A word or two from a man who should know what he’s talking about.
We can try too hard to make it perfect on the first pass, but we need to understand that scriptwriting is a process and not a single act of hubris or ego.
When the first pass is done, take the time to breathe, have a glass of your favourite beverage and then read it without passion. I can assure you, you’ll see the plot holes and the things that don’t scan right.
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Thanks for sharing, Geoff Hall. I edit as I write, but I'm trying to do better at just writing, then editing later.
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Excellent advice. Something I think we all forget about at times.
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Stephen King is truly the master. Wise words to take to heart
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Expert advice that we hear all the time, but still constantly need to be reminded of. Get the words on the page. Then look critically at it. Here are a few of our webinars if anyone is interested in learning more about editing processes.
https://www.stage32.com/webinars/How-to-Better-Rewrite-and-Polish-Your-Feature-Screenplay-or-Pilot
https://www.stage32.com/webinars/How-The-Pros-Rewrite-Essential-Rewritin...
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Hi Geoff, Steven King is the best
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Niki H thanks Niki!
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Maurice Vaughan I think we all (or most of us) edit as we write, but after the sheer joy of completing my first draft, there is such a relief in getting the thing down. I then need to assess it and see if it has any sticking points with regards to flow and pacing. They to me, will be more important than playing eye-spy for typos.
Sometimes I look back at the dialogue and see that I've got the basic idea down, but I can find it clunky and overlong. Not that I'm against lengthy dialogue, although it needs to be purposeful and driven. I also like to start with an idea but then find that the characters have other ideas. That is where I then check for coherence. Before Seeing Rachel went out it was already running to 12 versions; not total rewrites, but settling the score between desirable scenes and things that would break the budget, or things that cause the flow to stagnate. Then a Producer came on board and I got to version 17! But it just got better and better each time. With SR, the concept was to open the audience's imagination and get it to tell the darker, untellable stories. It is all the power of suggestion.
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Not just scriptwriting, but writing in general! I guess this is why we all need to take plenty of time to, well, proofread and rewrite, some of the most absolutely necessary things to do as a writer of any level! Somehow, I've got to keep all of this in mind the next time I write by instinct and come up with stories on the spot!
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I've had scripts reach 20 plus rewrites, Geoff Hall, but that's because I like things to be perfect. Well, as perfect as they can be. :)
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Michael yes, indeed, everything we write should have that process.
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Maurice Vaughan it just goes to show that if we writers were tested for OCD, we’d pass with flying colours! In fact, I think I may add those letters to my name. Geoff Hall OCD!!
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I actually write about perfectionists in my scripts, Geoff Hall. And I just thought of an idea with a perfectionist as the main character. :) Thanks!
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Going on Draft 13 of my latest. I use notes from professional readers from contests to help me develop my stories. It is good to see what critics think so you can adjust your script accordingly. As the writer though, you have final say on the story... until you sell it.
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Maurice Vaughan you are welcome, Maurice!
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The way I talk about this with writers is to think about it like a jigsaw puzzle. First you need to tip all the pieces out of the box onto the table first before you can put the final picture together.
Congratulations on your progress, L. Tom Deaver! What genre is your script?
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It is action spy thriller meets historical fiction. I've had some readers like it and others not. It is kind of unique. Let's say it's JOHN WICK meets World War 2. I've been working to address the critics critiques while heightening what lovers love in the story. I am getting closer with each draft.
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Well done, L. Tom Deaver it sounds like you’re making progress. John Wick meets World War 2. Interesting!
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Thank you, Geoff. I think I fixed some beefs readers had with the script by answering their critiques by diving more into the monk element of THE MONK WHO WOULD BE SPY. I didn't have much on his monk life and was more into his assassin role. Now it is more balanced and I THINK readers will be happier. I also leapt into the meat of the story too quickly and did not give readers or the audience time to get emotionally connected with the characters before I offed them in glorious fashion. :D
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L. Tom Deaver sorry, the tagging function isn't working again.
Yes, the backstory on our characters needs to be worked on. It can help us develop the story, as we move forward.
I know I'm sometimes remiss about doing this. I tend to scribble notes in my notebook, but never commit it to a document. I know. Tut!
Not lazy, but as a then young writer I thought I could develop it as I went on. Nowadays, I'm trying to release myself from this torpor.
"I also leapt into the meat of the story too quickly and did not give readers or the audience time to get emotionally connected with the characters before I offed them in glorious fashion. :D" Yes, let the storm gather and then explode on the screen/page.
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I remember THE MONK WHO WOULD BE SPY, L. Tom Deaver. I agree with Geoff. JOHN WICK meets World War 2 sounds interesting! I can picture that as a movie trailer!
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Great advice, Geoff ("Yes, let the storm gather and then explode on the screen/page").
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Maurice Vaughan thank you, kindly Maurice!
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You're welcome, Geoff Hall.
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Maurice Vaughan now here’s a question (or two) I’d like to ask you, Maurice. What makes you start to write a screenplay? How does a story reveal itself to you, that gets you excited enough to pick up a pen or start tapping on your keyboard?
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Sorry, Geoff Hall. I don't do interviews. Haha There are different things that make me start a script. An exciting idea, a unique theme, an interesting character, etc. Most of the time it's an exciting idea. I'll outline the idea to test it out (to see if there's enough story for a script, if I can write the script on a micro-budget or low-budget, etc.). If the idea passes the outline test, I'll start writing the script.
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Maurice Vaughan thank you for breaking your rule about interviews (although that gives me an idea!). Anyways, thank you for your response.
So for you, you do a little outlining/scoping to see if the idea has legs.
You are writing material that could be bought by an Indie Producer and not the studios? (I think that is wise. We can’t see a Studio buy as a Nirvana, which would be a punt in anyone’s book, yes?)
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"So for you, you do a little outlining/scoping to see if the idea has legs." Yeah, basically, Geoff.
I mainly write scripts that can be bought by and made by indie producers and indie production companies. There are a lot more indie producers and indie production companies to pitch to than studios.
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Smart move, Maurice. I write largely larger budget films and it bites me on the butt.
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Maurice Vaughan that sounds like you have a good network, Maurice. Is there a good scene in North Carolina? Do you use Stage32 to find Producers and Indie Companies for further afield?
The scene where I live isn’t too great. It has people who want to make films, but have no access to finance and therefore try to do it by begging favours. It’s a pretty sad scene. There are a few companies, but they aren’t interested in scripts like Seeing Rachel.
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I usually write by the seat of my pants, but my current script that started last week I'm outlining after an upgrade to FD12, and I'm digging it. It takes the blank page pressure away. I'm surprised how much my new story has developed in just a week of outlining. It's like fitting the pieces of a puzzle together and only writing after completing the image.
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seems right to me.
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Charlotte, NC is a major film city, Geoff Hall. I do 100% of my networking online, but I've met filmmakers here where I live.
Sorry to hear that about where you live. At least on Stage 32, you, me, and everyone can reach resources, creatives, and industry professionals all over the world.
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Glad outlining is working out for you, John. I've tried to write scripts without outlines, but I wrote myself into corners.
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John Was it the acquisition of FD12 that spurred you on to writing outlines? Is there something in FD12 that makes this easier?
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Geoff Hall, I've never outlined, but have always been curious about it, especially of late, because I finished a sports drama last month, and worried that my structure might be off, so I got Eric Edson's book; but, to my surprise, the script hit every one of Edson's marks to the page, and revealed to me my story's structure in reverse, which gave me an insight into outlining that I hadn't previously appreciated. I wrote the sport's drama on MMSW, and it's okay software, but has issues. I've previously used Final Draft and have a license, so upgraded to FD12 for only $65. FD12 has a feature called 1-2-3 Workflow, which allows a writer to set up a beat board for brainstorming, and then drag the beats to an outline editor, which will send the outline when completed to script. Here's a YouTube link:
https://www.youtube.com/watch?v=PBmd0BQuMoU&t=6s
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Thanks for sharing, John. That is really helpful. I think it may be useful for me on projects that are ideas, but aren’t yet fleshed out. Maybe it’s time to upgrade my FD version, although the discounts over here in the UK don’t appear to be that generous!
Great news about hitting those marks with your script. Well done!