Is a rewrite a new draft from scratch? Or is rewriting just polishing up and literally rewriting whatever draft you're on? I always get confused on this and would like to put a nail in my confusion coffin.
Andre Massoth It can be both depending on your story vision. Some of my stories need polishing while others can be a brand new version. I like to say rewriting is writing. Onward and upward.
A writer will work hard, doing draft-after-draft-after-draft until the story is nice and tight. But then a producer or studio head will think in terms of money or marketing and demand changes. A set-piece may be too expensive. They cannot lock down a location. They think a scene is too sexual and needs to be toned down. Etc. And they have to meet a deadline on the calendar to appease investors, so they can't just take their sweet time to get it right.
Everyone remembers the disaster that was X-Men origins: Wolverine and how the studio took a nice script and rewrote it into garbage.
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Andre Massoth It can be both depending on your story vision. Some of my stories need polishing while others can be a brand new version. I like to say rewriting is writing. Onward and upward.
2 people like this
I consider all work after the first draft rewrites. Some are minor. Some are major.
Some people consider polishing as reworking small things in a script after major rewrites are done.
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Rewrites are annoying.
A writer will work hard, doing draft-after-draft-after-draft until the story is nice and tight. But then a producer or studio head will think in terms of money or marketing and demand changes. A set-piece may be too expensive. They cannot lock down a location. They think a scene is too sexual and needs to be toned down. Etc. And they have to meet a deadline on the calendar to appease investors, so they can't just take their sweet time to get it right.
Everyone remembers the disaster that was X-Men origins: Wolverine and how the studio took a nice script and rewrote it into garbage.
I didn't know that about "X-Men Origins: Wolverine."
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pro union feature film writers aim for a minimum 33% on screen.