Hello all.
So... I used to think I'm immune to writer's block because I always have something to write, always. Whether it's an old script or a new one, or a rewrite, or a new draft, there is something. Besides rewrites and new drafts, I'm attempting to start a new script and a couple of weeks ago I got stuck on my new script. I have a beginning and an ending but nothing for the middle. And when I thought it can't get any worse, I wrote the beginning, now I just can't write one scene further into the script. Stuck.
It gets even worse, so today I decided maybe to write something new again, and I am now experiencing what may be considered writer's block. I just can't get excited about my preexisting ideas, my new ideas are somewhat diabolical to say the least and it just feels like I have nothing to new to write.
So I decided to come post about it in the lounge and hope for some insightful dialogue about writer's block, maybe someone has a cure or a clever joke that may inspire my only good idea so far today to write a screenplay about a screenwriter who is suffering writer's block.
Either way, this is a new problem for me, some of you have had experience with it and I hope to learn from you or at least share good laughs because what the hell man?! All these ideas and my brain is convinced they all suck... that's ludicrously funny to me.
5 people like this
i asked my cousin who writes for a living and her daily motivations are paying rent, food, living alone than moving back home. No writing means no paycheck.
1 person likes this
I hear you Dan, but I'm not exactly getting paid to write just yet. I'm writing to one day get paid... your cousin is right though, a paycheck has motivated me to do things I didn't know I was capable of doing so many times. Will you be a dear and offer me some cash and cure me of my writer's block? Just kidding...
3 people like this
Hi Ally,
You have a beginning and an ending, but not a middle? Well...two out of three is certainly a start!
So much has been written about "Muddled Middles" and "Second Act Sag". Even Jason Mirch, who is Director of Script Services here at Stage32, wrote a blog about it a few years back, which you can find here.
https://www.stage32.com/blog/5-Reasons-Why-Your-Scripts-Second-Act-Fails
The most-common "blocks" of a second act usually correlate to a few elements: conflict/rising action; weak plot; lack of a meaningful B-story.
Obviously, your characters goals in the beginning that are resolved at the end need a whole bunch of obstacles along the way. Some are external and are caused by the antagonist and others, and some are internal and caused by protagonist/s. As the story progresses, the conflicts should get worse, and the resolutions should get harder. Nothing should be easy, and the harder it gets, the more we the audience should say "oh no! Oh no!"
So coming up with those conflicts along the way - and hopefully some unexpected ones, which keeps your story unpredictable, unique and exciting - really helps a story.
In your B-story, you have the opportunity to present another set of complications that help your character along the way. Sometimes the conflicts help/force your protagonist to face/address/reconcile their shortcomings that are preventing them from reaching their ultimate goal. And sometimes the B-Story and A-story "converge" in the climax.
Without the happenings of the B-Story, sometimes the climax can't really be attained. It's really great when those two parts can compliment each other and lead up to that type of conclusion. And usually, the theme/s play out more in that B-story.
A great, moving story doesn't just show us a straight line to a goal. It's like climbing a mountain, and with a lot of stumbles along the way. And maybe a rattlesnake or two. And maybe the wrong shoes. And then it starts to rain. And gets windy. All of that happens naturally, in the world of your story. That's what keeps your reader/viewer engaged and thinking, and saying "oh no - what happens next?" Your protagonist keeps encountering new struggles, and might even change along the way. And their goals might change along the way, too.
It's easier said than done, of course, but outlining those steps, and really thinking about the conflicts (intended and unintended), and the consequences (intended and unintended), are what keeps your story moving, engaging and unpredictable.
So I would check out my favorite film, and write down the points of how and when "things change", and I would also try to clearly see how that A-Story and B-Story work together and unify at the end. I would also outline my story, and have clear purposes for each scene that create the journey up that story mountain.
This is a bit reductive, of course, but this is how most if not all great stories work. This hardly addresses all of the other elements to writing a great story (like dialogue, irony, creating empathy, verisimilitude, creating memorable scenes, pacing, etc), but I hope this helps.
And check out some of the structural guides that convey the skeleton of a story - there sure are a lot of great ones that are the basis of most if not all great films.
Best fortunes in your creative endeavors, Ally!
2 people like this
I usually get writer's block when I reach a point in the narrative when there are multiple options for what comes next and nothing seems clear. I got around that by jumping to a point in the plot where I know what was going to happen and revisiting the previous part when I have a clearer picture. I've also had to accept that a first draft isn't going to be pretty under any circumstances, so I shouldn't stop just because what I'm about to write could be a mess.
1 person likes this
Bill, you're right... I happen to know that my block is because I have too many possible B stories. I'm literally stuck deciding where my antagonist should go out a front door because every location or character he'd interact with features so heavily in the establishing plot.
Thank you for your valuable advice. I will also read that blog post for even more insight.
Stephen, that is exactly my current problem. I have so many plots and subplots my head is spinning. I will try your method to jump ahead in the story, maybe it works for me too. Thank you.
1 person likes this
I find it's easier to island-hop, as it were, between structural points than between beginning and end. Just try to get to the inciting incident, then entering the unknown, then trials and complications, then the midpoint, so on and so forth. That's usually easier to wrap one's head around than the daunting task of filling an entire story.
2 people like this
Writer’s block for me is different to being stuck in a story. Sometimes I just run out of story.
Writer’s block for me is looking at a page and not knowing what to do. Not just with this story, but all stories. It is like my thoughts are stuck and nothing makes sense.
To break this I just write something. A treatment for a story I have already finished but from another character’s POV. Something to keep me busy so my subconscious can free itself
My son grieved horribly at 3YO when his grandfather died. Our doctor said get him to do some colouring in or play in the pool, then talk to him. Mentions flow when we are distracted.
Craig - thank you. I will most definitely try to stimulate myself with a treatment. It makes sense that a little exercise will start some kind of flow. I really appreciate you sharing your experiences with me.
1 person likes this
I used to get "writer's block" couple years back when I wrote poetry, at least that's what I would call it, but I realized I just wasn't passionate about writing at those moments. Now that I'm also pursuing screenwriting, I haven't experienced it. For me, I make writing fun. Even if I'm stuck at a point in the story, my mind takes it as a challenge instead of a roadblock. I enjoy figuring out how to get from point A to point B. I don't look at it as not knowing what to do, but an opportunity to let my imagination run wild. I may also change my setting, go to the beach, watch a movie, listen music -- an environment that triggers those creative juices for me. Find those environments that do the same for you :) I believe every writer has them.
I hope this helps in some way, Ally (^_^) Best wishes. Write on!
1 person likes this
Imo, you are so right... maybe I've been at my desk too long and a change of scenery will do me good. I love the beach, but I'm in my landlocked hometown of Polokwame right now so I'll try my next love, music.
And it most certainly helps just hearing that you overcame, it gives me hope that I will too. Thank you.
You're welcome Ally (^_^) Once I've helped in anyway, I'm happy. Keep at it. Let those words out :D
1 person likes this
I like to get with other writers. We'll brainstorm several ideas and see what spins we can put on them. That usually sparks some creativity.
Thanks Cathy. It sounds like fun too.
7 people like this
Ally. I don't know what sort of screenplay you are writing but here is what I used to help me when I was writing a lot of crime and mystery screenplays. Maybe you'll find it helpful... or maybe not.
The 1st Act (30 pages) is all about set-up and setting the tone of the story
The writer should open the script with a lot of questions for the audience, then provide answers that aren't necessarily the true answers
The 2nd Act (60 pages) is about uncovering characters, finding out information that affects the characters, and letting the characters find out information that affects them
The story should develop along a line whereby layer after layer is stripped from the surface of the story to reveal what is truly going on, even though some of the revelations should suggest answers that may not necessarily be the truth (part of the building up of the reversals)
The 3rd Act (15 to 20 page) is usually fairly short and should answer all the questions posed by the story
The writer should try to hold back answers to the audience's questions as long as possible, but when the answers are revealed they must seem logical in light of what the story has set up about the characters and the plot
One approach is to make one character the logical solution to the mystery, then reverse expectations
1 person likes this
Dan, your advice will actually help with a different script I put on hold because I had no idea how to structure it.
Thank you so much.
2 people like this
Cathy A - I see that you're in Texas. Getting together with other writers has its advantages for sure. My advice is to stay pretty close to home and involve yourself with other local writers of about your own skill level. All the best to you.