Tag Archives: process

Screenwriting Issue of the Day

Too Many Steps?

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A movie is a story, and a story is a journey, right? We (usually) want to relate to a hero on a quest to accomplish something. We want to see the struggles, the triumphs, the defeats, the

levities, the tragedies, and the breakthroughs that befall our hero along every step of the odyssey. Well, surely not every step. And here

in lies today’s issue…

Am I including too many incremental nudges toward

the end game, and bogging down my plot?

There’s a fine line between showing what’s necessary, so as not to leave logic gaps and have the audience scratching their collective head, wondering how point A lead to this point C, without the necessary point B (and maybe also wondering why bother to continue reading/ watching); and slogging through mindless and unessential details, painstakingly and pitifully trying to address every last doubt about the story’s logical credibility and plead with the audience, “It all makes sense, I promise! Please like me, and my story!”

I’m just not sure where that line is…

Do we need to see the discovery, analysis, and follow-up of EVERY single clue in the course of the investigation?  Surely some can be implied, or presented in retrospective dialog (without being overly-expository, of course), but which ones? Where’s that threshold of relevance that tells me if it should be shown or referenced?

I’m going through my scenes, and attempting to elevate the drama in each of them to ensure that every moment matters, and I can’t help but question whether a few of them should just go. I know some schools of thought say that as soon as the question enters your mind, cut it; but I’m not so sure my instincts are honed to that level.

On this pass, my emphasis will be on making sure something (somewhat) vital is introduced into the story at each turn that we actually see (read). And, for now, I’m pretty much leaving it all in, because…

This puppy is almost ready for another set of eyes to scour it for faults. I’ll be trusting in that step to solve some of the aforementioned riddles. I’m just hoping for some sweet, sweet consistency in the notes, particularly about issues like this one. If three people are telling me that we don’t need to see the helpful rent-a-car clerk expounding that one suspicious transaction, then I’ll have my answer.

Anyway, your thoughts? Let me know below!

Book Reviews

Review: How to Kick Writer’s Block in the @$% by Michael Rogan

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Thus far, I’ve never really been a sufferer of writer’s block. No, my main hangups could be better described as your garden-variety procrastination and mild resistance (blowing off writing to clean the house, clear out my inbox, watch the barking cat video one more time, etc.). But, I’m never one to pass up any opportunity to learn something about my chosen craft, especially from a source I can count on for accessible, down-and-dirty, practical, and extremely useful content. That source is Michael Rogan. (He’s also one of the most qualified human beings on the planet to hash out the niceties of writer’s block – more on this below.)

Michael is the Head Hancho Publisher over at ScriptBully, a writing consultation company that specializes in cutting straight to the chase in assisting screenwriters at every level move their careers forward (or at least nudge ’em out of a standstill). They’ve got it all – online courses, seminars, consultation services, and plenty of sweet books. The resources tackle a wide range of screenwriting angles, from devising and refining your initial idea for a movie, to the pure nuts-and-bolts formatting of the script.

So, I was excited to hear about the newest installment, How to Kick Writer’s Block in the @$%, and jumped at the chance to pick up a copy.  As usual, this volume doesn’t disappoint.

Michael expounds in his usual style of keeping it terse and to-the-point, but interlacing the material with surprising depth. There are also plenty of humorous quips along the way, keeping it light and enjoyable. He starts with a brief overview of the physiological/ psychological causes of writer’s block, without getting overly technical and losing the reader. Then, we’re off to the races…

What’s offered is a wealth of tools to throw in the box, for aspects such as maintaining mental focus, keeping a diligent writing schedule, maximizing your output, seeing projects through to the end, and most importantly – enjoying the process!

I’m new to these exercises, but I can tell you I’ve already incorporated a few of them (one of which is being accomplished right now) and I believe they’ll have a great impact, not only on my results, but on my writing experience overall. They’re simple, immediately integrable, and the benefits are often readily apparent. They consist of creating the optimum physical, mental, emotional, and logistical conditions to elevate your writing workflow. Nothing is crammed down your throat. The option is left entirely to you to pick, choose, and customize the tips to suit your purposes.

Last, and possibly least, depending on your outlook; Michael is especially credible on this issue, having suffered through a six-year bout with writer’s block. As an epilogue, he includes the excruciating blow-by-blow account of how it happened and how he came out a professional writer on the other side. It’s a fascinating and, for me, oddly comforting story that really puts things into perspective.

If you’re a writer of any variety (this isn’t only for the “screen-types”), this book will serve as an enjoyable read and invaluable resource. You will certainly not regret picking it up. And you can’t beat the price!