Learning something new...

I think we can all agree that we should continually be learning.

I'm a writer, so I'm always eager to improve my craft. I write screenplays, novels, articles, copy, technical, all kinds of things. But, I also need to expand this growth with learning about how I learn best and how I progress in my writing. With a few recent changes to routine, I'm once again taking note.

I've begun taking a screenwriting class - to make certain I am improving that skill. It's from ScreenwritingU, their ProSeries, and I'm hoping it will allow me to write more commercially. Yeah, many people wouldn't have to worry about something like that, but I do - not because I don't write high concept, but because I'm really an Indie filmmaker at heart.

Recently a newer member of one of my writing groups dropped out. It's natural for groups to change over time, adding someone, dropping someone; after all, we change, we have different needs and requirements so we may outgrow or require more than the group can provide, our skill set may be different from most in the group and we don't match needs, we move, we move on, etc.

This made me realize a few things, in conjunction with several other timely events. I need to have several other people in the critique group who are on par with my writing level. Having some who are traversing the road of writing experience a bit closer to the beginning is interesting because it reminds me of those beginner struggles, high points, mistakes, as well as keeping my line editing skills sharp, though it's not necessarily where I want to be spending my energies (since I get paid for that sort of stuff). Having those who are ahead of me on the road teaches me more advanced skills and inspires me. But, there must be a balance or I find myself not receiving what I require for my writing -- and spending too much energy on the beginner stuff.

Choosing what to critique is a decision.

If I'm one of the folks who is a little ahead in that experience road, I have to decide whether I spend my time line editing and working on grammar, syntax and spelling, or do I challenge the writer with more advanced techniques of story arcs, subtext, character development, plotting, themes, and the like.

The question then becomes, what are they prepared to hear? This question is much more convoluted then it seems. We don't necessarily know, do we? We may think we can gage the person's temperature, and temperament, but may discover we're wrong. And if we're wrong, do we create more damage than help?

Choosing what to receive critique on is also a decision that must be made.

If there's a particular struggle or uncertainty, we must make clear to the group what it is we require from them. It might be an overall question, as in is the story progressing or is the story arc flowing? It might be about character or plots, or anything at all the we, as the writers, need clarification on. (I know, dangling participle.)

This brings me to the other side of the coin: when do we forego feedback?

Presenting a first draft in my screenwriting group has made me realize that this isn't a good idea - for me. Yup, kinda late now. Wish I'd realized this sooner. It's actually stifled my creativity completely! I've never felt so frustrated. I'm so concerned about page count, imperative in a screenplay, and closing all the loops in my complicated psychological suspense sci fi adventure story, that I can't get to the end. I'm too concerned with mid-draft and final draft issues that I can't let myself just play with the story, allow it to lead me where it needs to go, allow me to make mistakes and rewrite. I need to take a break from the feedback so I can actually finish the damn thing - a story I've grown to love (okay, and hate, since I can't just play with it.)

What do I need? I need feedback after I've finished my first draft and am going on to any draft thereafter! Hey, I've learned something really important. I won't make that mistake again - and I'm guessing I won't flounder like this again because of it.

And now?

So, yes, I'm learning things in the class, some of which is infiltrating (in a good way) into my other writing. It's giving me a chance to not just write organically, as I usually do, but to also make a cognizant effort to look at how and why I write.

It's nice to be able to take that step back every once in a while to evaluate why we have chosen to be writers - and can't be anything but... and hopefully this will help someone else out there.

Ciao for now.

What I learned at the WD West Conference

I attended the Writers Digest West Conference at the Loew's in Hollywood on Saturday. Since two conferences were going on simultaneously, the Screenwriters and the (non-screen) Writers, it was a terribly difficult decision on which conference to attend. Since things are (presently) moving along on The Cullings Principle screenplay, I opted for the novel writing. 

I met some wonderful people there, fellow writers, published and unpublished, screenwriters and not, whose careers I'm eager to watch unfold. 

A fellow writer always sends a "What I learned..." email to us after attending a film festival, so I thought I'd pick up her tradition. So, this is what I've gained from it:

1. I'm doing all the things the speakers are telling us to do - except maybe blogging more (guess why you're reading this)
2. I anticipate that being published and produced is literally around the corner (see #1)
3. I avoided all the drunk people (see Dee's lists) by attending a day conference - though I have my doubts about a few folks...
4. Driving 7 hours round trip can make one hallucinate
5. Don't hallucinate when traveling the labyrinth from event to event - I'm pretty sure there were a few of us who entered another dimension when we turned left instead of right
6. Don't eat the mints the conference puts on the tables unless you love surprises
7. Since my humor is as snarky as many of the speakers', I may have a shot at more speaking engagements (clarification: snarky = good)
8. Speaking engagements pay (so I'm told...)
9. You can make instant friends in the agent pitching lines because everyone feels like the lobster about to be dropped into the boiling pot!
10. "Breathe" is a common reminder in a pitching line (see #9)
11. Wolfgang Puck's food tastes much better in his restaurants; apples are too healthy for most people (I am excluded here)
12. Hollywood is often foggy and drizzly - what they don't tell you on the red carpet
13. You have a 33% chance at choosing a workshop you don't need (see #1)
14. It's better to memorize your speech or ad lib rather than just reading it (see #7)
15. Men in funny hats may not necessarily be funny
16. Men in period costume may not necessarily be time-travelers (but they may be funny)
17. The space-time continuum is disrupted in pitching sessions: 3 minutes turns into 10 minutes when you're waiting; 3 minutes turns into 10 seconds when you're pitching
18. The WD staff is really awesome!
19. Most writers are really nice and will give of themselves (as in expertise, mind out of gutter please!) eagerly, willingly and happily!

Thanks for tuning into this episode of "What I learned..."