Screenwriting : Rewrites by Clevie J Padmore

Yes.

I do it all the time. After writing and pitching a script for a year, then sitting it aside, a year later I finally figured out what was wrong. Now, to make time to correct it.

so it's just not me then

Rewriting is an important part of writing a script. Do it until you're fully satisfied. Then, prepare for the notes...

Everyone is different. I will normally do up to two or three rewrites.

A dozen rewrites is not abnormal early on, and that's a lot cheaper than submitting a second or third draft and spending a shedload on coverage redevelopment before your script pops.

Write “7 days in La Suerte” took about 8 months including first rewrites. Had some reads. Peer evaluations first. Made some changes. Entered it in contest. Started working on second script. It came close. Sent it for perfection all coverage. Made changes again. Sent it to my sister (professional writer for edit and proofing.) Finished second script. Made some more changes. Started third script. Sister sent it to professional colleague in LA. Waiting for her notes. Will make more changes. So, it’s a never ending maze. Waiting to hear now as it is a finalist in contest. Then I will try to sell, but it’s still never finished. Voices of characters and action scenes constantly play over and over in my head. (Okay - left myself open on that one.)

One piece of advice ZI got from my sister though that helped. When you finish a major rewrite or even the first write - put it away for a little time. Let it percolate. Then go back. Opens a whole new perspective. (She’s very good at writing in the business world professionally)

PS - I’ve read of numerous very noted writers pulling out a script they’ve been working on for YEARS.

Clevie J Padmore

Can you give an example of a section that you would rewrite?

If you are a critical thinker and find yourself in the twelfth draft with no end in sight, you might be just rewriting the story, rather than perfecting the story. But, not enough info to go on from out here.

Hope this helps.

You can endlessly re-write. In saying that my drafts are more fine tuning than full re-writes.

Kevin Carothers -- I've been working on this witch series for two years now. I started off with sisters, from three backtrack to two sisters, african American and i always had it based in America. Then i realize i wanted it fresher, something that has never been done before where had gone with three brothers living in the tropical island of Barbados which holds an underbelly secret of witches and demons. These brothers are the only to truly bring death to all demons. And i had the entire ancestor lineage as colored and then i was doing some reading and research and took a look at the charmed reboot and got another inspiration. Why not have the ancestors starting off as white in Europe and show that also white people were slaves

Ah - you said a word I was looking for -- series...

This is a T.V. series? If so, You might subconsciously be making each episode into a rewrite. You basically came up with about half dozen loglines for different episodes in just your last post!

*. Three adept witchcraft practitioner sisters from Barbados come to America.

*. After the tragic loss of one of the sisters they discover a dark underbelly of witchcraft in their home island.

*. The two sisters discover a pair of brothers that have power over demons.

...etc...

This soulds like a hell of a series.... I hope you kept saves of all your versions. You might have an entire season or two if you do!

Try looking at this from a episode POV - and concentrate in the fundamentals; format, spelling and most importantly narrative thread. If it makes sense and is exciting, I would try shopping it.

But - that's just me. Hopefully I'm not missing something. Hope this helps.

It does help a bit and it is a T.V series

I do in fact have the rewrites saved as well

But the main point is about three brothers who have no idea they are second generation witches.

Their mother hides the witch heritage secret from them

Their estrange aunt shows up sprouting doom and gloom

Their mother died and their aunt explains the underbelly secrets of witches and demons

Mystery woman shows up with the power to control demons

Mystery woman has an interest in the three brothers

The brothers also learn that they are not just witches but hybrids

Writing is a craft. No one can just sit down and write one draft of a script and it be ready for the marketplace. Rewriting and editing is where the true work and artistry comes in. You should feel comfortable rewriting until you get it to the point where you’re proud of it and can’t improve it anymore. Can be three drafts. Can be thirty.

I can't speak to anyone else but for me the vomit draft (if I'm not outlining, the vomit draft becomes a kind of super bloated outline) is where the story is told, the rewrites are where it comes to life.

To use a horrible and flawed analogy but that kinda works. The first draft or outline is the pencil sketch, the rewrites are where you grab your brushes and begin to paint because you find out that color really doesn't work there, it's too dark or it clashes with that color right next to it or "damn, there's a big white space right in the middle of the picture I didn't realize was there, I better fill it in." Or "Crap, I have the sun and moon both showing up at the same time. Time to cut one out!".

I love (and hate) rewrites because it highlights both my strengths and my weaknesses as a writer.

I improve dialogue all the time.In one script, I did a rewrite to change a character to female. * couple edits and some sassy dialogue.

Never finish, I tinker, tinker.

Once you're happy with the script, it is always a good idea to have a (at the moment, virtual!) table read so you can hear it out loud. You don't need professional actors to read the parts (however if you know some then by all means get them on board) but the one thing I always recommend is that you have someone else read the scene description and not be tempted to do this yourself. This way your only job is to sit and "watch" your screenplay from the audience's perspective. Its a great way to take a step back and look at your work from a different viewpoint.