Follow-up

Good news is I think my last post may have revealed something I was unaware of in my screenwriting.

Bad news is I think it kinda screws me six ways to sunday (at least for awhile).

I find myself in a situation much like having all the ingredients to make a recipe but not having the directions on how to combine them. This sucks.

Good news is I know why my bloody writing is so hard these days.

This also explains why I've always been so good at helping others rewrite, but stinking up the joint when it comes to my own stories.

bugger me.

The Fear

Fear drives people to do all kinds of crazy things. Sometimes, though, fear drives us *from* doing things.

See, for me, I can't help but wonder if it's fear keeping me all bunged up in the creative head.

When I was younger, ideas were a dime a dozen. I couldn't swing a dead cat without hitting an idea that seemed appealing to me. Something I could write about. I still believe I can write a scene. A sequence. Something small. It's the larger stuff that's eluding me.

I'm exausted by the possibilities. The longer I work on something, the worse it gets. I have time to think of more possibilities. I mean, really, *anything* can happen. I don't know how I did it before. When I was young. It was the same situation, but somehow there just weren't as many possibilities.

The start of the script was here. I was wrong of course, but there was no doubt in my mind. Now... I come up with 20 different scenarios for one story. And 25% of them change the bloody story so that now I have a mish-mash of about 4 or 5 stories. None of which is a complete one.

Is it fear? I mean, if I complete the script. Then I have to do something with it, right? It's at that point that it's confirmed if I suck or not. Or if I have an idea that's worth a shit. Right now, I'm a writer that just hasn't made it. I cross that line and write something then I'm either a success or a failure.

Before I go getting too melodramatic, I must confess that it's really not fear for me. I just spread myself too thin. I want to do it all. And you know where that leads -- nowhere.

The problem, however, is real. I know that the best plan for me is to come up with the idea, hammer the bastard into an outline, then write. Problem is, I've already waited too long. So now I have a bunch of ideas and none form a coherant story.

How do some of you hammer out an idea into a story? How do you come up with your log lines?
How many of you come up with characters in situations for a story versus a high concept idea you beat out into a story versus my particular curse, concepts? By concepts I mean something that sounds high concept, but it's really just a kernal of an idea (i.e. A guy who's terrified of heights gets his dream job, but it's working on the top floor of the Sears building.)

Music to Write To

On a second note, I find it peculiarly peaceful to write to Sade - specifically, her Love Deluxe or Lovers Rock cds.

Weird.

Biff the Angel

This was a short I did for a party reading. Our writer's group had a group of actors come in, we'd serve food and cold read short scripts. Always liked this. Thought I'd share.

FADE IN:

EXT. SKY - DAY

A notebook falls.

EXT. CENTRAL PARK - NEW YORK - DAY

A BUM wrapped in newspaper sleeps peacefully on his park bench.

WHAP~! The notebook smacks the bum on the head.

BUM
Ouch! Who the..?

He looks around for the perpatrator. Finds nobody. Lying on the ground, however, is a notebook. Spiral bound. In large bold letters on the front it reads:

"Frequently Asked Questions"

He picks it up and opens the first page.

EXT. HEAVEN - DAY

Overcast. Big black clouds dull the otherwise bright, white fluffy clouds that constitute the ground.

BIFF, timid and unassuming, shuffles across white fluffy clouds. Whisps of cloud puff with each shuffle. He bears tiny wings on his back. His shirt is cut to allow them to protrude through the back.

Slung over his shoulder is a knapsack. The zipper is open and folders and papers hang precariously in the opening.

He stops to check his watch. Rolls his eyes as he remembers he doesn't have a watch anymore. He has a small sun dial on his wrist.

He holds it out to try and catch some ray of sunshine. The sun dial remains dull and listless. Biff shakes his head and continues his trek. A slip of paper slips out and flutters down through the clouds.

EXT. CENTRAL PARK - NEW YORK - DAY

POOF! A piece of paper materializes and gets tossed by the wind.

EXT. HEAVEN'S PARK - DAY

Full of gorgeous statues - unmarred by the earthen aviary constituants. A pond ripples in the center of the park. Lush trees rustle in a gentle breeze.

Sitting on a park bench is THE ARCHANGEL ELLIOTT. His huge wings flap quickly in agitation. He taps his foot. Checks his sun dial. Looks around the park. He spots Biff.

Biff plods through the park. Ignores all the grandeur around him. POOF! Elliott is standing beside him.

ELLIOTT
And just where have you been?

BIFF
Eh...

ELLIOTT
Do you know what time it is?

BIFF
Funny you should mention that.

ELLIOTT
I don't know what it is with you newbies. No manners. Couldn't send a thought that you'd be late?

BIFF
A thought?

ELLIOTT
You know, telekenesis.

BIFF
Yeah, right. Sorry, I wasn't thinking.

ELLIOTT
You can say that again. Now come on. I've got another orientation at three and the mornings almost gone as it is.

BIFF
Elliott?

ELLIOTT
Archangel Elliott.

BIFF
Sorry. Archangel Elliott? What time is it?

Elliott huffs. Thrusts his wrist out to show his sun dial.

ELLIOTT
One-fifteen. Didn't you read your fack? It's all in there.

A blank look crosses Biff's face.

BIFF
Err...yeah. It just hasn't all sunk in yet.

Elliott grabs Biff by the hand and begins to drag him along.

ELLIOTT
You'd think that He could do something about this disorientation thing for you newbies, you know?

BIFF
Huh?

Elliott sighs. Rolls his eyes.

ELLIOTT
Come on, now. We have a lot to do in the next hour.

EXT. PALACE - HEAVEN - DAY

A giant palace, rich in splendor stretches into the sky. Sculptured stone angels watch from the top of the building.

BIFF
Is this where He lives?

ELLIOTT
No, silly. This is John's place.

BIFF
THE John?

ELLIOTT
If you mean St. John, yes.

BIFF
Where does He live?

ELLIOTT
You didn't read your fack, did you?

BIFF
Yes, I did.

ELLIOTT
Remember, you're in heaven now. We don't take to lying here.

BIFF
Honest, I read the fuck.

ELLIOTT
Fack.

BIFF
Sorry.

Elliott shakes his head.

ELLIOTT
I'd like to know what I did to deserve this. You know I was in the same creation group as Gabriel. But do I get to manifest myself in bright lights and splendor? No, I'm doomed to orientations. What has he got that I haven't?

BIFF
Maybe it's your name.

ELLIOTT
What?

BIFF
The Archangel Elliott. It doesn't have the same ring to it as the Archangel Gabriel.

ELLIOTT
What would you know, you're still disoriented.

BIFF
Are all angels as mean as you?

ELLIOTT
Just shut-up and follow me.

Biff trudges after Elliott.

CUT TO:

EXT. PEARLY GATES - HEAVEN - DAY

The pearly gates. They really are pearly. Biff stands in awe. Elliott stands with his arms folded across his chest. Taps his foot rapidly.

ELLIOTT
Had enough?

BIFF
They're prettier that I ever imagined.

ELLIOTT
Do you have your questions ready?

BIFF
Oh, yeah. Thought about 'em all night.

ELLIOTT
(to himself)
Bet you did.

BIFF
I wanted to make sure I didn't waste any.

ELLIOTT
So what are they?

BIFF
I'm not telling you.

ELLIOTT
Please. Must we go through this? It's my job to make sure you ask appropriate questions.

BIFF
What kind of questions would be inappropriate?

Big sigh for Elliott - could this be any more tedious?

ELLIOTT
Things like, "why did you give me such a small penis?"

Biff checks his list. Elliott's eyes bulge at the idea that Biff may have written down that question.

Biff looks up. Smiles.

ELLIOTT
Well?

BIFF
Well what?

ELLIOTT
Is it on your list?

BIFF
That's none of your business.

ELLIOTT
Just read them out.

BIFF
They're personal.

Elliott grabs Biff by the throat and raises him into the air.

ELLIOTT
If you don't read me those questions, I swear I'll pluck every hair from your body one at a time.

BIFF
Wouldn't that hurt?

ELLIOTT
A lot.

BIFF
I didn't think you could feel pain in heaven.

Elliott reaches out and plucks a hair from Biff's arm.

BIFF
Ouch!

ELLIOTT
Care to begin reading?

BIFF
(reluctantly)
You promise you won't tell anyone?

Elliott pauses as he remembers:

CUT TO:

EXT. HEAVEN'S BAR - NIGHT (FLASHBACK)

Elliott sits at a table with several other angels tossing back a few brews. They're all laughing hysterically. Elliott composes himself for a moment. Wipes tears from his eyes.

ELLIOTT
Swear to Him. That was the guys' question. I almost popped a wing socket laughing.

CUT TO:

EXT. PEARLY GATES - HEAVEN - DAY

Elliott forms a solomn look. Sets Biff down and crosses his heart. He holds up three fingers in the Boy Scout signal.

ELLIOTT
Scout's honor.

BIFF
(hesitantly)
Okay. One - how come I always lose one sock in the wash? And where does it go?

ELLIOTT
That's two questions.

BIFF
Then I'll rephrase. What happens to the sock I always lose when I wash clothes.

ELLIOTT
You're serious?

BIFF
You never wondered?

ELLIOTT
I'm an angel. We don't wear socks.

BIFF
Don't your feet get cold?

ELLIOTT
In heaven?

BIFF
It never gets cold here?

ELLIOTT
(in disbelief)
It's heaven.

BIFF
I know, but-

ELLIOTT
(resigned)
This isn't sinking in, is it?

A blank look from Biff.

ELLIOTT
All right. Next question.

BIFF
What is the meaning of life.

ELLIOTT
I knew it. You haven't read the fack have you?

BIFF
Did too.

ELLIOTT
Did not.

BIFF
Prove it.

ELLIOTT
That's the first question in the fack.

BIFF
You keep talking about this fuck-

ELLIOTT
FACK.

BIFF
This fack thing.

ELLIOTT
Yes. It's very important that you have read it before you appear before Him.

BIFF
Exactly what is it?

ELLIOTT
Didn't you read any of the material that was given to you?

BIFF
I have a bit of a confession to make.
(beat)
I can't read.

ELLIOTT
Just a moment.

Poof! Elliott disappears. Biff looks around nervously.

BIFF
Hello? Archangel Elliott?

Poof! Elliott's back. His wings are a little singed. The bottom of his gown is on fire.

ELLIOTT
Sorry.

BIFF
(pointing to gown)
You're on fire.

Elliott looks down. Blows on the fire. It goes out.

ELLIOTT
Again. Sorry. I had something to say that He wouldn't really appreciate.

BIFF
You were going to explain the fack.

ELLIOTT
It's all the most frequently asked questions He receives. The F.A.Q. The fack.

BIFF
But that's faqueue.

ELLIOTT
It's pronounced fack. Just live with it.

Biff pulls his backpack off. Begins to dig into it.

BIFF
I've got everything you gave me right here.

Elliott peeks into the backpack.

ELLIOTT
Where's the FAQ?

BIFF
(digging)
It's here.

ELLIOTT
You lost it didn't you?

BIFF
Aren't we Mr. Positive?

FADE TO BLACK

GERALDO
Welcome to Geraldo. Today we have a gentlemen who claims to know the answer to the question on all our minds...what happens to the lost sock in the wash. The answer to this, the meaning of life, and many others when we return from this commercial break.

FADE OUT:

THE END

How Come It's Not Getting Easier?

I've liked Shane's stuff over the years. Although he did have one flick that I can't find, the others, I've enjoyed reading and watching. Lethal Weapon was my reading blueprint for some time. His writing taught me that you need a writing style. It doesn't have to be talking to the camera or any of his numerous traits, but you would hope that after awhile, you develop a rhythm of language of your own. I don't know that I could go as far as to say that you could recognize the writer from the writing, but certainly if held up beside another sample, you could tell if the two samples were from the same writer or two different writers.

Recently, I was reading an article about Shane Black and his recent film Kiss Kiss, Bang Bang. He said something that struck a chord with me. I'll paraphrase since i'm too lazy to go fetch the article. It was something like, 'you always figure that the more you write, the easier it'll get. I mean, if you make shoes for 20 years, you should be able to knock out a pretty good shoe in a short amount of time. But writing just gets harder every time.'

Think about that. Normally, you'd figure with experience comes expertise. But is that really true? Looking back I started to see a meaning between his lines.

When I started writing, I just wrote whatever I wanted. Whatever was funny, moving, interesting, etc. Whatever the characters wanted to do, that hit the page. (it wasn't really as crappy as it sounds, but it's never going to sell either).

So then I learned a little about screenwriting. Now I need a 3 act structure (well, ANY structure, but 3 Act was IN then). This meant the inciting incident, first act break, mid point and 2nd act break.

Okay. I'm rockin' now. I've got a script with all these elements. It's kickin' ass and takin' names. Or it's just getting passed on all over the place because it's really not that good. You see....

What I realized next was that the characters really had to have a meaning behind everything they said. You really can't just have them say *anything*. It has to mean something to the characters and/or the story. Same with their actions. Everything has to be for a reason. They are in this place/time because X happens or Y is said.

Boy. When I got THAT down. It was all over. Now I had it made. Three act story with every scene meaning something to the story.

How come it didn't work? Well, of course, it's because I was lacking a Theme. Something that the story was saying to the cosmos. That's what all the scenes and character situations had to play off (in some form or fashion).

Then there's the character arc of at least one character, perhaps more, perhaps none - all depends on the type of story. Which then leads to genre types and expectations. If you're going to write that horror movie, you need to hit certain points in the story. Not because it's formula, but because it's the recipe for a horror film. Without those points, it's not horror, it's something else. Oh, and there are several genres, each with a different recipe and expectant learning curve.

Oh, can't forget High Concept. Whatever my story is, it has to be something that will be interesting to just about everybody in a one or two sentence teaser.

Holy cow! What a laundry list of things to do. There's more, I know. It just makes your head spin. For TV it's even worse because of the necessities of their format. The problem is for self-starters, you're in one of two camps. Camp 1 - you get all the information and it's a case of information overload. The brain can't process it, so you forget most of it until you can deal with it (several scripts later probably). Or, you're in Camp 2 - where you don't get all the info at the same time, but you get it over a number of years. Either way, the information that you need in order to write a professional script is undoubtedly years away (from when you start).

The bottom line is that we grow with each script. Hopefully, we're able to incorporate a little more of the professional's skills into each new story and be one step closer to being a better screenwriter. If somebody who has made it can admit that it's really like starting over each time, then we should all be able to face it, accept it and move forward without fear.

Exactly What is a Great Script?

As you read books, articles and attend seminars, the one thing you're trying to do is to write a great script. Everybody in Hollywood is looking for a great script. However, you can't say that a good/great movie necessarily came from a great script (or that a great script makes a great movie). Often, both are good, but the experience is different for each medium.

I remember when I first got interested in screenwriting, I read a ton of scripts. Really. I was lucky enough to work a few floors away from the Film Office in Virginia and they had stockpiles of scripts that were free for the copying (ah, the good old days).

The problem with a lot of scripts is not their quality, but that not all of them fit the same molds. You can read one book and see a few script examples, but not many books take scripts from start to finish as an example. If they do, it's typically a handful, and typically not made within the last 20 years.

This is a problem for writers since there are plenty of movies available, plenty of scripts available, but we gravitate towards the material that interests us. However, those scripts are probably not broken down and if they are, not completely.

There are some great scripts out there. Scripts that once you start reading, you find it hard to put down, regardless of how many times you've read it. I look back and some of the scripts I've loved and, much to my chagrin, they're all freakin' old.

A Few Good Men - Aaron Sorkin
The American President - Aaron Sorkin
Die Hard - Jeb Stuart
Lethal Weapon - Shane Black
Notting Hill - Richard Curtis
Four Weddings and a Funeral - Richard Curtis
Unforgiven - David Webb Peoples
Toostie

I have a ton of downloaded scripts (which I think are great for education), but these days I don't print them and finding a couple hours to start at the monitor is a tough one.

The problem is to differentiate between a movie you like/love and the script. The two are not always the same. I loved the film There's Something About Mary, but the script didn't read as well. The stuff was still funny, but it didn't have the drive that other scripts have had for me.

So while it's important to watch films and break them down, don't undervalue the importance of actually reading the written word. If writing a script is what you want to do, then you really do need to spend some time reading them to get a good idea of the pacing, the flow and the beauty of the language you're putting on paper (or screen). The better writers have a way of keeping your interest through what appear to be the most mundane actions.

What are some of your favorite scripts?

Re-reading (or *69ing the Muse)

I've been an avid reader for years, although declining as of late, but my typical habit has been to read once, then file. I have way too many books, scripts and magazines for my own good. My dream was to have a library (in my home) with tall bookshelves and a big oak (or the like) desk.

I have the books, don't have the actually physical library (much to my wife's displeasure).

Anyway, this is all about the value in re-reading. Books are a tough re-read unless you have the time, but scripts and magazines are great re-reads since they're typically done in a day or less.

I've told you all how I've been stuck in a story I'm trying to write and things haven't been progressing very quickly (still aren't, but keep reading).

Today I was re-reading a Scr(i)pt article about loglines - forget which one - the 2nd in a series of 2. Anyway, the author is talking about how important they are (and they really are - refer to previous article of mine as well) and it struck me -- who my villain really needs to be! Yes. Amazing. Struck by the muse in "my office".

Hasn't solved everything, but it does lend a new slant to the story, which I now have to think through. That's the hateful part. The sitting and daydreaming exactly how that affects the story. I believe it has to be better, since it's makes the story more personal to my main character. Just need the "why". Hate that...

So, go re-read something and see if it doesn't stir up some memories and creative juices!

Manipulation

Well, still no further on the ideas. Not liking that much at all. Although, on the bright side, after watching some other movies, maybe I'm overthinking the whole concept of the story actually making sense. I mean, really...winners at contests are small, character driven movies that nobody watches (and I'm not writing) and the big budget stuff is rarely as well-written (although there are a good number of great writers). Maybe all I need is a few fart jokes and get the damn thing on paper. Food for thought.

But while I'm mulling this over, I get Dirty from Netflix. I've read the article in Script about the writer (Chris Fisher) and it sounded interesting, so into the queue it went. Well... um. Spoilers alert if you're dying to see this flick...

As I go back go my issue of Script to glaze over what was written, I realize I had this movie all wrong. I thought this was a story-story... you know, shit that's made up and fits together. But this really isn't. This is, as Chris says, a "fictional true life" retelling. Meaning, some of the stuff happened, but he's had to change names, events and such so that you know what he's talking about, but nobody in real life is named, so can't sue.

Unfortunately for me, I'm not in LA (that may be a good thing too), so I don't know about the LAPD scandal that this movie is based upon. Strike 1.

I'm also in Virginia. Not a lot of hispanics and gangs roaming the streets. Strike 2.

I'm not a cop (although one of my neighbors is one), so I really don't sympathize with what these guys are doing. Strike 3.

Overall, the movie is quite suspenseful. It's really gripping for much of it's length. However, that's not that difficult (to me). Put a gun in a scene with two people who don't like each other and - bingo! Tension.

What I didn't like most about the film are two things that harken back to other films.

1) Arlington Road - I hate this movie for two reasons. 1) The main character is supposed to be smart, but makes the most boneheaded decisions at the end. 2) The villain is not a psychic, but would have to be to plan the whole thing and 3) What's the lesson? The theme? The message you get as you walk out? "Bad guys are smarter than the good guys" or something akin.

Dirty is similar in that just about everybody in the movie is bad - aka "dirty". If that's the world, maybe we're better off with a meteor taking us out. I understand that there are bad elements in our world, but, frankly, I prefer to see some sort of redemption. That's wholly personal and no real strike against the film.

2) The Usual Suspects and The Sixth Sense. I loved both of these movies, but what I believe the Sixth Sense does great, the Ususal Suspects and Dirty fail. They all have a "holy shit" ending. But while the Sixth Sense has shown you the clues all along, you just have to see them, both the Usual Suspects and Dirty flat out lie to you. What you'll hear (and what I've been told) is that "you're dealing with a unreliable narrator". Uh...no shit, they straight up lie to us from the git-go. However, problem with that is that you have no reason not to believe the narrator and thus, you believe them. How easy all our mysteries and thrillers would be if we just up front fucking lie in the beginning.

Dirty does the same thing. Lie to us from the start and then reveal the lie at the end. Just like The Ususal Suspects, the lie is necessary or the whole "holy shit" ending just falls flat - it's expected. People would figure it out. That to me, is manipulation. Your audience loves to be involved in the story - to guess what will happen ahead of you. How many people do you know who proudly proclaimed after Bruce Willis was shown to be dead, "I knew it all along. I told you." Well, of course he was! There were a million clues when you go back and look. Many of us just got lost in the story and it was all a big surprise. Either way, it was fun for both sides.

Now, if the writer goes and starts off lying. What fun is that? Where's the participation? You can't win because the writer's changed the rules without telling you.

Lastly - and here's the spoilers - I don't get the story.

It's about a cop who is unable to deal with the fact he shot an innocent person. So he's going to rat to IA about his department.

Okay - that's fine. However, the entire story (you find out at the end) is an elaborate plot to get him shot so he won't talk...uh... that's not the same thing as above. That's somebody else's story... like, maybe his partner... a dirty cop goes along with setting up his partner in order to keep him from ratting out the department to IA. But he's not the main character - it's not his story.

So, while it's entertaining, I can't say that it's a particularly well-written story.

Wish I was going to Expo this year. I'd love to catch the Pixar guys talking about story. That should be pretty good.