The most difficult part of tackling a new story is not necessarily a concern of how a story will end, are the characters fleshed out sufficiently, or is my story arc worthy. For me, the story writes itself and I later analyze it - just had this discussion the other day with a friend and a manuscript on which I'm coaching. The idea has to first be put down on paper - or a computer screen.
When there is a stumbling block, a difficulty in accomplishing even the first draft, it is often not the plot or the characters, or that a scene has no resolution. It is that the story is not being properly told - meaning the voice of the narrator is not properly selected.
Think about your favorite book. Who is the narrator? It may be a first person account by the protagonist or by a bystander, by a book or a crow - it varies drastically. Well, sometimes a story is being told by the wrong person - maybe it shouldn't be in a particular person's perspective but in a third person omnipotent point of view, or vice versa.
I've rewritten entire stories because, at the end, I realized the voice was not right. There are things a character partaking in the story may know or may not be allowed to know - how does one choose? What is to be revealed? Is this hindsight? And here is where voice gets even more complicated with tense - is it past tense or present tense?
We've all been told that stories told in multiple POV's is too dangerous - each chapter dedicated to another's perspective. Two narrators are doable, generally speaking, but more than that we are told is a gamble.
Why not gamble? What is story writing anyway but a huge gamble on whether it will get finished, published, liked, approved of, well critiqued...?
I say there are no rules except what you (and maybe your agent or editor) feel is the correct voice. I'm an organic writer - it has to feel right. This feeling is almost like a scent or a melody running in the background that is either right or wrong. It is during the rewriting stage that it will be closely analyzed, where details will be added or unnecessary scenes deleted, and where the voice either goes flat, sharp or perfectly in tune.
So, taken into account must be the most basic question: what can our narrator reveal to the reader? In other words, is he/she omnipotent, part of the tale, an inanimate object, God, first person wise with hindsight?
As the novel or short story, or even screenplay, develops, are the right things being revealed about the tale? Whether it is a mystery or romance, there is timing about plot revelations that will either make your story work or fail. This is often found in the voice.
You might be asking: Well, what a bout narrative non-fiction versus biography/memoir versus fiction? Well, that will be more up to the agent and publisher than you, I fear. So, let's stick to who is telling our tale and how!
Keep going. Don't stop now. It's just something to think about...
Friday, February 18, 2011
Hopes & Dreams Part II
Here is part 2!
We are presently in post-production and a trailer will be released at the beginning of March 2011.
Thanks for all the great contributions, the time and equipment. It was so worth it - despite fog, rain and finally sun!
H&D Project - Part 2
We are presently in post-production and a trailer will be released at the beginning of March 2011.
Thanks for all the great contributions, the time and equipment. It was so worth it - despite fog, rain and finally sun!
H&D Project - Part 2
Hopes & Dreams Part I
Here's part 1 of an article I wrote for Kings River Life. I regularly contribute to this regional magazine...
Part I
Part I
Friday, October 22, 2010
D&D Part 3 - A Village Affair gets shortlisted
Robin said, "Write a script for D1 and D2" because she wants to see us make a film with two of her favorite actors. Fine. (I cannot tell you who it is yet as we will be pursuing these actors in real life for the film!) So this little script that was born with just a simple glimmer of D1 sitting on an airplane has become a 108 page (including title page) script. I've revised several scenes in the interim, fleshing out, building muscle and have been submitting it to screenwriting contests.
Now, I'm used to getting rejected by literary agents for fiction, to whom I submit a few times a year. But contests for scripts is new to me and actually really thrilling.
A VILLAGE AFFAIR was shortlisted for the Gotham Screen 2010 International Film and Screenplay Contest. Sadly, I didn't make the finalists but it was very nice to be acknowledged. Now I have to say thank you to Robin for inspiring me to write for D1 and D2.
I'll also clarify that I not only cast in real life, my day job, but I've been "casting" my writing forever, whether with friends or acquaintances, or actors who impress me. I'll confess that I never thought I would write for D2, since he is not on my favorites list; I like his work and that's about it. So, I guess I'll have to thank him someday as well.
Interesting note: I've been alerted that D2 actually prefers small independents to his usual large budget mega-movies. I call that hope because I don't give up easily!
So, to all of you out there who have been nervous about sending out your writing. JUST DO IT. The worst that can happen is someone will say "No". Some in rude ways (ignore these because they have personal issues) and some in very business-like ways (they have too little time and we must admire them for their success), while others will write an encouraging note or constructive critique back when they decline your query (which is always lovely). Then, when the universe is properly aligned, they'll say yes and the work really begins! Don't give up.
Now, I'm used to getting rejected by literary agents for fiction, to whom I submit a few times a year. But contests for scripts is new to me and actually really thrilling.
A VILLAGE AFFAIR was shortlisted for the Gotham Screen 2010 International Film and Screenplay Contest. Sadly, I didn't make the finalists but it was very nice to be acknowledged. Now I have to say thank you to Robin for inspiring me to write for D1 and D2.
I'll also clarify that I not only cast in real life, my day job, but I've been "casting" my writing forever, whether with friends or acquaintances, or actors who impress me. I'll confess that I never thought I would write for D2, since he is not on my favorites list; I like his work and that's about it. So, I guess I'll have to thank him someday as well.
Interesting note: I've been alerted that D2 actually prefers small independents to his usual large budget mega-movies. I call that hope because I don't give up easily!
So, to all of you out there who have been nervous about sending out your writing. JUST DO IT. The worst that can happen is someone will say "No". Some in rude ways (ignore these because they have personal issues) and some in very business-like ways (they have too little time and we must admire them for their success), while others will write an encouraging note or constructive critique back when they decline your query (which is always lovely). Then, when the universe is properly aligned, they'll say yes and the work really begins! Don't give up.
Saturday, July 31, 2010
D&D - Part 2 (A Village Affair)
Magically my screenplay is at 105 pages. It's in the magic range - nothing over 110 pages please. (Wait until I try and get my miniseries sold - well over 200 pages, my dears!)
So I've added some scenes to flesh out Dane, the protagonist, and also to reinforce his relationships with fellow characters, like Janey, his housemate, and Boy (he has no name until the end) who cusses like a sailor at age 11.
After all, it's Dane's affair with a village and its people. I've also had to add some material about being shocked out of his comfort zone and belief system, so some setups were required there.
I've been having some serious deja-vu over this story, specifically when it involves the town chosen as the setting. I've driven its streets, you know, walked its footpaths, I'm even spelling British style again! I feel that when Dane walks the streets, I know where he's headed because I know what the buildings look like, what footsteps sound like on the road, what the air smells like near Cinnamon Bear as opposed to the Memorial, or even the A6 through town!
Now the Business Plan is next - no small feat but it wouldn't be the first one (thank goodness, no learning curve) and this time it'll be on the Mac to make it look pleasing as well. There's a list of films that are "like it" and once the script manager or agent comes into this, I'm certain it will be easier. However, I will not rely on that.
If I'd waited around for anyone's help, I'd still be in the corporate world inside a windowless cubicle, deep inside a stale office building, where the only faces one sees are those one meets on the elevator going up (dreary) or going down (happy to get out).
Onward and upward! In my head this film is planned down to the shot, so why wouldn't it come off the ground as planned?!
So I've added some scenes to flesh out Dane, the protagonist, and also to reinforce his relationships with fellow characters, like Janey, his housemate, and Boy (he has no name until the end) who cusses like a sailor at age 11.
After all, it's Dane's affair with a village and its people. I've also had to add some material about being shocked out of his comfort zone and belief system, so some setups were required there.
I've been having some serious deja-vu over this story, specifically when it involves the town chosen as the setting. I've driven its streets, you know, walked its footpaths, I'm even spelling British style again! I feel that when Dane walks the streets, I know where he's headed because I know what the buildings look like, what footsteps sound like on the road, what the air smells like near Cinnamon Bear as opposed to the Memorial, or even the A6 through town!
Now the Business Plan is next - no small feat but it wouldn't be the first one (thank goodness, no learning curve) and this time it'll be on the Mac to make it look pleasing as well. There's a list of films that are "like it" and once the script manager or agent comes into this, I'm certain it will be easier. However, I will not rely on that.
If I'd waited around for anyone's help, I'd still be in the corporate world inside a windowless cubicle, deep inside a stale office building, where the only faces one sees are those one meets on the elevator going up (dreary) or going down (happy to get out).
Onward and upward! In my head this film is planned down to the shot, so why wouldn't it come off the ground as planned?!
Wednesday, July 28, 2010
And then came the other D&D...
I had begun an incredible new adventure in writing when I decided to adapt my (failed) novel into a screenplay. And, yes, it was speeding along. But as always, my brain cannot do one thing at a time, my "other brain", the one that thinks of distractions, interrupted with "I think you need to focus on something else for a while. This is becoming tedious." Although, of course, it wasn't.
So, after many distractions on other writing projects I will not bore you with, I have my friend, Robin, tell me this: Why don't you write a screenplay for D#1 and D#2, two of her favorite actors. I mull it over and conclude that it will take a while to come up with a brand new idea into which to cast them. Like some writers, I "cast" real people into my stories. Not every character is based on or loosely based on someone real, but some are. In this case, I would have to cast them - they're actors!!!
Irony: I am a casting director/agent.
One day, only about two months ago, I'm driving back from the Bay Area and I have this tiny glimpse of a dream stuck in my brain, playing over and over. Frankly, I don't know if it really came from a dream, not sure WHERE it came from, but there it was, sparkling like a large shard stuck in glistening flesh.
Image: D#1 (also one of my fave actors), in character, in an expensive suit, sitting on an airplane, entirely distracted by his own thoughts, just staring down the aisle into nothingness. A couple next to him are sunburned but delirious, coming back from their honeymoon.
Image: Then he stands at the airport, still distracted.
Next image: He's in the back of a taxi being driven home, passing the lights of outer Heathrow, heading into the suburbs of London.
More images: He arrives at home. It's impeccable. It's empty. He follows a lonely routine and is utterly alone.
One more image: He grabs his phone and keys, still in his suit in the morning, and heads toward his car, ignoring neighbors. He pulls out, showing the first sign of emotion, and drives away. Given the option, he chooses the country over the city, and we find him at a cross roads in the English countryside.
By this point I am on my cell phone, yes, while driving, and telling the idea to Robin. She is right there with me, understanding the emotion, the tone, the conflicts (still not completely formed), but thinks I'm on a good, solid track to a story.
Born: A Village Affair.
It took three days to write the first draft of the script. By Day 5, I'd rewritten the draft two more times, written the logline and the treatment - 20 pages! It's down to 18 after a few more days.
It's a record. That story just fell out of me. What was I channeling? I think. Sometimes it feels like I'm just channeling the words because they just flow so easily and freely, they come out as fully formed pearls, one after the other, and eventually form a beautiful necklace with clasp. And there it was, A Village Affair.
I work on it as I can - truly busy with my real job of casting, producing and coordinating productions - yes, even here in Fresno.
Today I get to tackle it again. Why? Because Robin and I have been searching the internet for the perfect location and found it: in County Derbyshire. It's the perfect village. Robin found sites, we visited them, but one of the first was this lovely town with all the things we needed: a small population, old, charming, crumbling castle, water feature, pub, cobblestones, etc.
We've been there, virtually, driven down its streets (thank you, Google) while eating cake with strawberries (dessert), peeking into yards, discovering its back roads and hidden trails, finding different routes to enter this Shangri-La, it even has caves! We've picked our lodgings, visited the cemetery, found several possibilities for our central location. It's perfect!
Now I'm rewriting the story to better fit our location. Even if this isn't the town we finally choose, though I can't imagine anything else, the script will be more vivid anchored in this real place!
This is one of the reasons why I love to write. It opens endless worlds not only of imagination, but it propels me forward into making this film, gathering the crew and cast perfect for this production, meeting amazing people along the way who will support this film in every way possible (emotionally and financially), and eventually traveling here to film "A Village Affair".
Actually, I'm perfectly sane.
So, after many distractions on other writing projects I will not bore you with, I have my friend, Robin, tell me this: Why don't you write a screenplay for D#1 and D#2, two of her favorite actors. I mull it over and conclude that it will take a while to come up with a brand new idea into which to cast them. Like some writers, I "cast" real people into my stories. Not every character is based on or loosely based on someone real, but some are. In this case, I would have to cast them - they're actors!!!
Irony: I am a casting director/agent.
One day, only about two months ago, I'm driving back from the Bay Area and I have this tiny glimpse of a dream stuck in my brain, playing over and over. Frankly, I don't know if it really came from a dream, not sure WHERE it came from, but there it was, sparkling like a large shard stuck in glistening flesh.
Image: D#1 (also one of my fave actors), in character, in an expensive suit, sitting on an airplane, entirely distracted by his own thoughts, just staring down the aisle into nothingness. A couple next to him are sunburned but delirious, coming back from their honeymoon.
Image: Then he stands at the airport, still distracted.
Next image: He's in the back of a taxi being driven home, passing the lights of outer Heathrow, heading into the suburbs of London.
More images: He arrives at home. It's impeccable. It's empty. He follows a lonely routine and is utterly alone.
One more image: He grabs his phone and keys, still in his suit in the morning, and heads toward his car, ignoring neighbors. He pulls out, showing the first sign of emotion, and drives away. Given the option, he chooses the country over the city, and we find him at a cross roads in the English countryside.
By this point I am on my cell phone, yes, while driving, and telling the idea to Robin. She is right there with me, understanding the emotion, the tone, the conflicts (still not completely formed), but thinks I'm on a good, solid track to a story.
Born: A Village Affair.
It took three days to write the first draft of the script. By Day 5, I'd rewritten the draft two more times, written the logline and the treatment - 20 pages! It's down to 18 after a few more days.
It's a record. That story just fell out of me. What was I channeling? I think. Sometimes it feels like I'm just channeling the words because they just flow so easily and freely, they come out as fully formed pearls, one after the other, and eventually form a beautiful necklace with clasp. And there it was, A Village Affair.
I work on it as I can - truly busy with my real job of casting, producing and coordinating productions - yes, even here in Fresno.
Today I get to tackle it again. Why? Because Robin and I have been searching the internet for the perfect location and found it: in County Derbyshire. It's the perfect village. Robin found sites, we visited them, but one of the first was this lovely town with all the things we needed: a small population, old, charming, crumbling castle, water feature, pub, cobblestones, etc.
We've been there, virtually, driven down its streets (thank you, Google) while eating cake with strawberries (dessert), peeking into yards, discovering its back roads and hidden trails, finding different routes to enter this Shangri-La, it even has caves! We've picked our lodgings, visited the cemetery, found several possibilities for our central location. It's perfect!
Now I'm rewriting the story to better fit our location. Even if this isn't the town we finally choose, though I can't imagine anything else, the script will be more vivid anchored in this real place!
This is one of the reasons why I love to write. It opens endless worlds not only of imagination, but it propels me forward into making this film, gathering the crew and cast perfect for this production, meeting amazing people along the way who will support this film in every way possible (emotionally and financially), and eventually traveling here to film "A Village Affair".
Actually, I'm perfectly sane.
Thursday, March 11, 2010
200!
Here are some facts:
-It's a mini-series
-It's obviously going to be way too long on the first draft
-Flashbacks are inevitable in an "epic"
-I cannot grow tired of this story because it has so many twists
It's been a while since I've written about my experience with this screenplay and much has happened since I last wrote. For instance, I cannot explain why but I'm writing songs for it as if it were a musical - perhaps because some other part of my brain is composing a musical about it. The songs aren't bad and it does help to keep the mind occupied so that other parts may do their creative magic.
I've passed page 200 now. In screenplay time, this would calculate out to approximately 3 hours. There are many scenes with little dialog and so the description takes up more space than the action, and in some case, the opposite is true. Other scenes seem to be entirely dialog driven. Here my fear is a "play" and not a screenplay.
The difference? Screenpalys are visually driven while plays are dialog driven. My film professors used to say: If it can be told without words, do it! (I paraphrase here.)
I'm now on the third day of the story, which takes place during a week - the week during which England enters the War with Germany. It strands a group of friends in New England who have traveled here from all over the world to celebrate a supreme-socialite's surprise birthday bash (enough alliteration for you? - no? I'll keep trying).
The last main character has been introduced, Day Two, and another conflict has been induced which affects half of the lead characters. Now they'll begin to "cross-germinate" their troubles and I haven't even gotten to the murder yet!
I suppose it's a soap opera, but almost any novel or movie can be boiled down to it. Look at Jane Austen or DuMaurier, Michael Faber, Yukio Mishima, all of whom I love. This screenplay is my Merhant Ivory tribute.
After page 200? I keep plugging on and will cut later. The story comes first, then the form.
Back to writing for 1 hour before work! (Are you writing?)
-It's a mini-series
-It's obviously going to be way too long on the first draft
-Flashbacks are inevitable in an "epic"
-I cannot grow tired of this story because it has so many twists
It's been a while since I've written about my experience with this screenplay and much has happened since I last wrote. For instance, I cannot explain why but I'm writing songs for it as if it were a musical - perhaps because some other part of my brain is composing a musical about it. The songs aren't bad and it does help to keep the mind occupied so that other parts may do their creative magic.
I've passed page 200 now. In screenplay time, this would calculate out to approximately 3 hours. There are many scenes with little dialog and so the description takes up more space than the action, and in some case, the opposite is true. Other scenes seem to be entirely dialog driven. Here my fear is a "play" and not a screenplay.
The difference? Screenpalys are visually driven while plays are dialog driven. My film professors used to say: If it can be told without words, do it! (I paraphrase here.)
I'm now on the third day of the story, which takes place during a week - the week during which England enters the War with Germany. It strands a group of friends in New England who have traveled here from all over the world to celebrate a supreme-socialite's surprise birthday bash (enough alliteration for you? - no? I'll keep trying).
The last main character has been introduced, Day Two, and another conflict has been induced which affects half of the lead characters. Now they'll begin to "cross-germinate" their troubles and I haven't even gotten to the murder yet!
I suppose it's a soap opera, but almost any novel or movie can be boiled down to it. Look at Jane Austen or DuMaurier, Michael Faber, Yukio Mishima, all of whom I love. This screenplay is my Merhant Ivory tribute.
After page 200? I keep plugging on and will cut later. The story comes first, then the form.
Back to writing for 1 hour before work! (Are you writing?)
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