Screenwriting : Ask Me Anything (AMA) 1/17 to 1/18- The Art of Rewriting by Anna Marton Henry

Hi, Anna Marton Henry. Hope you're doing great! Thanks for having this AMA. Here's my question for tomorrow: What are some rewriting tips that you give writers?

Hey Anna Marton Henry - thanks a ton for spending your day with us on this AMA. QUESTION: When do you know you're done with rewrites?

Hey Anna Marton Henry , thank you for doing this! I'd love to know how your advice changes from a first rewrite to a last pass?

Hi, Anna Marton Henry Thank you for your time. Here is my question for tomorrow. What is your advice on giving self-notes, aside from taking notes from others for rewrite? (I hope this question makes sense?)

Hllo Anna (still working on my DYNAMITE PAT project. Will get to you soon!) But I have had people read my script and tell me to cut characters to make it more financially viable. Do you think that is a usuable note for a writer?

Hi Anna! Thank you for being willing to share your experience with all of us! My question is, is there a point (especially when you are still learning the craft) where you need to stop rewriting and seek advice? Or should you be striving for a certain point before turning to a second set of eyes? Is there such a thing as too much editing?

Hello, Anna Marton Henry. Some version of the of the Edison adage probably applies: (10% inspiration (writing), 90% perspiration (rewriting). The point isn't the exact numbers; it's that it's this kind of relationship (10/90, 20/80) and NOT 70/30 or even 50/50. Still, there are obviously times when, within the rewriting phase, "inspiration" strikes. As someone who works with writers, how do you know or what helps you to decide?

Thank you for sharing your time with us today, Anna Marton Henry! Do you feel that it's better to focus on larger broad-stroke issues in the script when attempting a first rewrite, then become more detailed with each pass? Or is it better to hone in on the small details from the start?

Also, could you provide an example of a particularly tricky rewrite process and what made it so difficult?

Maurice Vaughan Thank you so much for your question! I have tons of tips I give writers in my labs and consultations. I would start with two big ones: 1. Multiple drafts are the norm even for established showrunners. This is an "iterative" medium, where drafts in the double digits are common. If you give up after a couple of drafts thinking you're just no good or the notes are too harsh, you won't make it in this business. 2. Think of revisions in 3 stages. Stage 1 is rewriting, where you are looking at the big picture of the project - character development, structure, world building and tone. Stage 2 is revising, which is scene-level work giving careful consideration to how to best utilize every scene to accomplish your larger goals. Stage 3 is polishing, where you're looking at the details of dialogue, transitions, specific action lines, formatting, etc. You may cycle through these three steps multiple times.

Leonardo Ramirez That's a great question! I think the book The Hero Succeeds (one of my faves) talks about "puppy vs. small dog". My rule for "you're done" is when you make changes to your draft, then come back the next day and want to undo most of those changes, then the next day you want to make a bunch more new small changes, the day after undo, etc. Stop tinkering. I know you see something small every time you re-read your script, but just stop.

Thanks for giving us some of your time today, Anna Marton Henry! My question is seemingly simple: how do you stay organized when going through multiple rounds of rewrites? Obviously, you can name files draft 1, 2, 3, etc. but what I really mean is how do you keep track of the changes you've made, both so you maintain consistency in your new draft and so if you ever need to go back and revert specific rewrites for whatever reason, you can easily bring in the deleted scene or bring back the old plot point.

Niki H Thanks for your question! My notes on the first pass tend to be big picture notes, particularly relating to concieving the entire show (character development, world, tone), and especially making sure the big strcutre is solid. Ideally on progressive passes I focus on more and more detailed work as the structure solidifies, the "big bones" of the script are set, and it's time to consider the specific choices for scenes. Think of it like building a house - first we pour foundation, build walls, put up a roof, install doors and windows, HVAC, electrical. All that has to be done before we paint and carpet, pick out light fixttures and tile for the bathroom. Only when all that is done can we put art on the walls and argue about the color of the sofa. There is sort of a catch to this though, which is that when I am hired as a private consultant I want to give the client as much for their money as possible, so I try to put together both those overall notes and more specific ones, letting the client decide what they want to work on.

Love that, Anna Marton Henry - Just stop. Thank you so much! So glad you're with us.

Sam Iwata Aka Liu That's a great question! And it's really hard to be critical of your own work, which is why you need outside, professional notes at all. First, I would suggest getting some distance from your work by putting the script away for at least a couple of weeks and then returning to it afresh. Analyze the notes you have been given, not for the specific changes people are suggesting, but what sorts of notes are you getting. Are they about logic ("why, why why")? Are they suggestions that wouldn't match your world or your tone ("how about" - but that's all wrong)? If you are getting conflicting notes about one scene, basically people just don't get the scene so they're trying various ways to "fix" it. This way you're learning what to look for in scripts in general rather than in your script in particular. A lot of my lab focuses on checklists for yourself, so you can improve not just the script you're working on now, but any scriot ever.

D A Stenard Deb! So happy to see you here! That is one of the most important notes ever!!! Some educators and consultants look at scripts, especially by emerging writers, as "writing exercises." They feel like you should write whatever you want, ink is cheap after all. I never do that. I am a producer first and foremost, and look at every script as a blueprint for what we will actually shoot. Here is a very simple formula: CAST = BUDGET. (Ask my friend and colleague, Jeanenne Milio!) Tell me the size of your cast, and I will tell you your budget. If your cast is huge, your show is simply not producable. You may place in contests, maybe even win some, beause judges are just looking to see if you can write and be creative. But your script will never sell. If you take no other advice on rewriting, take this one!

How do professional tv writers get paid for rewrites? Is there a cap where you tell employers, "enough is enough."? Im hearing many pros do free rewrites, pressured by their own team of Reps to write for free, regardless of breaking Union rules and public stance of "'No free work."

Mary Helen Norris That's such an important question! I think you should look for outside advice at two points. 1. When you have taken your script as far as you can, you know it's not working, but you don't know why or how to improve it. You're stuck, trying different things with no real direction - time to get help. 2. You've taken your script as far as you can, you think it's outstanding, you sent it out and gotten feedback, but you are not sure what to do with the feedback. Do you change things that you thought were working? Stick with your darlings? What do these notes mean anyway? Time to get help.

Mary Helen Norris I should also add that when you're learning and working on your first few drafts, I think it's much better to work with one person to get your script in shape rather than getting lots of feedback and trying to integrate it yourself. It's easier for one trusted person to educate you as you work through the process. A lot of my clients come back to me draft after draft for exactly this reason - once I know the project, it's easier for me to guide them toward their vision.

Brad Beckman I like that formula! I assume by "inspiration" you mean a new idea that strikes which takes you off the course you had set with the rewrite, but promises something better. The earlier you are in the rewriting process, the more I lean toward following your inspiration. When the project is percolating in your head in a big-picture sense, follow where the ideas take you, don't be afraid to try new things even if they don't work out. Be prepared to sacrifice one thing in favor of something better. When you're revising on the scene level, you can go with new ideas, but try not to unravel a structure than works. Be careful about inspiration that sounds exciting but is actually taking you out of your world or is seriously altering your tone. When you're polishing, it's easy to get distracted by "shiny thing." Be very disciplined in trying to cram too many last-minute great ideas into your script - that one last ornament can make the tree topple.

Ashley Renee Smith Ashley, thanks for being here with us! Niki beat you to your question above, so I think I already answered it with my "building a house" analogy. :)

By the way, I didn't invent that analogy, I've heard it used widely in the industry.

Oh there are so many examples of difficult rewrite processes! I am not sure I can pick one.

On one project which had sold in the concept stage as an IP adaptation, we were getting diametrically opposing notes from the network and the studio. We could have dealt with differences of opinion on story, but they were disagreeing on tone, and that's maybe the most important aspect of a show where you simply have to be in synch with your partners, otherwise you're just not making the same show. Ultimately the studio was insistent and the network walked away. Still trying to set that up elsewhere...

Procedurals are insanely difficult, because with all their moving pieces (clues, witnesses...) those scripts are like jigsaw puzzles. Some spy shows are like that too. I was just telling a writer about the time I was on my knees at midnight on the floor of the office surrounded by about 60 index cards, trying to put a script together with a writer, like it really was a jigsaw puzzle.

And then there is the latest project I have been developing with a writer whose process is to write 10 pages, rewrite, rewrite, polish, polish, move on to the next 10 pages, repeat. You can't work like that! That's nuts! You have to, you know, write a draft from start to finish, then a second draft, etc. - right? Everyone knows that! Apparently not, because this worked and the script is outstanding. I guess whatever process works for you.

Hello again, Anna Marton Henry - quick follow up question to your response to D A Stenard. You mentioned CAST=BUDGET...what would be the ideal size? How many is too many? And does the formula also apply to animated projects? Thanks!

David Abrookin Your question is not at all simple! It's one of those questions where I am tempted to answer, "if you figure that one out, please let me know!" :) I have a really terrible memory for many things (especially names and faces), but an outstanding memory for story points, so I tend to be able to keep tons of stuff in my head. When I am working intensively on a script I am developing / producing, I can recite previous versions of lines of dialogue. But my general organization system for things tends to be lists and index cards (real or virtual). I think it's helpful to keep lists of notes, checking off what you have done and writing in the margins why you chose not to do ones you skip. I also think it's helpful to put your scenes on index cards titled by slugline and a short summary of the scene, maybe even with a key piece of dialogue. Include the purpose of the scene - what character work it's doing, what world building it's doing, what plot purpose it's serving, so if you cut or move it you can check that those purposes are being served elsewhere. (BONUS TIP: any scene that doesn't serve at least 2 of those 3 purposes isn't pulling its weight and should be cut.) Keep these cards for every draft. You can even color-code the cards to mark new scenes in successive drafts.

By the way, I don't like "draft 1, 2, 3". You'll lose track, plus then what you send out at each stage of selling will always be another draft 1 and it gets confusing. Internally I like to label drafts by date, or use the industry's color-coding system.

Dan MaxXx I hear that a lot, but it's also a more complex question than it seems. For one thing, are you being hired to work on someone else's project, or are you working on your own baby? Your contract should specify how many rewrites you owe the buyer and at what rate of compensation. But your reps / producing partners are there to make sure that whatever you turn in to the buyer is your very best work, not only for the benefit of the project, but also so it's representative of what you think is "great writing." Your reps / producing partners are also standing behind what you turn in - it also represents what they think is "great writing." So you may only be paid to do three rewrites, but how many drafts does it take you "internally" before you have a rewrite you're proud to send in? And then if it's your own project, don't you want it to be the best it can be? If you get a note you think would be a huge improvement, are you going to say, but no, if you don't pay me more I won't make this change? So there is more at stake than money - when you're on staff there is your ability to show that your skill set is advanced enough for you to be promoted, and when you're writing original material the objective is to make it the best it can be to sell, get made, get renewed.

Leonardo Ramirez In terms of how many is too many, for perspective the Game of Thrones pilot has about 20 real speaking roles (there may be a few bit parts in addition). That is a huge cast for a very pricey pilot. Yes, this absolutely applies to animation, because each character has to be developed and animated obviously. Cast has a rolling effect - it's not just about paying people, the more humans I have, the more it costs to house, feed, costume, light, shoot, transport, insure, etc. etc. everyone. That means longer shoot schedules, more crew, and on and on...

You're welcome, Anna Marton Henry. Thanks for the answer. I really like the "building a house" analogy.

"And then there is the latest project I have been developing with a writer whose process is to write 10 pages, rewrite, rewrite, polish, polish, move on to the next 10 pages, repeat." My writing/rewriting process is way more extreme than that. I write a scene, rewrite it, write another scene, rewrite it, and so on. Then after the entire script is done, I rewrite it again. In categories. A Story Rewrite, B Story Rewrite, Subplot Rewrite, Dialogue Rewrite, Visualize Rewrite, etc.

Have you ever heard of anything like a Visualize Rewrite? It's where I visualize the script like I'm watching a movie. It helps me see issues with the script. I do the Visualize Rewrite near the very end of rewriting.

I also strongly encourage writers to imagine that real live humans will be playing the roles they write. If you were an actor, would you want to play this role? Is there a rich scene with which to audition? Are these scenes to show you're a strong actor that might make it onto your reel? If you're being asked to be in the entire series (which means devoting your life to this project potentially for years!), does your role in the pilot make you feel valued, inspired that your character will have lots to do? Now consider simple math. A one-hour drama script is approximately 60 pages. If you have a cast of 20, each character is in the pilot for an average of 3 pages. OK, some leads are in nearly every scene. But what about those supporting characters? How many / what kind of scenes would it take for you to sign on to the project? Do YOU want to be Agent #2 who has five lines? Maybe you think, well a novice actor will be glad to take any role. So is that who you want to populate the majority of your show?

Claude Gagne I am not sure I understand your question... You should definitely save every version of your script. Whenever you make changes, do a "save as" and label as a new file. Do not overwrite previous drafts - you never know when you need to bring back something from a previous draft. In fact, a scene that doesn't make it into your pilot might be golden in episode 5 when you get to that!

Maurice Vaughan That's a great point and I am so glad you touched on it! But visualizing should not be a rewrite. Get into the habit of visualizing every scene as you write your very first draft! You will not only save yourself a lot of headache later on, it will make you a much stronger writer if you think visually. Stop thinking of words on a page and start thinking of people on a set / screen, and everything will improve, from your character development to using business for world building, to writing action sequences, to scene transitions to dialogue, and much more. If you make this one fundamental shift in your thinking, your writing will suddenly move to a whole other level. There is no such person as a "reader"! We are all viewers. I bolded this, because actually this is one of the biggest things that separates the "amateurs" from the "pros."

Great points on real live actors Anna Marton Henry. I do try to picture my dream cast when writing. I like your premise that a character is worth bout 3 pages. That's a great rule of thumb. I do have a question regarding the idea of A-Story and B-story. Is there anything wrong with opening your script with the B-story first?

Martin Reese Well, my point was that 3 pages is not really enough to get to know someone. So 20 characters is way too many, because 3 pages on average is way too few.

On to your other question, no there is nothing wrong with opening your script with your B-story. Peaky Blinders opens with a frame story, which you could argue is the C or D story. Having said that, ideally you want to introduce one of your main characters in the first few pages, so this assumes that one of your main characters is in that B (or C or D) story. (In a pilot you really want at least 3 storylines to show how there are plenty of stories to populate and propel your series.)

You're right, Anna Marton Henry. I do that too (visualizing every scene as I write my very first draft). I also like to look at online photos and videos of props, locations, etc. as I outline, write, and rewrite a script. Looking at photos and videos helps me visualize the story better.

Maurice Vaughan Yeah, I figured you already knew that, but thanks for setting me up to tell everyone else, though. ;) And yes, devoting one of your final polish passes to making sure everything hooks up visually and all your action lines are as strong as they can be is a great plan.

You're welcome, Anna Marton Henry. It was kinda like a basketball assist. :) Thanks again for having this AMA. It's one of my favorite AMAs on Stage 32.

Anna, that is why I depend on you and your advice. Thank you very very much

Anna Marton Henry Good morning from Shanghai and thank you for your advice. May I know where I can find your lab?

Sam Iwata Aka Liu Here is the link: https://www.stage32.com/happy-writers/labs/Rewrite-Your-TV-Series-Pilot-Script-In-8-Weeks

Would love for you to join us!

Anna Marton Henry Thank you. However, I am more interested in writing for films rather than TV shows.

Thank you for all the great answers Anna Marton Henry - appreciate your time and expertise.

Thank you everyone for your questions and kind words! If you have more questions or want to connect, feel free to message me here on Stage 32.

You're welcome, Anna Marton Henry.

I'd like to see new dialogue. I hear the same lines over and over. I hope to see more new original stories like Maid, Molly's Game, and Wild. Probably because I have a novel that would add to this collection of movies about real women. Surely we have some original sentences we could be writing.