Monday, 19 March 2018

'This'll Be The One' or Why Writing Just One Screenplay Is Disastrous

It's a nice thought: that one magical, transcendant screenplay that'll catapult you to the top of Hollywood. A literary work to rival Kane or Butch Cassidy, and place you in the venerated pantheon of Goldman and Towne. A masterwork of drama or comedy that you worked on, nay, slaved over for years and years, perfecting every last detail. Truly, you are the cinematic Messiah...

And you know what? It's complete, utter and total bull.

No one who actually has anything resembling a career has just one good script, or worse, WAITS until they sold that one script to write more. It's like if a baker only makes more cakes after just baking one, or a dentist who only does cavities and nothing else. I, for one, am always frustrated when I see well meaning folk pop up on forums and Facebook writing groups with a script that they say they've spent 'years' on. An A for effort, yeah, but it's also obvious they haven't written anything else in that time. They put all their eggs in one basket.

Being able to generate multiple ideas and then write as many scripts (film, TV, radio, stage, short, webseries) as possible is vital to making it. Each one presents a new challenge for you to grow and improve as a storyteller. Your characters have more dimension, your structure gets tighter, your pacing faster, your dialogue sharper. It's slow, but worth the slog if you really want this bad enough. As Frank Darabont said, ''Everything is self-applied effort in life. You don't get anything easily.''

Alright then, so what can you do?
  • Write down everything. No seriously, this is not some throwaway guff from 'professionals': it's true. On paper, your phone, in a Word document, on a napkin, just write down any idea you have. Doesn't have to be deep or detailed or eve immediately obvious: something as random as ''zombie ducks invade Cardiff'' might have something in it. Always have a little ideas folder or cache handy: it may save you in a moment of the dreaded 'block'.
  • Do one pagers: again, don't worry about perfection. Just write a rough outline in three-four paragraphs, detailing the very broadest strokes of what you'd like to do with the idea. Additionally, do the logline: that super condensed, to the point version of your story can be super helpful in finding the heart of the piece.
  • Exercises: a lot of screenwriting books and websites have these - very quick, usually 5-10 minute challenges you can do to help you come up with something (also good for block-busting). Could be building a character in layers, could be a brainstorm or mind map, maybe even just write a random scene with two characters. Anything can lead to something.
  • Read non-film stuff: A trip to the library or, if you're just feeling mega-lazy, Wikipedia, can yield all sorts of possible inspiration. News, politics, history, art, science, all can plant a seed of something in your mind. Who knows, you might find great drama within the confines of American corn production.
No matter what plan you pick, just follow it through and pump out as many different projects as you can. Start something new every time you finish a draft or two of a project. With a rota, you could have few as say, four, and as many as ten or eleven new scripts/treatments by the end of a year. If you really consider yourself a storyteller, you should be turning out many different tales as often as you can.

Writing is hard. Very hard. No formula or beatsheet will change that, and if you really love it,  you'll push yourself. Getting your first script finished is a wonderful feeling. Knowing people like it: even better. However, staying married to past glories is dangerous: say your script does the round at contests and companies, and no one goes for it. What now? If you just hawk the same thing year after year, you'll look like a one-trick pony who never had anything interesting or unique to say.

I speak from cold, hard experience. Look for yourself:

You know why else this is handy? If you get a pitch meeting, you may well be in a scenario where they like your writing, but the script's just not right for them at that moment (I have). They'll ask, what else?

See how helpful this backup can be? But if you're still not convinced, listen to working screenwriter Mark Sanderson and his experiences.

Sunday, 4 March 2018

Pudsey, Paul Rose and Writing A Dud (A Great Piece on Failure)

So, to help break up the recent run of beefy articles on dos and do-not dos, figured I'd signal boost one of my all time favourite musings on screenwriting: childrens TV and games journalism veteran Paul Rose, recounts his experience of the writing of the critically reviled X-Factor tie-in, Pudsey The Dog: The Movie.

Posts like this help illuminate the flip side to screenwriting: it's all well and dandy talking about success and awards and influence, but when you write a P.O.S, what? It's a sad reality of the business and something you have to be willing to face if you're serious about screenwriting or just any creative endeavour period. Nobody sets out to make something bad on purpose: you just get snake eyes sometimes.

Rose isn't excessively bitter or childish about the whole business: he accepts it didn't work and discusses it with maturity and even a little humour. He discusses how his vision was not the one that ended up on screen: he saw something more old school and wholesome, squarely for the young 'uns. He makes no pretense: he knew this was a silly project, but he tried to find the nuggets within that to really motivate him to write.

That too is an oft-underexplored facet of creativity: finding the drive to plough through on work that didn't come from your imagination. How do you adapt to someone else's idea and chaarcters and make them not only your own, but honour what made said thing special? Granted, that's a bit much in relation to Pudsey, but the basic idea stands.