How do you approach rewriting?
I have multiple scripts finished now, but only some are to a point that I'm happy to share it with the world and submit it to competitions. I rewrite while I write, which I know is a big No-No, but I don't let it take too much of my time. My goal in the past has been to finish a first draft within two months, but I'm excited that I may be able to get my current script's first draft finished in just under a month! But how should I approach rewriting?
Getting people to read your script is the easiest way to get feedback (good or bad), but I've found, especially with features, that it's increasingly difficult to get others to read 90-120 pages. I think this is because people don't really read anymore. I can't tell you one friend who is excited to get home to that special book that they love, that's helping them escape into their imagination. So if I can't get friends to read a full feature does this mean that I have to pay for someone to read it?
I discovered CoverflyX's script submission/reviewal page is pretty helpful. It may not be perfect because who knows how qualified the readers are, but it's free and someone finally read my script! This is a great feeling, someone sat down and read my 115 page feature that I know isn't ready, and it has it's flaws, but hopefully they see the same issues and will confirm what I already know to be true. But do I agree with their suggestions?
A Grain of Salt. I think it comes down to validation. I want you to read my script, I want you to like my script, but if you do find mistakes, I want your suggestion to be helpful in line with what I've written. On a TV pilot I wrote a while back I paid for a BLCKLST review (Yes I know, boo blcklst). It was the first time I've ever paid for a review, and I wasn't entirely disappointed with what they said. It was good, but it needed work. However, they suggested that I move the ending forward into the first act. It's was an ok suggestion, and would have worked in a different story, but for what I was trying to achieve it didn't work. I took the reader's suggestions with a grain of salt. Rework the first act; increase the pacing, up the stakes, tell me more about the characters. I didn't need to implement the reader's suggestion, but I took away that the reader struggled on the first act and wanted more, and this is where I needed to focus my attention.
I don't want to pay for people to read my feature and give me feedback. I want someone to bounce my ideas off of, and I know that they've read the script, so they can see how this will affect the story down the line. I think this is what a manager does, but when you don't have a manager, and you don't have friends with time, or the appropriate attention span, or the creative comprehension for how to provide constructive feedback, what do you do?
How do you approach rewriting?
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Well, I think what is best considered when seeking feedback from any source is the quality and transparency of that source. And what I mean by that is: feedback from a specific person who can be objective, who is helpful and listens to what you are trying to achieve and acknowledges your creative intent, someone who is truly knowledgeable about craft, story, and screenwriting, and who knows the market, etc, and who can truly be constructive and help push your progress forward. So with that, personally speaking, I do not find much tangible value in anonymous reviews. And bad feedback from a not-so-knowledgeable and misinformed person, or website, or from someone who imposes their own opinion can cause damage or derail your screenplay by sending you down some disruptive, unnecessary path. So be careful. Some of the best constructive feedback is going to come from a consultant or a working professional who consults on the side, which may mean paying for such a service—paying for a one-to-one, perhaps face-to-face review. Some peer reviewers are quite knowledgeable and helpful too—no doubt! And if searching for peers to review your work, consider offering to read or to help others too—it takes much time and mental energy to read a script and give thoughtfully written opinions or notes. So an offer of reciprocation from you sets the stage for a connection or a means to build a relationship to bounce ideas back-and-forth. And, of course, being gracious for that time and effort, no matter if the review is favorable or not, that goes a long way too. Many here tend to find a small circle of peers whose opinions they trust. ;) And... while having a manager does tend to include such tangible acts, like giving notes and feedback, setting up meetings, and assisting with deal negotiation, a manager's general purpose is to help steer your career’s direction. And, for many here their work is just not ready—yet—and, unfortunately, it takes much time and effort to find a manager willing to take someone on. But, it's certainly possible. ;) Hope that helps, Mitch!
Oh, how do I approach rewriting? For me, I just see it as part of my process. ;)
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Have peers read your material. Peers meaning writers with skin in the game. They don’t write, they don’t eat or pay bills. So get to know writers. They are your first champions. Figure out a path, either attending AFF (screenwriter’s paradise), festivals, work on movies, move, online friends, websites, a non-writing job in show biz, whatever you believe in.
It’s a balance of selfish and selfless.
Generally, people help when they see effort and don’t flake.
I just tried again the "get a free read" idea, and it didn't go so well.. :( I only got one review, very brief, which was basically:"Your writing sucks!". It really teared me down. Or maybe I really do suck. I'm a bad writer:(
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I agree with getting peer readers. Some are better than others as with paid readers, but you can definitely learn how people are taking to your draft and hopefully get good notes on how to improve it.
I’d love to swap scripts with you if you’d like. You can shoot me an email to brown.ambers@yahoo.com.
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Thanks for the input everyone!
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My rewriting steps go like this:
First thing I do is fix the homonyms/homophones/homographs/heteronyms that my software and my eyes didn't catch. Then I strengthen the verbs. Then I make sure the conflicts of each scene are as strong as possible. Then I make sure the dialogues are as strong as possible. Then I make sure the narration is as strong as possible. Then I make sure the ironies are as strong as possible. Then I make sure the emotional truths are as strong as possible. Then I make sure the unity of action is as strong as possible. Then I make sure the subtext is as strong as possible. Then I make sure the tone and voice are as strong as possible. Then I make sure the verisimilitude is as strong as possible. Then I make sure the pacing is as strong as possible. Then I make sure the whole thing is visual enough, and that I'm getting the best user engagement that I can. Then I go, line for line, to make sure each word and line is really necessary.
I have to do each one of the steps individually, starting with the easiest and going to the hardest (for me), because that's what works best for me. Without rushing any of those steps.
Peer review sounds nice and all, but I wouldn't rely on fellow aspiring script sellers who aren't experts in constructive criticism, or who don't do it for a living or don't have track records in the industry, to critique my stories. That would be like asking my brother who is an expert in all-you-can-eat buffets to cook me a gourmet dinner. While he's a great bro man and all...he isn't properly trained; he could be in a hurry; and he doesn't know the difference between gazpacho and nachos.
Best of luck to you, bro!
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CJ: Seriously, bro....all you have to do is look at a few reputable consultants' websites to see how paying for feedback does teach craft, and helps make writers better at what they do. Many of these testimonials are from professionals - and some are from people you may remember from the forums right here on Stage32.
I graciously have saved you some time from doing the research yourself, so you can have a few more precious minutes to work on your writing and your attitude. Here's just a few links to the testimonial pages of script consultants who help make writers become better, as a result of paying for critiques, feedback, and consultations from these well-respected teachers of the craft. You should even print them out and tape them to your wall, if and when that sudden urge to bad rap reputable script consultants begins to erupt in your gut, and before it reaches your head and your keyboard:
https://www.stage32.com/happy-writers/success-stories
http://beyondstructure.com/script-consultation/
http://www.nobullscript.net/testimonials/
Please bury your wrong opinion/belief/attitude/bias/statement of nonsense/whatever-you-want-to-call-it-this-week in a deep hole somewhere, and realize and accept that reputable script consultants who charge for their services provide not just value, but much more value than what the client is charged, bro.
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Seems working writers in the real industry (American union members) and Happy Writers are all at AFF this weekend. They must know something we don’t.
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Just to share my personal experience, I found someone who consulted on the side by attending a talk. I asked so many questions during the Q&A, she asked to see me afterwards. We hit it off right away. That person then became a mentor. She is a former V.P. of Development at United Artists. She developed films like Thelma & Louise and Braveheart and many many others. Oh, the stories she would tell. Lol! Our initial working agreement cost $500. Best money I ever spent. After working together we then became friends and would meet for coffee, she invited me to other events, etc. She refused any talk of money. And I have never spent money on feedback ever since. That was 6 years ago. I hardly ever seek feedback at all. My first experience was so insightful it grounded me. It also heightened my bullshit radar, which is why I expressed caution above. Always be careful. So get out there and meet people who have or do this for a living. Find that person who will offer experience and knowledge. I said above that I see no tangible value in anonymous feedback. And I meant it. I’m truly baffled to why people use it? But that’s me. To each their own. ;)
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Mitch, you said in your post that you rewrite while you write. Well, that’s not wrong, not a “no-no.” Writing is rewriting. Rewriting is writing. If that is part of your process, depending, it’s part of your process. It’s certainly part of mine. I prefer to have a plan before I start anything so my first draft is pretty solid. Some people like to dump everything on the page, a “vomit draft,” but then they spend months even years sorting it all out. Fine tuning. Even having to start all over. Whatever your approach or process, if it works best for you then it works. ;)
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"... So get out there and meet people who have or do this for a living. Find that person who will offer experience and knowledge..."
^^^^^^
that's the truth! Skin in the game.
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This is a lot to work with here. Thanks for all the input.
I wrote this post thinking primarily about my first feature which I am less excited about, but don't want it to fall below the new stack. There's nothing inherently wrong with the script, but I wrote it to get it out of the way while I ruminated a little more on my current and upcoming scripts. My thoughts on rewriting border on frustration about revisiting material that i've already spent time on, and wanting to move forward and write the next script. This doesn't mean that I don't go back, because I do, but I honestly feel that I need to get a whole new project out of the way before going back to look at the previous ones.
As I'm writing this I'm thinking that it all stems from impatience. I'm a relatively new writer, and I'm watching all these competitions and fellowships and deadlines expire, and I'm eager to submit something/anything to them, but I know that submitting unfinished material is not the way to go. As I continue writing my portfolio will increase, and my unresolved projects will find themselves resolved. My goals are to continue writing, and really get out there and Network.
Thanks again everyone!
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It's been mentioned here before, but one of the struggles of submitting your script to coverage service is the reader is rarely, if ever, going to know what YOUR intent is. What often is problematic on the page is a result of translation from brain to pen (or keyboard) and the reader only has what's on the page to go by. Henceforth, the writer is often left with feedback and suggestions that aren't necessarily useful to the writer because they don't necessarily align with the vision, so to speak.
When I've consulted on scripts, I ALWAYS discuss the work with the writer, first. What is it you're trying to accomplish/say? Is there a theme you're attempting to present? Receiving feedback is one thing, but receiving something that's tangible to what, in the end, is the author's blood, sweat and vision is often the missing element in what many writer's consider to be useful feedback. I know this first hand, having spent more than my fair share on script coverages where I'd often get feedback with suggestions that seemed so left-field to what I was trying to accomplish. It can ultimately be frustrating because expectations aren't met.
That's why it's equally important to make sure one knows what to expect with the coverage services vs paying extra for notes in the development process. Finding someone who can tailor an approach to meet your needs might take some research, but finding the right person can be worth it vs. a one-size-fits-all approach many coverage services provide. Two-way communication is, to me, paramount, vs. merely sending something in, receiving a two page write-up that typically focus more on opinion-oriented feedback.