Screenwriting : Writing Partners by DB Goodman

Hi. I have had a critique partner and we gave feedback on each other's work. I work fast and I don't let life get in the way when it comes to writing. So, I think it would be hard to have one, but I did try. He never wrote his ten pages like he was supposed to.

my partner is my husband, so he sits down and listens to the story, puts in his two cents worth, and then I get to rewrite.

No I haven't yet but what I would envision in media is very much the same as a collaborative scientific research project. While individual input and feedback is always essential the goal is the big picture with all the best ideas batched. At least that is what I envision for a productive environment. It would probably be good to know the function of the individual and parameters of their role to stay within. With that said parameters could be pushed and expanded tactfully making the creative process even better sometimes. Almost sounds utopian, eh. LOL! But in a way that is the goal. To a "Brave New World".

When writing with a partner, it's a good idea to record your dialogue.Many times reading material will get you in a mood where the story becomes both of you.Trying to get that feeling and writing it quick enough , you end up losing that go.Recording it and then playing back, you have your lines and you can hear and feel how the story flows.

I've partnered twice in writing screenplays. In the first instance, we worked together on the outline, then we passed scenes back and forth like a tennis match. He wrote scene 1, then passed it to me. I rewrote/revised scene 1, then wrote scene 2. He then rewrote/revised scene 2 and scene 3. And so on. After completion, we then passed full drafts back and forth, and only at the end did we sit in the same room together and revise concurrently. Sounds tedious and disjointed, yet it resulted in a script that pleased us both. In the second instance, my partner and I did it all while in the same room together. It resulted in a script that I was unsatisfied with. Strengths of method 1 (for me at least): Each partner could write with full, deep concentration, resulting in strong, concise structure and action. Weakness of method 1: The end result was the sum of both our stengths, yet didn't really transcend those strengths (see method 2) Strengths of method 2: Much better gags (it was a comedy) and dialogue than either of us could have come up with individually. Lots of fun and laughs, and shared lunch. Weakness of method 2: Easy to get carried away within the closed loop of what amused us both. Working in the same room only allowed for a superficial depth of concentration, and I feel we sacrificed potential subtlety. Worst effect was that story structure was too often forgotten. In both experiences, there were thankfully very few personality conflicts, but an element of tip-toeing was always necessary to keep two egos sailing on a steady keel. But overall, I prefer writing solo.

Collaborating with writing group members on a YA novel. Downside is how long it takes Upside is the phenomenal story we created, one that none of us could have done individually.

Collaborating with writing group members on a YA novel. Downside is how long it takes Upside is the phenomenal story we created, one that none of us could have done individually.

I live in Italy where all screenplays are written with at least 2 if not 3 people. I don't know how they do it. I'm American so I write alone but if I could find someone that has strengths that I don't have I would love to try it.

A lot of things don't work; only collaborate with someone of equal talent. If one writer is stronger, more experienced, more dedicated than the other, nothing but trouble ensues. You must really ask yourself: 'Do I NEED to write with someone else? Does this improve my work'. I often work with a dramaturg or editor--to help me analyse my work, draft by draft; I have collaborated with other writers a few times but have, by-and-large, found the experience relatively pointless and mostly frustrating.

While I think Yasmine has some good points, I don't think the experience level matters quite as much if the less experienced writer brings something unique to the table, in terms of vision and talent. I have written with a couple unrepresented writers with limited experience, and I admit they were both "wild cards," but I found it really helpful to be the more disciplined presence while I let their imaginations roam free. Sometimes the training/studying/McKee worship hinders creativity, and I found that they were not hindered in the same way. While I still prefer to write alone, my favorite partnerships were with open-minded people who just need someone to sculpt their ideas and polish them up. I think Yasmine's point about dedication is a great one, though. Nobody wants to do the heavy lifting and then share the credit while the other person coasts.