Patience is a virtue
I can name a few occasions where people have thought less of themselves because of the success of others, more specifically “I should’ve done this much by now!”
Fellow artists… success does not come overnight.
Steven Spielberg didn’t make Jaws until 1975 … he was 29.
J.R.R. Tolkien didn’t publish The Hobbit until 1937, and then only by convenient circumstances and decades of effort … he was 45.
If you’re stopping to think that you’ve got a few years to catch up with these guys, how about this one?
The Beatles. Shea Stadium. 1965. Not far out of their teens and with years of preceding success to boot.
We all have potential to be successful in our chosen art, but it always has and always will be a gamble. What matters is to keep your expectations low and your esteem high. Don’t degrade yourself because others aren’t noticing your work, simply rejoice that you’re doing what you love.
Will you draw a profit someday? Maybe. Should it matter? Not in the slightest. Work at your own pace, and be happy you’re around to do it.
-Tori Domay
Writer’s – Don’t let other people define your work.
You can’t let other people’s opinions of your work affect your identity as an artist.
A big thing many writers struggle with is embarrassment for something that they’ve created. Why is that?
I have a writer friend (let’s call him Shmaniel Shmames Shmike), who easily lets other people’s opinions affect the outcome of his story. It took me a long time to understand why I was doing this. Finally, the answer came to me one evening when I was playing the piano for a friend. I tried to hammer out a piece of music that exceeded my knowledge of the craft. I apologized for the mistakes and condemned myself as a pianist.
My friend who knew me quite well, told me not to be embarrassed. He’s heard me play marvellously, and although I didn’t have a lot of knowledge about the notes, with practice he knew I would get it. I suddenly didn’t feel so incompetent and you know what? He was right. Had I viewed myself in a positive light, I could have seen the positive future for my craft.
There are any number of reasons why the things
people say may derail us as creators.
If something isn’t written well, or has problems, it’s better for you as an artist if you accept it for what it is before letting other eyes look at it. I understand the pains of seeing room for improvement in my work, but this is not a bad thing, for now I can see the problem, and I understand the solution. Every person can nit-pick and rip something apart if they wanted to. Hell, I have plenty of colleagues who think Jurassic Park is a shitty movie! These people are also idiots, but I digress.
I’ve said it before, and I’ll say it again: Having bad grammar or being a bad speller does not make you a bad artist. You don’t have to a degree in creative writing to be a writer. All that is required of you, is that you write. Sometimes you just need to sit down, and quiet the thoughts in your head. Get rid of all the negative things people have said to you and start clean.
A constructive critic knows when your grammar isn’t working. They do not however, condemn you as an artist. Great artists defend the choices of other writers. It is important to learn how to defend your own work, and if you are happy with what you’ve made, you shouldn’t let other people change how you feel about it. After all, the more you write the better you get! Sometimes it’s easy letting other people’s opinions change how we think about our ourselves, and our craft. Especially if we respect the person who is giving us their thoughts.
I’ll end this post with one last story, and a few choice words:
A few months ago I had a friend who I let control my life. This in turn affected my creative life. One night we were driving home after seeing Tim Burton’s Frankenweenie, and (movie aside) this friend proceeded to lecture to me why Mary Shelley’s FRANKENSTEIN was a terrible story. I asked him in bewilderment, “you think one of the greatest novels ever written (one that has withstood the test of time) is a bad story?”
Confused, I suddenly had a moment of lightning clarity as to why I had been feeling creatively suffocated for months. Talk about one hell of a creative “red flag”.
I know everyone is entitled to their opinions, but his argument was incredibly biased:
1) He doesn’t enjoy reading.
2) He doesn’t understand the concepts outlined by Shelley.
3) He didn’t understand the story. He said to me that I was stupid if I thought that Frankenstein was a well told story.
4) His final argument was: “It isn’t finished! You don’t know what happens to the monster at the end! Who writes something and doesn’t finish it!?” … Then I understood. He had mistaken what it means to have an ‘ending’ with his own personal lack of closure.
What a fool I had been! I had let a man who was blind to art dictate to me how I should feel about many things in my life, and I let him dictate how my stories were to be written. This was a relationship that had gone on for over 6 years! Writers – Don’t let people dictate how you work: You’re always going to get criticism, negative and positive. The trick is filtering through all of the “creativity nazis” out there and finding the people who know what they’re talking about.
The artists who succeed are the ones who have a firm foundation of personal values. The artists that succeed do not take their own mistakes and lock themselves away for it. Instead we should learn and grow from them.
Maybe you should ask yourself today what it is you value as an artist? What principles will you practice to give yourself a jumping platform for your work? If you’re trying your best and working hard, there is nothing to be embarrassed about.
No amount of red pen marks, stupid idiots, or stuffy academic professors are going to stop me from writing. If anything, they’re going to make me work harder.
Best Wishes~
- Daniel J. Pike
Don’t Break the Dam – A Guide to Creative Self-Discipline
A lot of artists I’ve known throughout the years suffer from the same form of creative guilt as I do. This guilt is that little voice inside of you that says:
“Daniel, you haven’t done any writing today or yesterday! You’ve been working on the same story for a month now! You gotta do something big and monumentous! You have to prove to everyone that you can do it! You gotta drop everything and write for 4 weeks straight, never stopping and not talking to anybody! Everyone is going to think you’re some sort of hack if you don’t deliver some sort of product, and FAST!”
As great as these intentions are, this usually leads to something I like to call “breaking the dam.” It’s a creative act that seeks to do something REALLY BIG, and ALL AT ONCE, like some sort of creative hiroshima massacre.
Sure you got everyone’s attention with your huge explosion of creativity, but this doesn’t give you a good foundation to build on. Instead it gives all artists a false sense of accomplishment.
Please learn from my mistakes, and know that leaps of absurd ambition do not equal productivity… or product. Haven’t you ever heard anybody say, “quality, not quantity?”
I know there is a lot to be said about setting high goals for yourself, and I’m all-for people trying to pursue their dreams. I also understand that there are some artists who can’t help but get a flush of inspiration. This is an enviable aspect of the craft. Yet it is an aspect that is strengthened by a routine, rather than a stand alone occurrence. But if you ‘break the dam’ on your craft… yes you will be doing something big with your life, but at the end of the day you’re left with a broken dam. You’ll be drowning in your own flood waters, and you won’t have any energy left to pick up the pieces.
Try to build a foundation for yourself – brick by brick; a great cement dam that holds back the demons of guilt and doubt. You need to be prepared for failures. I’m sure everyone has heard the bedtime story of the Tortoise and the Hare. Slow and steady wins this race. Don’t tucker yourself out and feel depleted every year. If you do that you won’t get anything done.
Famed director Stephen Spielberg made several made-for-TV movies, and TV-Specials before he even attempted an ambitious project like JAWS. Learn from my mistakes. Please. Small ‘doable’ actions have gotten me further than I ever thought possible.
Practice some self discipline, and map out a plan of action for yourself before making any drastic decisions. Then put your plan into action, and by all means PACE yourself.
Just try to be a doer, and NOT a doer-all-at-once.
- Daniel J. Pike
Merry Christmas from StigmataScript!
To anyone who celebrates this marvellous feast of good will toward men, may God bless you all with a very, merry Christmas. Remember that taking time away from your craft to spend time with your family, and friends is perfectly fine during the holidays!
As my Christmas gift to you, I present to you some inspiration via TED.com by one of Pixar’s leading men, Andrew Stanton.
Merry Christmas!
Stop and Read this Writing Advice
Stop.
Stop what you’re doing and read this.
Open the cage of doubt you’ve put yourself in, and free yourself.
I’m no famous author. I’m no grand orator. I’m just someone passionate about the craft of writing. This advice is the best writing advice I can give. Given everything that’s happened in my life lately, and my last few blog posts, I hope to live by these rules from now on. I hope they help you too:
- If you don’t have enough time to write – then make it.
- If you don’t know what to write, write nonsense.
- If you’ve fallen, get back up.
- If you’re rejected, write until you’re accepted.
- If you don’t think you’re good enough, forget whatever negativity anyone has ever shown you, and write anyway. Do it for the fun of it, not for success.
- If you think about writing every day, even if you aren’t writing anything, you’re still a writer.
- Don’t say “I can’t.” Instead, say “I will, no matter what.”
- The future is an endless blank canvas, waiting for you to paint it. Will you choose to act, or will you choose to do nothing? Apathy and laziness are regrettable, and unfortunately addictive. Fight it.
- Don’t do what I’ve done in the past, and concentrate on the fact that you haven’t written anything. Instead, concentrate on what you COULD write.
- Everyone started somewhere.
- Everyone has had to pick up the pieces.
- Don’t give in to sadness and regret. Overcome it, and do it for a cause. Find a purpose, and cling to it like it was your own child.
Stop.
Take a deep breath.
Pick up your pen.
Now write.
A Conversation with Tori – A lesson in Writing Encouragement
Lately I’ve been suffering from major confidence issues with writing. My new friend Tori has proposed a partnership akin to Lewis and Tolkien, where we gather once a week to work on our own writing, but to do so in fellowship.
I had no idea how this would affect my craft.
I’ve heard a lot of nightmarish stuff about working in writing circles with other people, but this is different. I just came out of several friendships that were not only discouraging to my craft, but actively sought out to keep me in a place of complacency. It didn’t matter what I said, because I was ‘always wrong.’
As you can imagine, I haven’t been writing well for quite a while now. I’ve been writing steadily, but not without a major complex. In the last month of nonstop arguing, I haven’t been writing at all.
However, since starting these new writing sessions with Tori, I’ve seen a change in my craft. I had a conversation with him today about my latest script that I want to share with all of you.
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Daniel – “Do you ever have confidence issues when dealing with filmmaking/writing/creativity?” Tori – “Plenty, lol.” Daniel – “I’m having a mental breakdown today. Everything I look at, I think is complete garbage, but other days I look at it, and I feel great.” Tori – “It’s not garbage lol, I know what I got isn’t garbage, in fact, I bet if you read it you might not see what I’m seeing. Artists are always conflicted with their originality. It’s nature.” Daniel – “Do creative people need constant reassurance? Cuz now I feel like I can work now.” Tori – “That’s what they call peer review or whatever lol.” Daniel – “Hmmm. It’s something I’m not used to. I just came out of a friendship where everything I said was shot down. I’m not used to getting compliments… or encouragement.” Tori – “If we went through life without encouragement, we wouldn’t know what the right thing to do is.” Daniel – “Are you some sort of prophet?” Tori – “No, just a writer.” |
The chord that struck for me, was that I haven’t been surrounding myself with encouraging peers. As soon as I cut these people out of my life, BINGO, my writing improves. Writers do yourselves a favour, and eliminate your toxic friendships. Friends who don’t inspire you aren’t friends. Writing groups that discourage your progress are not good writing groups.
I have learned that that there is strength in numbers, and fellowship is an invaluable writing resource.
I am thankful for the new friendships and bonds I have formed. For the first time in years, I’m excited about my future, and where it may lead.
Wishing you all a safe and happy holiday.
Happy Writing.
Plagiarisation VS Appropriation
Warning: The following blogpost is highly controversial. Some might argue that what I’m proposing may be unethical. It is recommended that all writers follow the copyright rules of their respective countries.
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plagiarism|ˈplājəˌrizəm| appropriation |əˌprōprēˈā sh ən| |
First, let me make one thing very clear: plagiarism is never, ever acceptable.
Trying to pass off someone else’s hard work as your own is lazy, selfish, arrogant, and illegal. If you must reference someone in your writing, you have to give them credit. How would you feel if someone stole your hard work?
There are however, times when a book or movie may lend inspiration to your story. Although every writer should be encouraged to be creative and original, very rarely can you write something without it having some hint of a reference to pre-existing material. Joseph Campbell’s A Hero With A Thousand Faces is a fantastic literary venture into the world of archetypes, which advocates that these themes can be found in all stories, and that we can learn a great deal about our culture from reoccurring motifs.
That said, when is it appropriate to ‘appropriate’ someone else’s work? Well, take famous author J.R.R. Tolkien as an example. Some people might regard Tolkien’s Lord of the Rings trilogy, as the bible of fantasy; but Tolkien himself admitted that the ancient poetry of finland (in particular, the Kalevala), was a large influence on his work. If you dig a little deeper, you’ll realize that Tolkien’s Lord of the Rings bares many similarities to pre-existing myths/legends of eastern europe decent. One could make a strong arguement that Tolkien appropriated some of these elements into his story.
The literary works of author Gregory Maguire are another great example of appropriation at it’s best. With the initial success of his bestselling novelWicked, which spawned a tony award winning musical, Maguire has made a living by spinning a web of new tales based on Frank Baum’s original ‘Oz’ books. How is this possible? Frank Baum’s The Wonderful Wizard of Oz is a published work that resides in public domain. A great article on the use of this book can be found on the website New Media Rights.
Public Domain is the arena where the copyrights of many works of art have expired, and are free for people to use. There are thousands of stories, tales, legends, histories, myths, and fables that are currently free to use. However, I HIGHLY recommend doing a lot of research into the expansive world of copyright beforehand. Every writer should have a working knowledge on what they can and cannot do. Technically, you can rewrite anything by Shakespeare until thine cattle returnith home; but I digress!
Is it immoral to copy one of these works, and piggyback one’s success off of these materials? Not really. Any good writer should take notes on things that did well in the past. In fact, archetypes, tropes, and source materials, are all literary devices that should be in every writer’s toolbox. J.K.Rowling isn’t exactly the inventor of ‘magic wands’, but no one argues that Harry Potter is ‘unoriginal’.
Well some people might… but they’re probably idiots.
Anyway, let’s say you just watched Star Wars, and you feel the need to write a grand space opera. That’s fine! If you have an original idea, go for it! Don’t be afraid to pursue something, just because a famous book or movie inspired you!
It should be noted that anyone can use words like laser beams, lightspeed, starship, spaceship, sheilds, torpedoes/missiles, teleporters, cloaking device, or translators. Yet, it may be prudent to avoid such terms such as warp speed, lightsabre, transporter pad, phasers, enterprise, death star, or storm troopers, if only to avoid legal trouble. There are certain things you can get away with. Referencing other movies or characters in your scripts is fine, so long as you’re careful.
What can we take away from all of this? It’s no heinous crime if something of yours bears some likeness to pre-existing material. Many writers will admit that they were inspired by other literary works. This does not mean they are unoriginal. On the contrary, creating something new out of something old is a very unique skill. Does this open a doorway for you to steal or plagiarize stories others have written? Absolutely not. Is ‘appropriation’ of other people’s material a crime? No way José.
Follow your gut. If what you’re writing feels wrong, it’s probably wrong. If you’re just trying to rewrite Star Wars, then you should stop what you’re doing. Instead, do a little research and find ways to creatively tell the story that comes from YOUR heart.
Top 5 Screenwriting Mistakes
If you’re interested in pursuing a career in screenwriting, I’ve compiled a short list of the most common mistakes I’ve observed in my years of editing people’s screenplays:
5) BAD SLUG LINES
You’d be surprised to know how many people make this mistake.
Slug-Lines are supposed to be read as a short transition into your action. You don’t have to describe the location in the slug-line. You should be as concise as possible, eliminating anything that isn’t necessary. Some screenwriters might tell you it’s alright to get creative with times of of the day, but I say: NOOOO!
Unless you’re writing a scene where Luke Skywalker looks off to a binary sunset, or Jordi LaForge is gazing upon a sunrise with his real eyes for the first time, very seldom are DUSK and DAWN acceptable. Use INT and EXT, instead of INTERIOR, EXTERIOR, INSIDE, or OUTSIDE. Stick to DAY or NIGHT shots. AFTERNOONS, MORNINGS, EVENINGS, and LATE EVENINGS are all unnecessary. Your transition of time should be evident in the way you tell your story. There is no physical way of showing how ‘night time’ can be ‘midnight’ on screen. The sky is dark. The shot requires that you shoot at night time. Therefore, you should just use “NIGHT”.
BAD:
INTERIOR - DOWN THE UPSTAIRS HALLWAY NEAR THE BATHROOM - MIDNIGHT
GOOD:
INT. UPSTAIRS HALLWAY - NIGHT
4) LENGTHY SETTING/SCENE/CHARACTER DESCRIPTION
This one isn’t as easy. A lot of the time, I find myself cutting out entire pages of action. If your description does nothing to reveal something about the character, or advance the plot, it isn’t necessary.
Think about it.
You only have 120 pages (on average) to work with. Why would you put in anything that isn’t important? Ever notice when books are made into movies, sometimes fans get upset that things are cut from the book? Well obviously! Otherwise a movie would be way too long, and as much as I loved Harry Potter, I don’t feel like sitting through a 22 hour movie.
(However I have a “19 hour+ Harry Potter Movie Marathon” coming up that I am GREATLY looking forward too…).
Here is an example of how you can clean up a scene of description:
BAD:
DALE, a man aged 33, sits on a plush leather couch in the middle of a fancily decorated living room, wearing dark khaki pants, a dress shirt, and a tie. He fidgets on the leather couch. Across the room, an ornately carved red door, made of mahogany opens. GEEVES the butler, dressed in a full tuxedo with a tailed suit jacket, walks toward Dale across the red and black pattered carpet. Dale looks up at Geeves and bits his lip. Geeves motions with his gloved hand toward the door. Dale gulps, stands up, and walks toward the open mahogany door.
GOOD:
DALE, a man in his early 30s, sits on a leather couch in a fancy living room. He adjusts his necktie. Across the room, a large mahogany door opens. GEEVES the old butler, enters the room and approaches Dale.Dale bites his lip.
Geeves stands up straight and motions his hand toward the open door.
Dale gulps and stands.
The two of them exit the room.
Notice how I edited the piece so that Dale’s nervous actions are on their own lines? I did this to give the scene a bit more tension. I also broke up the paragraph to make it easier to read. I also eliminated almost every piece of description. Your job isn’t to furnish rooms, dress actors, or decide what brand of eyeliner Norma Desmond wears.
In novel writing, it might be argued that can you use description until the cows come home, (Just ask J.R.R. Tolkien) but in the cutthroat business of screenwriting, you are to give just enough description to give the reader a visual. Use your best judgement. I usually like to give a bit of detail to help set the scene, but anything else is just fluff around the edges.
It should be noted that integral props, or complicated settings can use a bit more description. If it is going to play a crucial role in your story, you want your reader to be able to visualize it immediately.
3) DON’T DO THE WORK OF THE FILM CREW
If your screenplay is littered with PAN UPS, TILT DOWNS, dramatic musical cues, or excessive descriptions, you should pursue a considerable rewrite. If you believe what you’ve written will be dictating the work of the cameraman, the actor, or the film crew in anyway, you need to eliminate it. As I said before, your job isn’t to dress your actors, act for them, or decide what kind of lighting is appropriate for a scene. Film is a COLLABORATIVE MEDIUM.
Here are some common mistakes:
BAD:SARAH
(shouting)
STOP IT!BRENT
(frowning)
No! YOU stop it!
Using (whispering) is acceptable if required, as is (out of breath) or (laughing), but they really aren’t necessary. The actors job is to interpret the dialogue as it is needed for the scene. Don’t do their job for them.
GOOD:SARAH
STOP IT!BRENT
No! You stop it!
See how much simpler and to the point this is? If the actors don’t know there is anger, or maybe some shouting in this scene, then they are stupid and shouldn’t be acting anyway.
Here is another mistake:
BAD:
INTERIOR - INSIDE UPSTAIRS HALLWAY NEAR THE BATHROOM - MIDNIGHTTILT UP to Sarah standing at the end of the hallway. PAN OVER to Brent holding a knife. Dramatic music is playing, as Brent rushes over to Sarah.
GOOD:
INT. UPSTAIRS HALLWAY -- NIGHTSarah stands at the end of the hallway. Brent is across from her, clutching a KNIFE. Brent lunges toward her.
See how much cleaner this action is without the camera angels and shot descriptions? The way a film is shot is for the director and the cinematographer to decide in their production script. If you’re an independent filmmaker who will be writing AND directing, for the benefit of your actors and crew, just write a regular screenplay. When you litter your story with PAN-UPs, CLOSE-UPs, and what-have-yous, it takes the reader out of the story. You want your reader to get sucked into the world of your script, and never put it down until it’s finished.
2) WRITING IN THE PRESENT TENSE
Very few realize the importance of screenwriting in the present tense. It should be how every screenplay it written. Writing in past tense is wonderful for fiction, or other literary forms, but if you want your reader to follow through your script as if it is happening precisely in that moment, you gotta write in present tense. Here are some examples:
BAD:
EXTERIOR - PUBLIC HIGH SCHOOL - AFTERNOONBilly was standing on a large rock in the middle of the courtyard at the back of the school. Students walked towards him. Billy looked at them, and grinned. He grabbed the toilet paper from his side, and began wrapping himself with it.
The students laughed at this.
GOOD:
EXT. - PUBLIC HIGHSCHOOL - DAYBilly stands on a large rock in the middle of the courtyard at the back of the school. Students strut toward him. Billy looks at them and grins. He grabs the toilet paper from his side, and wraps himself with it.
The students giggle.
I contest that there are no right or wrong answers at times, and one can argue that it’s not a big deal if you submit a screenplay written in the past tense. However, it is the general consensus of Hollywood producers and working screenwriters, that the present tense is not only important, but a requirement.
1) DISREGARDING YOUR AUDIENCE’S NEEDS
I can’t express the utmost importance in writing for your audience. If you aren’t writing to tell a good story, then why the hell are you writing? Let me remind you, that I’ve read many screenplays where the author feels the need to use the craft as a means of personal flattery or self therapy. This is not to be confused with self-expression.
Self-expression is important in ANY art form. You need to draw on things in your life so that you can create an original story. As far as I know, no one else is me. Therefore, I have something original to tell. However, if you feel the need to symbolize your life and use sub-par metaphors for your first world problems, you should reconsider your intentions. Why are you telling this story?
The difference, is that you should not be writing so your friends and family can see how you struggled with a relationship, but to write a story that anyone can relate to.
Do you think audiences pack into theatres so they can see how you broke up with your partner in a coffee shop?
NO!
Audiences pack into theatres, because they want to be entertained! They want to laugh and cry! They want to be scared! They want to live vicariously through characters that perservereer, or witness the horrible downfalls of a tragic lifestyle!
Your first thought should be: “How is my story going to affect my audience?” If your first thought is how you can ‘cleverly symbolize’ how you deal with things, you’re not thinking about your audience. Unless you want to pay for your own movie tickets, and see your problems on the big screen, get over yourself. Stop being so egotistical, and start TRYING TO TELL A GOOD STORY.
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Finally, it should be noted that you cannot as a screenwriter show anything that you cannot see on screen. Internal thoughts or feelings should be left for the novel. You cannot say “Jake is happy when he see’s Betty.” You can however, say “Jake smiles at Betty” or “Jake spots Betty and smiles.” Just be mindful of what you’re writing. As always, writing is rewriting, so if you make mistakes, don’t worry. Keep plugging away at your craft and soon these rules will seem like nothing.
EXERCISE:
Take 15-30 minutes today to write yourself a letter. Ask yourself these 5 questions:
1) Do I need to work on my screenplay format?
2) Can I eliminate unnecessary elements that aren't important to my characters or story?
3) Am I writing for myself, or for my audience?
4) What do I want to say with this story?
5) How do I want my audience to feel at the end of my story?
Top 10 Reasons you should STOP writing:
I’ve compiled a list of 10 reasons why many writers should stop writing.
(9) – If you haven’t gone to school to obtain a degree in creative writing or english, you can kiss your chances of success goodbye. (8) – Writing takes way too much time and effort, and will leave you feeling empty inside. (7) – When you finish a novel, or kill off important characters you’ve created, it’s the equivalent of an emotional loss if someone you loved actually died. Save yourself the grieving. (6) – Writing may lead to suicide. Remember Sylvia Plath or Virginia Woolf? These are two literary figures who had a lot of success, but couldn’t handle the rigours of their craft. (5) – Writing causes stress. Stress is a very big factor in shorting your life expectancy, and may lead to coronary heart disease, or cancer. (4) – Writing is expensive. Many beginning writers spend thousands of dollars, often going into large amounts of debt when self-publishing or marketing themselves to the public. (3) – You run the tremendous risk of spending a mountain of time and money, only to have your novel or screenplay be a complete flop. (2) – Even the most successful writers receive hundreds of rejection letters before getting published. (1) – Most writers spend their whole lives and never amount to anything. Their friends and family may never understand why you pursue something you’ll never be successful at. You may find out later in life, that you actually have no talent, and you’ve wasted years away when you could have been doing something else productive. Maybe you should quit while you’re ahead, before you waste your life? |
Now that you’ve read this list, do you still want to write?
You do?
EXCELLENT!
You’ve past the test! Real writers wouldn’t pay attention to negative things like this. You cannot be afraid of rejection. You cannot be afraid of failure. Writers write, because they have to. If you wake up every day and you think about your craft, you’re a writer. If you only write once a week, you’re a writer. You cannot be afraid of writing 100 terrible pages before getting 1 really good page.
Take a moment today to reflect on all the GOOD things you have going on in your life. Measure your success by setting personal goals for yourself. Don’t compare yourself to other writers, who have achieved many best sellers or optioned screenplays.
I leave you now with some quotes that help inspire me when I’m feeling blue about my craft. These quotes are a reminder that anything is possible.
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“Try not to become a man of success, but rather try to become a man of value.” - Albert Einstein “I would like to be remembered as someone who did the best she could with the talent she had.” – JK Rowling. “Serious writers write, inspired or not. Over time they discover that routine is a better friend to them than inspiration.” - Ralph Keyes “The biggest thing separating people from their artistic ambitions is not a lack of talent. It’s the lack of a deadline.” – Chris Baty “It’s not the college degree that makes a writer. The great thing is to have a story to tell.” - Polly Adler “Find a good story and don’t be surprised if it takes you five years to get it off the ground.” –Brad Anderson “God doesn’t require us to succeed; he only requires that you try.” - Mother Teresa “Talent in cheaper than table salt. What separates the talented individual from the successful one is a lot of hard work.” - Stephen King |
For all these quotes and MORE, please visit the INSPIRATIONAL QUOTES page at the top of this blog!
~ HAPPY WRITING
Know Your Ending – A Writer’s Travel Guide
Warning: The following blogpost is jammed with travelling metaphors. |
Some abstract free-spirit hippie writers might tell you to just ‘free-ball’ your story until it naturally ends. I say, “No way, jose!”
Having an ending in mind gives you a goal and a destination to work towards. When I write the first draft, I want the quickest route possible to get me to that all important finish line. Some people might have the luxury of taking the long scenic route to their first draft, but like HELL if i do. I tried that once, and let me tell you, after being on the ‘scenic route’ for several years, I eventually got lost. Afterwards, I couldn’t even remember where it was that I wanted my story to go.
Our goal as writers is to find a happy medium. Worry about sight seeing later. You need to make the most of your time. Otherwise, it will be a waste of a trip.
Imagine for a moment that writing your story is like going on a far off vacation. Your first goal should be getting to your destination. No one really enjoys long flights or drives, but once you get there, you get to have fun and relax!
This is very similar to finishing your first draft. You must know where it is you want your story to go. Once you’ve plotted a successful ending, you can have fun filling in the details and design.
One thing that may help you, is something famed screenwriting author Robert McKee presents in his book Story. This is what McKee calls the “obligatory scene”. This is that climatic moment that happens as a direct result of your inciting incident.
If your inciting incident involves a group of boys discovering a treasure map, your “obligatory scene” is that they find the treasure.
Here is a list of examples so you can get the idea:
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It seems juvenile to think about, and appears to be so simple, but a lot of amateur authors seem to miss this all important step. If you skip out on this, you’re depriving your audience of a satisfactory ending. Don’t be an irresponsible first time traveller, and jump into the van to see where it leads. Sure it’s quite the adventure, but it usually leads to financial loss, or wasted time. Whether your story debunks the audiences’ expectations or fulfils them, you need to know where your taking your story.
What’s the moral of the story kids? Know your ending. This will help you finish your first draft, and then you can worry about refining your story. If you don’t know your ending, your story will never really get anywhere, and you’ll soon find that your plot comes to a screeching halt.
A LiL’ Inspiration For All Ya’ll
I went and saw The Campaign last night, and let me tell you, it was a lil slice of heaven.
Just a lil’ kick in the pants to get all ya’ll writin’ today. Just take a few minutes and reflect on what it is you want to write on all ya’ll’s blank pages.
Toodles!~
A Note on Science Fiction, Writing and Philosophy – Part II
If you didn’t get a chance, feel free to check out Science Fiction, Writing, and Philosophy – Part I before continuing on to this next post. If you have read it already, I finally present to you the much awaited Part II! Hooray!
What is real?
Oh yes. We’ve seen this theme time and time again. Why? Because it’s fun! Audiences love having their minds blown. Questioning reality is one of the oldest philosophies of our culture, dating as far back as ancient greece. Asking ourselves ‘what is real’ is a great way to start a premise to a story.
Philip K. Dick’s story Do Androids Dream of Electric Sheep? or what many of you might know as the movie Blade Runner, is a good example of how a story can lead the audience on, only to throw in a plot twist that questions the character’s entire outlook on reality.
Chris Nolan’s Inception, is another reminder of why reality genres are so much fun in science fiction. Inception leaves us with an idea that keeps us thinking the entire ride home from the movie theatre. From the Matrix to Total Recall, alternate-reality genres will not go away. They have the power send the audience on mind benders. They open windows to different worlds, and let us take a peak into the impossible.
Don’t forget Time Travel!
Back to the Future is a movie that showcases how the invention of a ‘Time Travelling Delorian’ leads to the complete unravelling of time on earth. Marty McFly must race to fix his past, to save himself from being erased from existence! Time travel is an integral sci-fi genre that allows writers to drum up any and all quirky situations.
Time travel will always carry social repercussions, as they fundamentally alter the course of history. Who are we to do that? H.G. Wells knew this question well. He presented us with an alternative theory that we cannot change the past, but can have control over our future. This opens a doorway that a positive change for our corrupt culture is very possible if we act today.
Thankfully, time travel is still a science-fiction theory at this point… hopefully.
Wait a minute! What if someone invents something that has different social repercussions?
Advances in Technology = Social Conflict
Philip K. Dick being a father of great science fiction writing, is also the mind behind the story Minority Report. Popularized by Stephen Spielberg’s 2002 movie adaptation, this story gives the audience a glimpse into an almost perfect future. However, it asks us a fundamental question: Do we control our own fate?
A question like this is the foundation to any great story. Minority Report is a story centred around a crime unit where pre-cognative beings can see a crime before it has been committed. The individual centred around the ‘pre-crime’ is then arrested before having committing murder. Yes we’ve gotten rid of murder in a way, but perhaps we have taken away peoples’ freedoms to choose their own fate?
What if the future isn’t set in stone?
Surrogates is another fantastic movie featuring the social repercussions of a new form of technology. People live their lives vicariously through robots, and never leave their homes. What can get more socially awkward then that? What happens if you lose your surrogate? This type of society creates a false sense of comfort, and humanity can hide behind the blanket of robotics.
When someone finds a way to start murdering people by destroying their surrogates, you open up another whole can of worms. Surrogates are no longer safe? Well, that just F***S up EVERYTHING! New technology is a great way to showcase how society can change in the blink of an eye, leading us all into a bizarre new future.
This is also a question that leads us into the next category:
Dystopian Futures
A good dystopian future (or universe) questions our current living environment or situation. Take these ‘advances in technology’ plots for example:
iRobot, The Time Machine, Idiocracy, Robopocylipse, Tron, Terminator 2: Judgement Day, Repo Men, Timeline, Resident Evil, 2001: A Space Odyssey, In Time, The Matrix, or Jurassic Park.
These stories showcase how society has fallen, and our positive vision of future has collapsed in the aftermath of the technology grabbing hold of us. In addition to these plots, dystopias showcase the follies of man. For example:
What will POLLUTION or GLOBAL WARMING lead to?
Answer: Waterworld, The Day After Tomorrow
Where will WAR or NUCLEAR TECHNOLOGY lead us?
Answer: Mad Max, 9, City of Ember, The Hunger Games, The Book of Eli, The Road, Escape from L.A., Planet of the Apes, or GODZILLA
Where will APATHY, CORRUPTION, or IGNORANCE lead us?
Answer: The Abyss, AVATAR, Brazil, The Day After Tomorrow, The Hitchhikers Guide to the Galaxy, or Metropolis
Another way to write a good Dystopian Sci-Fi, is to introduce a foreign element that changes the fate of our world. Entire stories can be written featuring the aftermath or threat of a global catastrophe.
What happens when a SUPER-VIRUS spreads like a plague?
Answer: Night of the Living Dead, Resident Evil, 28 Days, Children of Men, The Happening, The Walking Dead, or 12 Monkeys
What happens when a giant meteorite crashes into earth?
Answer: Final Fantasy: The Spirits Within, Armageddon, Deep Impact
What happens at the end of the world?
Answer: 2012, 7 Days, Titan: A.E.
The only limit we have as writers in the sci-fi genre is our own creativity. There are countless ways to retell and ask the same questions without getting boring. Aliens, Space Travel, Technologies, Viruses, Monsters, whatever element it is that you want to introduce to your story, just remember that it all starts with a question.
What is real?
Do we control our fate?
How do we react to an Alien invasion?
Do we remain civil at the end of civilization?
What questions do you want to ask?
Writers: Find Your Neverland.
It’s a sad truth that many of us have yet to experience ‘financial’ success when it comes to our craft. If you have, then pat yourself on the back for a job well done, but this post may not be for you.
There’s a trend going around the writer’s circle. This trend is the mindset that all is lost, and there is no hope for any one of us to succeed in our craft.
Says who?
Your Parents?
Your Spouse?
Your Friends?
So what! Many times we attribute ‘success’ as a big beefy paycheck for a job well done. If we don’t receive this immediate gratification, suddenly we are met with despair. It’s a fact of life that nothing good comes easy. That may be a big cliché, but it is truth incarnate. We should be searching for personal successes, and achieving small personal goals.
No one person was an overnight success. Perhaps one in a billion, but everyone had to start as a novice. Everyone had to learn how to do whatever it is that made them successful.
Just as many of the protagonists we enjoy writing about, WE have to face the challenges that meet us.
Take a look at the character Peter Banning, in Spielberg’s 1991 classic Hook. When we are challenged, we cannot simply whimper in the corner. As writers, we need to be the change we want to see. You may wish to sit around and complain that you haven’t ‘made it’ yet, and there are no jobs for writers around. But how can you know that if you don’t go job hunting? If you don’t consider the reality of having to move to another city or across the country? How will you know if you “can’t make it” if you never submit to any writing competitions?
We are called to act.
We must write.
We must at all costs.
Peter Banning had to work his ass off for 3 days in order to be the Pan he once was. Despite the seemingly impossible odds stacked against him, Peter manages to pull through. He had to! His children were in danger! Consider your craft your child. What would you do save your kid? The answer is: anything.
Find a crappy “McJob” if you have to. Flip burgers. Pay your bills. Do whatever it is you need to do, to sustain yourself, and assist your craft.
We need to be the Pan. We need to take flight, and leave our worries on the ground. Blow caution to the wind, and soar wherever it takes us. As writers, we must face the challenges that stand in front of us.
So many of us can help our own situations, if we take the moment to step into action. I’m not talking jumping off a high building. You have to take one step at a time, keeping our ultimate goal or destination in our hearts. There will be people who deter you, and you might use the excuse that you cannot write because you don’t have the time, or energy, or blah blah blah. Whatever it is that’s bothering you about your craft, you have take a step. You can’t sit on your butt, throw caution to the wind, and expect opportunity to soar through your window in need of a shadow.
We have to fly.
We have to fight.
We have to crow.
As writers, we are called to action.
Be the change you want to see in your life.
Think happy thoughts.
Set your goals to the second star to the right, until you find your “Neverland”.
Giving Characters a Choice (or) How to Write a Movie Properly.
Forgive me if this is a lengthy post, but I believe it’s a lesson every inexperienced screenwriter misses. If you’re thinking of picking up a book on screenwriting, one lesson that should be highlighted entirely in bold is that in writing CHOICE. It’s our choices that define us as human beings. Do we choose to face that all-important pile of laundry, or forego that task in favour of watching the latest episode of Jersey Whores?
In nearly every screenplay that I read, screenwriters more often fail to present their characters with CHOICES. Call these plot devices, plot points, action, or whatever. You can have a well written character outline, but it will crumble if you never give your character anything to do. You need to place your characters in situations where your character MUST make a choice.
Does your character choose to succumb to adultery, because he can’t keep it in his pants? Does your character choose to run into a burning building, despite the immense dangers placed in front of them? Does your character choose to enter the dark cave, when all the other characters are too afraid to? Coke or Pepsi? Turn back, or keep going? Keep going, or turn back?
How will your character problem solve? Is your character absolutely perfect and never makes mistakes? Hopefully not. I’ve read too many idealistic plots, where everything goes as planned, and nothing really interesting ever happens. Moreover, if your character never makes a choice, the movie is HORRENDOUSLY boring. Who wants to watch a movie where the characters never do anything? zzzzz.
I know I’ve written on this similarly before, and I hate to sound like a broken record, but judging by a few of the writing pieces I’ve read recently, I somehow doubt this has sunk in yet.
The following is an extensive list of examples of characters presented with choices. These choices define the characters, and move the plot foreward.
Star Trek (2009)
Young Kirk is a rebel ‘without a cause’. Can you imagine how boring the movie would have been if Captain Pike never came to Kirk, and presented him with a choice?
“Now, your father was captain of a Starship for 12 minutes. He saved 800 lives, including your mother’s and yours. I dare you to do better.” – Captain Pike
Now we’re getting somewhere. Kirk has a choice to make. The audience WANTS him to choose starfleet, because that means cool spaceships, lazers, and aliens.
YES! Now I’ll keep watching.
The Hunger Games (2012)
“Primrose Everdeen” says Effie Trinket.
“I VOLUNTEER!” screams Katness.
Can you imagine what this movie would be like if Katness chose not to volunteer? Well, that would be an entirely different story, and also make her a huge bitch. It’s the choice that defines her as being the hero. In that single choice, she showed the audience she is noble, and stout of heart. Write a sitation in which all your characters worst nightmares come true. What does your character choose to do?
Tangled (2010)
“When will my life begin?” sings Repunzel. Well, if she stayed in her tower, that would be pretty boring wouldn’t it?
I know what I’m preaching may sound obvious, but you’d be surprised how many writers miss this all important step. Characters can be TORN when faced with a choice. It may seem so simple, for Repunzel to leave her tower, but it isn’t. Will she risk betraying Mother? Will she risk the dangers her mother has warned about? She is safe in her tower, but will she pursue her dreams? If she chooses to do nothing, what does that say about her character?
Avatar (2009)
When Neytiri meets Jake Sully for the first time, she has no quarrels with sending an arrow through his heart. But something stops her: a choice.
The seed of the sacred tree seemingly pops out of nowhere. Should Neytiri kill Jake? Or stand up for what she believes in?
The Matrix (1999)
Alright Neo, you want the blue pill or the red pill?
We ALL want Neo to take the red pill. If he didn’t then there wouldn’t be a story!!! … but maybe you’re the kind of writer who thinks he can be clever or ironic forcing your character to take the blue pill instead. If you make it work then, sure, whatever. However, if you do the opposite of what the audience expects all the time, then you’re either a film school art snob, or kind of an idiot. But that’s ok. If you think it’s working for you, then by all means ignore this post.
The Dark Knight (2008)
Now here is a movie about choice.Writer and director Chris Nolan really know’s what he’s doing. Using the fantastic characters in batman canon, Nolan gives us with a story all about choice. This, I believe, is what makes it so good.
You’re presented with 3 characters that offer a trio of conflict. Batman, who chooses to do the right thing at all costs, will never favour his own feelings if it means dismissing his vows of morality. This is why Batman goes after Harvey Dent instead of his love Rachel. For Gotham City cannot lose it’s ‘white knight’.
In doing so, Harvey Dent is presented with his own choices. After losing his love, and the very thing he was fighting for, he chooses to let ‘chance’ define his choices with his quarter.
This is an interesting dynamic, because Harvey’s choices can vary from anything. He isn’t nessesarily a villain, but a character torn by emotion.
Then there is the Joker. Heath Ledger’s oscar winning performance aside, this is a character who is truly wicked. With a torn past never fully explained, the Joker isn’t driven by money, or power. He simply delights in forcing good people into making choices. He tests the limits of morality.
He sets up various schemes like forcing Batman to choose between Rachel and Harvey. Forcing the citizens of Gotham to kill someone or he’ll blow up a hospital, then blows up the hospital anyway. Forcing the citizens of Gotham to choose whether or not to kill a boat full of prisoners, or let the prisoners blow them up.
The audience delights in watching the Joker at work, because we chew our nails trying to figure out what the characters will choose.
Overall, choice is behind any plot. It’s choice that can keep the audience guessing. It’s choice that restores the audience’s faith in humanity. Show your characters actively choose the right thing at all costs. They’re called heros. In contrast to this, if we watch a tragedy, we delight in knowing we can be better than the characters we watch, or feel not so alone in sharing a characters pain. We like to believe there is good left in the world, and is the reason why we keep buying movie tickets.
Don’t be afraid of asking the bigger questions in life, and having your character’s answer them.
All in all, give your characters a reason to live. Give your characters reasons to do what they do. If you don’t, your script will be one fry short of a happy meal.
“Dark and difficult times lie ahead. Soon we must all face the choice between what is right and what is easy.” – Albus Dumbledore
Exercise: Watch ANY movie on your shelf, and write down all the things that force your character to make a choice. What does the character choose? What is the other option they could have taken? How will that have defined the story? Is there a choice in this movie that your character could make? how would your character react?
The Shining – Breakdown of a Scene
Show – Don’t Tell. This should be every writer’s rule. To showcase this, I’ve made a visual breakdown of the scene from “The Shining” where Danny Torrence meets those scary dead twins.
No talking head syndrome.
No over the top action.
Simple, visual cues.
Every writer should be telling a story with pictures. Not telling a story with special effects, dialogue, crappy voice-over narration, etc.
Exercise: Try storyboarding a short film or short story where there is no dialogue, and simple action. You’d be surprised how this can improve your writing.
Dear Writers, when getting feedback: BEWARE!
A lot of real fucking pricks will tell you what THEY think you should be writing, but I’m here to tell you not to listen to them. Only trusted friends or colleagues, and I mean VERY TRUSTED friends should give you feedback when you’ve finished a peice of work. They’ll be the only people who understand what you’re trying to say in your story. HOWEVER … there are those who think they know absolutely everything about writing, without ever having picked up a pen.
How many times have you heard this little gem?
“There’s already way too many movies about dolphins like yours. I think you should write about zombies instead!”
I don’t WANT to write about zombies! I want to write about freaking DOLPHINS you idiot!
WRITE WHAT YOU LOVE. Don’t let other people tell you what to do with your life. As long as you’re telling a story from your own heart, and you’re being true to yourself, that’s all that matters. In a way, everything has been done. But I don’t like to believe there is no originality left in the world. There’d be no point in writing anything new if that was the case.
I once gave someone a short script I worked on, and instead of getting feedback, I got a lesson on what to do with my life. Know what I have to say to that? EFF YOU!
Speak from your own experiences. If you find that all you can think about is how much you love baige paper – write about baige paper. If you find that all you can think about are magic spells, and humans with special powers – write about that.
Don’t let someone else’s dreams dictate how you should be living your own life. There are friends who just want to take a piece out of you to feel better about themselves.
Don’t let them.
Honest critisism and feedback is hard to come by these days. Very rarely are people honest with how they feel. If you find someone who can honestly tell you what IS working in your script or what ISN’T – you’ve found a treasure.
If you find that arrogant prick who enjoys filling your head with his own ideas, RUN. RUN AS FAST AS YOU CAN! These people really suck, and will destroy your confidence. They’re too lazy to amount to anything themselves, and feel by suggesting the things THEY think are awesome, they’ll somehow help you.
On the flipside, beware of those people who think the sun shines out of your ass. They’re probably either sucking up to you, or have such low self-esteem that they are too afraid to be honest with how they feel for fear of rejection.
You want a fine balance. Find someone who knows when you’ve gotten something RIGHT. Seek confidants that AFFIRM your talents and work to lift you up. Seek friends that give you tools to improve your craft. Not to augment your writing, or undermine it. Don’t let people with low self esteem place your work on a pedestal if it’s a peice of crap.
So what’s the bottom line?
People who are honest with themeselves, will be honest with your craft.
Things I’ve learned about writing by working in a bookstore:
Having worked in a bookstore for well over a year, a few interesting facts about writing tend to spring up.
Large companies and many of their employees rarely care about your book.
Anyone who’s worked at a corporately run bookstore will know, that the people who run show rarely really give a crap about who the author is, or what the story is about. What they do care about, is whether or not the book sells.
There are exceptions to this rule however. Some small businesses, and many employees of these bookstores are very passionate about who their favourite author is. Personally, I get excited when I meet a customer who reads the same books as I do. Who wouldn’t? There is of course the odd CEO that makes sure all of Canada or the U.S. know which books they read and like. Yet I have a feeling this is more out habitual vanity than passion for literature. Who knows, I could be wrong.
What can we learn from this? Well, for one, if you have a well written story, word of mouth will sell it all. There’s a reason why bestsellers exist. People pass on to others that they really enjoyed Stockett’s The Help, or that their favourite book of all time is The Handmaiden’s Tale by Margret Atwood. Concentrate on writing a good story. Don’t worry about anything else.
Everyone judges a book by it’s cover.
Don’t believe me? Which of these book covers would you choose?
The image on the left is such a crime of literature. The cover says very little of what the story is about. It’s boring, and it’s using one of the worst fonts ever invented: COMIC SANS
If you want to be taken seriously as a writer, never EVER use comic sans!!! … but I digress, we’ll have more on fonts another time.
Which one of these books would you honestly choose though? To me, many local authors make the horrendous mistake of choosing poor quality over price. It may be more expensive to upgrade the quality of your work if you’re self publishing, but it’s worth it. If your book looks cheap – you look cheap. I don’t want to buy something like that, because 9 times out of 10, I’m afraid it’s going to be total crap.
Customers rarely remember boring titles or author’s names.
If your book has managed to catch the eye of a customer, sometimes they’ll wait to buy it another time. If you’re one of the authors this has happened to, I apologize. But many customers will come into our bookstore and say to me “I don’t remember what the book is called, or the authors name, I just remember it has some crayon-ish style words on the front.”
“Were you perhaps thinking of Room by Emma Donoghue?”
You have to make sure you have a damned good title that sticks into people’s minds, or catches people’s eyes. Water for Elephants, The Shining, The Girl with the Dragon Tattoo, Moby Dick, Frankenstein, Harry Potter and the Chamber of Secrets, The Phantom Tollbooth, Murder on the Orient Express – Notice a trend? These titles all have specific words that GRAB your attention, and ignite your imagination. People remember these titles for a reason. Tread carefully when choosing an appropriate title for your book or movie.
Some final words on how writers can learn from the bookstore business:
- Shopping is a visual experience. Make sure that the title of your story, or your cover art stand out above all other stories. Screenwriters submitting query letters should take this advice to heart. Long or generic titles will not grab the attention of producers.
- Local authors, and self published authors tend to ignore several important things when selling their books. At book signings, DO NOT ignore every customer that walks through your door. DO NOT publish a book cover that looks like you don’t take your art seriously. ENGAGE your readers, and talk to them about your story. People want to hear the STORY BEHIND THE STORY. Challenge your audience to a great read.
- Don’t be discouraged by authors like Nora Roberts, or James Patterson, who quite literally have teams of writers working for them. I’m sure these stories may be excellent, but no author who publishes that much work does this on their own time. Well, maybe Stephen King, but that’s because he’s a God.
- Very rarely to authors like Clive Cussler produce works of ‘great’ art. That’s just my opinion anyway. What they do have however, is some a level of success. I’m sure every household in North America has at least one Clive book collecting dust. These are cookie cutter stories kids. If these books don’t look like they all tell the same story, I don’t know what does.
It’s evident these authors and publishers are more concerned with quantity than quality. I’ve read a few Clive Cussler novels, and let me be the first to say, if you’ve read one, you’ve read them all. Also, these books are always the first to go directly into our ‘bargain’ section.
Surprise, Surprise.
- A good story will sell itself. Writing is re-writing. Don’t publish something unless you’re positive it’s a great read. If you have that sinking feeling in your gut that it isn’t ready – it isn’t ready. Many writers take several years to write a masterful work. Don’t be discouraged by time. Have patience.
NEVER GIVE UP. People are hungry for a good, original story. PLEASE DELIVER.
10 excuses I’ve used to avoid writing:
After nearly 6 years, I’ve finally managed to complete the screenplay I thought I’d never finish. The lack of updates over the last two months is a direct result of me concentrating my efforts on my script, but at long last it is finished!
With that said, ONTO THE NEXT ONE!
As I reflect on the reasons why it has taken me this long to complete my screenplay the thought donned on me. I have used the very excuses that I’ve been accusing others of making.
Here is the list of my worst habitual avoidance tactics:
1) “I don’t have any time right now”
I’ve said it before, and I’ll say it again. Writers MAKE the time for their craft. If you find you can’t do that, then perhaps you should reconsider your profession. Just make the time and write.
2) “I don’t have any nice paper or pens write with, maybe I’ll drive to the store to buy some.”
I’ve literally spent many afternoons commuting into the city to buy some ‘premium’ paper, and ‘premium’ pens, only to waste large sums of money and time. Write on toilet paper if you have to. Just write.
3) “I don’t have a laptop to type with. Handwriting is so slow.”
This is such a piss-poor excuse, but I’ve used it a few times. Although the addition of my laptop has been an exceptional tool for my trade, I didn’t need one in order to write. If I had spent all the hours writing, instead of pining over having to ‘type’ on the old computer at home, I’d have finished several novels. Don’t be a nancy. Many great and famous writers dealt without having a top knotch computer in their possession. Just write.
4) “It’s too loud and distracting in my house. I can’t get any writing done being there.”
Then leave. Go for a walk. Call a friend or relative for a ride if you don’t have a car. Use the bus. Just get out of the house, and stop complaining. Just write.
5) “The power went out so I couldn’t type anything”
Poe, Aristotle, Abraham Lincoln, and Shakespeare wrote masterpeices with nothing but a feather. Don’t be an idiot. Writing by candlelight is one of the most gratifying experiences ever. Just write anyway.
6) “I can’t write. There’s too much going on, and I have enough stress to deal with in my life.”
Anne Frank managed to write in her diary during the freaking holocaust, and still managed to get an entire book’s worth of material before being murdered. Stop being a primadonna. Just write.
7) “I can’t afford to write. I have to work a full time job, and support my family.”
So did J.K. Rowling before inevidably quitting, and trusting in her craft. She didn’t have a pot to piss in before Bloomsberry finally picked up her first novel about a boy wizard. Find the time. Trust in your dreams, and write.
8) “Everything I write is crap anyway. So there’s no point.”
Some of the best writers deal with self doubt. Writing is rewriting. Find a way to push yourself, and keep going. If you don’t like what you’re writing, write until you do. Just write.
9) “I tried and failed. Nobody wants my book/screenplay. So why bother?”
Author Rex Pickett received over 70+ rejection letters for his work before his novel Sideways published. In 2004, Alexander Payne would win the oscar for best-adapted screenplay of Pickett’s Sideways. Pickett’s success would not have come had he given up on his craft. This is an important lesson for all writers. Learn from your rejections. Just keep writing.
10) “I don’t have anything unique to say.”
Everyone has at least one good story in them. Speak from the heart, and write what you enjoy.
I leave you now with one of my favorite quotes from one of my favorite authors.
“I would like to be remembered as someone who did the best she could with the talent she had.” – J.K. Rowling
5 ways to improve your Horror Screenwriting
Given the current spooky atmosphere, I thought it prudent to share with you my outline to an effective horror screenplay. I’ve come to understand these things over a great deal of time, and I hope they prove useful for you.
1) Suspense is a must:
Take a look at every classical horror movie that has lasted the test of time. You have psychological thrillers like The Shining (1980) or Psycho (1960). The audience is continuously left to guess the intentions of the killer or monster. Leaving things to the imagination, the audience is left baffled why Danny Torrence keeps saying “REDRUM”, or when the central protagonist is suddenly murdered halfway through the movie.
Keep the audience guessing. Keep the action moving. When everything is revealed in the final act, this acts as a reward for your audience having sat through the entirety of the movie.
The best example of this is through Shyamalan’s The Sixth Sense (1999). For those who haven’t seen it, I’m not about to spoil the end for you. Just know, that for those who know what I’m talking about, Dr. Malcolm’s discovery is not only horrifying, it creates a further sense of disbelief causing the audience to want to go back and watch it again.
Keeping things a secret in your script is NOT a bad thing. Save the best MINDF*@# for last!
2) Have a memorable monster:
The Blair Witch, Norman Bates/Mother, Dracula, Frankenstein’s Monster, The Creature from the Black Lagoon, The Overlook Hotel, Room # 1408, Jason, Freddy Kruger, Hellraiser, Aliens, Ghosts, Zombies, Demonic Possession, Those we do not speak of… All these monsters have carved their way into cult-classic history.
Monsters like “Jigsaw” from the recent Saw saga, are memorable enough that even if your movie isn’t particularly well done, people go JUST to see the monster/villain at work.
The best monsters are creatures that can tell an ongoing tale, and have quite a great deal of mystery behind them. We doubt their intentions, and don’t fully understand their powers.
3) Creating characters the audience cares about:
Horror movies about characters that I absolutely can’t stand are never scary for me. Horror movies about characters that I grow to love or understand are 10x scarier, because I care what happens to the character. Take Katie and Micah from Paranormal Activity (2007) for example, or the Freeling family in Poltergeist (1982).
The first act, and parts of the second act, are set up in a way that you grow to care for the characters. We care as an audience when poor little Carol-Anne is sucked into her closet, and cries out helplessly to her family. “Moooommy? Mommy where are you? I can’t see you?”.
We become emotionally attached to the characters. Therefore, when scary things happen to them, we feel their pain and terror.
4) Writing the unexpected:
This is sooo important. How many horror movies have you seen that the characters do the most OBVIOUS things? “I better go into this room without turning on the lights” … “I wonder what that strange noise was on the back porch?”
One recent horror movie that excels in the unexpected is Insideous (2010). This is probably one of the scariest horror movies I’ve seen in a while, as a great deal of the action varies from being very subtle, to in your face shocking.
The movie keeps you guessing what may happen next, and just when you THINK you know what will happen, the opposite occurs. People jump when things pop out at them, but the audience will scream when you truly surprise them.
5) A good story is far better than a cheap scare:
Horror movies that withstand the test of time are movies with fantastic stories. Night of the Living Dead (1968) and Psycho (1960) are two old movies that have proven their worth as good stories. They are continuously watched and purchased throughout the world.
The rules of good suspense and thriller writing apply to any horror screenplay. The proper tools and quality of your craft will determine if your movie with be the next Sixth Sense or the next Troll 2 (1990).
You can write an excellent story by remembering some essentials: Have a great location and setting. Rural or Urban. Have memorable, living characters, and never forget that conflict is the key to everything. Without conflict you have no story. No one wants to watch a movie about nothing happening.
Don’t think for a second that writing a horror screenplay is an easy endeavour. It takes practice, and dedication. If you skip the tools necessary to effective storytelling you’ll be insulting to your audience, and be terribly predictable.
I hope this was of some use to all of us aspiring writers. Have a happy and safe Halloween everyone!
Don’t be a Cynical Writer – Have a VISION
Over the past few weeks, I’ve noticed a growing hostility towards creative people that have a vision. This vision can be one to “better” a work environment. It can be a story that you know will change the world. You can have a vision of a wonderful apartment of your own, or a grand vacation to remember.
But what happens to those of us that share our visions with others? “Yeah right, what – do you think you’re gunna be the next Steve Jobs?” -My question is: why not?
I don’t understand why there is a negative stigma against people who want to go great things? Are these people jealous? Are they so steeped in their own cynical worldview that they cannot see their own potential dangling right in front of their noses?
The same goes for writers.
I have spoken with many writers over the past month or so, and whenever I give a positive suggestion as to how they can change their work habits, I’m always met with “That’s unrealistic” or “That’s not possible” … Guess what kids – you have to make it possible. You have all the tools you need to change your lives.
I know it’s not easy. I’ve been sucked into this mindset quite a few times. Some people do their best to undermine your best of moods. They suck you dry of whatever vision you may have. “I want to write a story about hero that can change the world” … “pfffft! That’s already been done dude!” – but you can’t take people like that seriously. You know why? Because they have no creativity. They have no VISION.
Having a vision is a fantastic way to change the world around you. Don’t be one of those writers that can’t see past their own cynicism. You need to trust in your vision, and see to it that you do your best to chase your dream. Don’t say “I don’t have the time” … don’t say “I can’t do this, or that”.
Find the time.
Make the time.
Make your vision a reality.
I leave you now, with one of the greatest visionaries there is: Willy Wonka Roald Dahl. If this song doesn’t leave you scratching your heads and questioning why you aren’t doing more to make your vision become a reality, then I don’t know what will.
Willy Wonka – Pure Imagination
Are you a Honeybee Writer or a Mosquito Writer?
Over the past few weeks, I’ve noticed that there are two types of writers. Honeybee Writers, and Mosquito Writers.
Honeybee writers, go from resource to resource looking for the ingredients to help them pollinate their craft. They work so that the other bees in the colony can respect them for a job well done. They labour to preserve and protect the life-force of the colony. They are hard workers that do their best to spread their craft around. The end result is one of beautiful growing stories, and that sweet delicious honey we know as success.
Mosquito writers however, go from person to person, sucking the blood out of them. (so to speak.) They drain the best out of people, and leave an annoying itch that just doesn’t seem to go away. Some Mosquito writers can achieve their short term goals, leaving enough bites that a person will reach down and itch. However, at the end of the day, nobody wants a Mosquito writer around, because they just suck.
To all Honeybee Writers out there. Don’t fret! If a Mosquito Writer comes up to suck your blood, just remember that you’ve got a stinger. No one is going to get YOUR honey.
To all Mosquito Writers. You may get their bloody fix in the short term, but you will never make delicious honey.
Don’t cut corners. Don’t be an annoying buzz in a Producer or Publisher’s ear.
Be a diligent, disciplined, hard worker.
In the end, you’ll taste the ‘sweet’ victory of success.
Interview with Screenwriting Guru – Robert McKee
If you haven’t read it already, I highly recommend picking up a copy of Robert McKee’s Story. This book is a storytelling ‘bible’ for screenwriters. I believe ANY writer would greatly benefit from reading this book.
Here is a great interview with McKee, featured on George Stroumboulopoulos’s show The Hour.
Writers – Face your Fears
Sometimes, writing can be scary.
There are times in my life, when I feel paralyzed with fear when it comes to writing. I understand all too well why this sudden ‘fearful paralysis’ springs upon me like a predator waiting for a tasty meal. One factor is is my fear of failure. If I fail, this means that everyone’s opinions and expectations of me will be negative. I think people might say, “that’s the guy who tried writing, and failed. Remember him? He thought his story would be the next big thing.” … or they might say “I knew he couldn’t do it. Some people just don’t have it in them.”
What if all the advice and inspiration I hand out to people will has been in vain? How can I possibly help anybody with their craft, if I can’t even complete one ruddy thing?
This kind of doubt usually pops up when writing feels more like work than leisure. Whether you are a spiritual person or not, or believe that evil exists in this world, I believe that doubt is a weapon of the devil. He does not want you to succeed. I give you, an example of how I feel the devil acts when I’m trying to work on my craft.
This scene from The Neverending Story, fills me with dread. For those who have not seen this movie, one of the protagonists, Atreyu, has been on a quest to find out why all the wonderful things in his world have been disappearing. The antagonist called The Gmork, is sent to destroy Atreyu, and prevent him from succeeding at his quest to stop the ‘nothing’.
This scene presents both characters at a showdown, after both of their efforts have been in vain. This scene (in my opinion), is a reflection of the forces that work to stop writers from working on their craft.
The line, “people who loose all hopes are easy to control, and he who has the control has the power” terrifies me, because I feel that is the ultimate goal of the devil. If a writer looses hope in his craft, and forgets their dreams, it is far easier for them to give up, and get a job in a small cubicle for the rest of their life.
What separates me and you from those people, is our persistence. I try my hardest to remain positive about my craft. Despite countless battles both personally, and spiritually, I’ve come to a place in my life where I’m happy with my journey. But there are always those times when facing the blank page, I can’t see the light at the end of the tunnel. But do not fret my colleagues. If there is a great destroyer in this world, there must also be a great creator. Let your creation guide you to the end.
In the latest issue of Creative Screenwriting Magazine, in an article interviewing J.J. Abrams on his craft, he explains that he does not suffer from writer’s block, but rather ‘writer’s failure’. He confesses that he is fearful that what he is doing is wrong, or might turn out stupid. This is a risk all of us writers run. Remember that writing is about rewriting. We cannot let failure be a reason to quit.
There are countless tools to guide you to the end of your craft. Frodo Baggins is gifted with the light of Earendil, the elves’ most precious star. Atreyu is gifted with Auryn, a beacon of hope to grant any wish. When evil stands in the way of your craft, know that there will always be tools, people, friends, and family to help guide you through it. Writing can be scary, but you and I must be brave to face that fear. If it came down to it, would you want to go down being the devil’s meal, or do you want to go down fighting like the brave warrior Atreyu?
The choice is yours. I choose to write.
Hey Writers, What’s Stopping You?
I always love this argument, because so many writers I know make excuses as to why they cannot write or have no time to write. The fact of the matter is, very seldom is it impossible to write.
I really love Stephen King’s autobiographical memoir on the craft of writing, appropriately titled On Writing. The last half of the book is written after Mr. King suffered a nearly fatal accident while out for a walk. A man who was drunk hit King with his car, sending King into the ditch in a twisted mess. Even through the excruciating rehab, and long days spent in pain, Stephen King kept on writing. For him, there was nothing else.
George Orwell while in his hospital deathbed, insisted on having his typewriter brought to his room, so that he might type away his dying days.
“I don’t have the time” is a terrible excuse. If you want to take yourself seriously as a writer, you have to know that writers MAKE the time. There will always be laundry, chores, socializing, jobs, and obligatory events you’ll need to attend. Single mothers find the time to write. Why can’t you?
Unfortunately, I know exactly what it feels like ‘having no time’ to write. When I first started writing, I thought it would be a walk in the park. I underestimated the process and took it for granted. I thought writers just hammered out magic, and that was it. I didn’t understand that writing is about re-writing. I didn’t understand that I’d have to fight with friends and relatives for time to write.
The biggest lesson any writer must learn, is that you must set aside time for yourself to write. I don’t have the luxury of being a millionaire with endless time and expenses at my disposal. Writing is not a ‘sometimes’ hobby for me. If you don’t think you can commit to waking up early, going to bed late, setting aside one or two days a week, or making yourself off-limits before 12:00 noon, maybe you need to reconsider what’s actually stopping you.
If you asked famed scientist Stephen Hawking what’s stopping him, victim of the paralyzing disease (ALS), he would laugh at you with his DECtalk speech-synthesizer.
