are one of a writer's best friends), I've already been back two weeks and haven't even thought about the thing.

It's time to get back to work. We're not reviewing any pages tomorrow, so it's all just catching up and dinner and drinks. Even without pages, we find it important to keep meetings on schedule. Ideally, the amount of time I've had away from the material will have set in motion the solution to some of the problems, even if I'm not consciously aware of them yet. Time will tell.

This coming week continues to be busy for me. But I have to write. No more dilatory dawdling. The pages need attention, attention that can only come from me. Set the schedule, Cake Man, and stick to it!

The Writing Week (Vol. 4) part 191 - The Importance of the Routine

The writer's routine. Many of us have one. Some of us don't (and work better without one). As is evidenced by the irregularity of my recent writing weeks, I am not one of the latter group of people. 

Having a regular, anticipated writing time and practice is one of the tools that helps me complete my projects. For example, The Writing Week used to be (read: should again be) a weekly Monday post. Summer travels and - who's going to lie? - laziness threw me off. Even today, on a Tuesday, I'm the closest to posting on time that I've been in months, but I'm still not on time. That will change. Starting next week.

The frequency and timeliness of a blog post is nothing, however, compared to my actual writing. One hour a day after work, or before work, if I know I am going to be home very late one night. How hard is that? On paper, no very. In practice, though, I slacked off on that a lot in the past month, too. Chalk some - or most - of that up to travel if you (I) want, too, but it still has resulted in a net zero pages. I need to get back into the routine.

I'm coming up on the one year anniversary next month of when I signed with UTA (well, no actual paperwork, but you get the idea). At the time, my manager promised my agent two scripts a year. Ambitious, but doable. The sad truth, though, is that I've produced an outline and two drafts of a different script, but nothing worth reading yet. And that two draft script? Needs a major third (and probably fourth) draft. That's what I'm going to start on soon. When I get back to my routine. When I feel that I can conjure up something good again. Only, I can't wait for the mood to strike. I have to get working again. I simply must. Time is ticking. I might not be able to hit the two script benchmark - hell, I know I can't at this point - but I surely can do one, can't I?

This is a test for my career. Hopefully, we'll hear something back on the most recent round of submissions from the post-Apocalyptic spec. My producer and agent were going to do some followups this week, now that Labor Day is over. But I can't wait around for that. I need to get writing again. I need to get back into my routine.

The Writing Week (Vol. 4) part 190 - Travel Writing

I am currently stranded in Lima, Peru (with a keyboard on which I cannot figure out how to type an apostrophe, but can do as many ñs as I want), without access to my script - nor really any major desire to put a lot of time into it - so I figure this week, I would write about another type of writing I have been doing. Travel writing. More specifically, travel journal.

I do not know about you, but I have never really been on for keeping a journal. When I was a little kid, I had a Garfield-cover spiral notebook that was to be my "journal," but it served primarily as a doodle book. In high school, I attempted a Live Journal for a little bit, but my fifth and final post was a solicitation to all my friends to keep an eye out for my lost jacket. (It was in the back of my locker.) The only real journal keeping I have done since has been during my travels.

If you are a regular and long time reader of this (perhaps mildly interesting) blog, you might know that I get abroad roughly once a year. On those two to three week excursions, I bring along a little notebook, in which I try to record the events of each day. Photos do a lot, but so does whiskey, and my capacity for memory is not what it once was. Hence, the written records. Generally, even I find the entries to be a little on the dry side, static recordings of events with little anecdotes or personal reflection. This time, though, I tried something different.

If I am to be one hundred percent honest, I was not in the best of moods before flying out of NYC two weeks ago. The journal, while about my experinces in Lima and Cusco, also became a medium for my inner thoughts and emotions. I managed to put my feelings down on paper and, in a somewhat theraputic way, sort them out. Was the writing creative? I tried as best I could to be catchy or interesting. But it really was not about that. It was helpful to me. It was expressive in a different way than creating a world and characters and situations is. But it was writing nonetheless. And it felt good.

Moral of the story - writers write. And it does not always have to be stories. But, generally, it feels good when the words flow.

(Small post-Apocalytpic update while I have you; I got anothe remail from one of my producers. We are still out to a numbe of companies, but we are hoping to get a few responses after Labor Day. My agent is supposed to do a few follow up calls, and there are a few potentially interested producers and companies on our solicitation list. So, as I - hopefuly - make my way back to the States, I will keep my fingers crossed for some good news awaiting me as I enter back through customs.)

Hope all our East Coast readers survived Irene and the earthquake.