Getting In the Mood: How Screenwriting is like Sex

It occurred to me recently, while I was staring in boredom at a flashing cursor on my computer screen, that writing is a lot like sex. Sometimes, you’re really into it, and it feels great, and satisfying, and you don’t want to stop. But sometimes you’re not. Sometimes there’s just this limp hunk of dialogue glaring at you, and you cannot bring yourself to punch it up. It’s not turning you on. It’s making your head hurt.

So then you have a couple of options. Either you can scorn your lover, put on Judge Judy, and eat a bag of chips…or you can try to make it work. And here’s the thing… maybe you’re not aroused, but if you let it happen, if you let the script touch you in some new kind of way…is this getting weird?...then usually it starts to feel pretty good. And you start to get in a rhythm. And you feel close to your writing.

This is not to suggest that writing always has to be a sensual experience to be gratifying. Only that the two practices are analogous. And if you’re open to letting yourself go a little, if you get out of your own head, then sometimes you discover it’s not about being in the mood, but about releasing yourself into some other reality.

You’re probably thinking this sounds pretty cheesy. Or that it’s easier said than done. Or that you’re a virgin, so this is all pretty foreign territory. Well, okay. Valid assertions. But think about it this way: When you’ve finished a great scene, don’t you just want to throw your head back and revel in the glory of this moment? Don’t you feel ecstatic? And isn’t that feeling worth pursuing, even if you’re not all revved up from the start?

I don’t dispense this advice because I always dive in, no matter how blah I may be feeling. I dispense this advice mostly to myself. Because I am almost never in the mood to do good writing. And when I am feeling somewhat inclined, it requires a lot of foreplay to get me where I need to be. But when I make myself forge ahead, it’s rarely a mistake. What’s the worst that can happen? It’s mediocre, and later on, I go back and try again. And in the end, every time you give it a go, it’s a learning experience. Have I sufficiently confused my discussions of fornication and composition? Good. Then I’ve made my point.

Donnie Darko Screenplay: Awesome Set Up and Pay Off

I spent my teenage years being something of an emo kid. I was in a bunch of bands and watched Saved a lot. But, unlike many of my cohorts, I never ‘got’ Donnie Darko (well…to the extent that anyone can get that movie, I certainly didn’t understand what the big deal was).

The gang huddled together nearing a dozen times throughout my high school career, and watched that movie. But all I remembered was the fuckin’ weird rabbit and that I would rather be doing almost anything else. I barely paid attention.

Until last night. I rewatched the movie with Jane and was FLOORED.

Holy shit. The whole thing is, as the title of this post suggests, an incredible exercise in set up and pay off.

I’d have to re-watch and take notes to cite examples, but that’s not even the point of this post. There is no reason to cite specific examples, b/c it’s as simple as FIRST HALF and SECOND HALF.

The first half of the movie you’re kind of sitting there like…wtf is this movie? What’s going on? Why do all of these things keep happening?
Who is this old woman?
Why am I watching bizarre inspirational videos with Patrick Swayze for two pages of script?
What’s up with the jet engine?
AND ON AND ON AND ON.
What’s with the rabbit? The gun?
Is that really Seth Rogen?

But in the second half ALL OF THIS IS PAID OFF. So well. It’s seriously mind boggling. The end result is a movie that is so RICH and satisfying that it really is awe inspiring at times.

I’m an arrogant jackass, and don’t like to admit when things make me jealous, but the writing in this movie made me really, really jealous.

Waking up this morning I reasoned that we can definitely do that. Better, even (okay...maybe not...no...fuck it! we can too!) And so can you.

Comb through your script looking for references, locations, clothing, lines, throwaway jokes, and see if you can pay them off.

The LA Conundrum: Favors and Screenwriting

One of the hardest things to adapt to as a screenwriter in LA is that your future success depends on asking people for things. And, if you’re anything like us, you HATE asking people for things. Maybe it’s pride, maybe you have issues with giving up the reigns to your own destiny, maybe you don’t want to be a pain in the ass. But you hate it.

We’ve been trying to convince ourselves to just shut up and do it, thought We look to born and bred Angelenos for inspiration. These people will contact their entire email address book for the smallest of favors! They have been incubated by validation in a world that runs on it.

Dear Everyone I know,

Will you pick which head shot you like best?
Will you pick the carpet in my living room?
Do you think my bio is too ‘new agey’? (YES)
What is the best way to get to Santa Monica from the Valley?

These questions are seriously common for a lot of people around here. Asking for help and validation in every life decision. And we’re not advocating that you BECOME this way. HELL NO. But emulate them in the smallest way. As a screenwriter, you’re going to have to.

Don’t be afraid to ask people you know to give you notes on a script. And don’t be too apologetic about it either. THIS PLACE RUNS ON FAVORS, AND THEY’LL BE HAPPY TO ASK YOU TO RETURN IT SOON ENOUGH!

Plus, the people you reach out to for help will certainly ignore your request. At least at first. And that is where PERSISTENCE comes in. It is quite possible that the royalty of Hollywood writers/actors/douchebags are unremarkable in every way, except for there ability to be PERSISTENT without being ANNOYING.

How do you do this?

Fuck if we know. We tend to retreat much too often to be considered annoying.

But it’s something you have to do. Don’t be afraid. Charge ahead, bravely into the world of favor asking and willing reciprocation. Take people to lunch. Pick brains. Make real connections, and maybe you'll meet some not-so-flaky people (let's face it, that's as good as it gets, in any city...)

Lead by example! Volunteer to read your friend's scripts. Write good notes in a TIMELY FASHION. Make yourself invaluable to the people you know, and maybe they’ll pick up your call or return your email next time.

Until then…keep trying.

Walk the Walk

Sometimes, when we’re reading (or writing) a screenplay, the action gets a little dull. And it’s easy when you’re writing to settle for making the action as simple and straightforward as possible. You want to tell us what’s happening economically, and that’s a good thing. Still, a well-written screenplay doesn’t just consist of snappy dialogue. Action that’s descriptive and specific enhances character, setting, and story.

A simple way to punch up your action is to scan your screenplay for words that tend to be overused like ‘walk’ or ‘laugh’ and replace them with more accurate verbs. Especially in instances where you have a character ‘walking slowly’ or ‘laughing menacingly.’ Try ‘ambling’ or ‘cackling.’ A screenplay that doesn’t repeat dull verbs reads well. Also, the particular way that one of your characters walks or laughs can say a lot about him or her. So keep this in mind when you’re re-writing. Don’t go too crazy, and have everyone stride and strut and chortle all the time, but think about your verb use.

INT. DICK’S HOUSE, FOYER – NIGHT

Jane rushes in, harried and panting. Dick emerges from the kitchen, drying his hands on a dish cloth.

DICK
Where have you been? Dinner was ready hours ago.

JANE
Well, don’t blame me. You’re the one that had to have fresh Italian parsley.

DICK
Fast Mart didn’t have it?

JANE
No, Dick. Fast Mart didn’t have it. So then I walked over to Grab N’ Go, and they didn’t have it either, so I walked to the bus stop, caught the bus and walked to Fresh N’ Fast, and they didn’t have it, so I walked to like three more places that didn’t have it, then I walked to the Farmer’s Market, and I walked all over looking for it there, but I couldn’t find anything but apples, so then I walked to an Italian restaurant, and finally they sold me some. Then I walked home. And that’s where I’ve been.

DICK
Wow.

JANE
Yeah. It was crazy. I hope you appreciate the things I do for you.

DICK
No, it’s just, man you did not tell that story well. There are other words for walk, you know.

JANE
Oh, yeah, Dick? What do you suggest?

DICK
Well…saunter, stroll, amble, march, pace, hike, toddle, totter, stagger, move, go, mosey, meander, ramble, wander, promenade, step, run, rush, hurry, stalk, swagger, advance, parade, shuffle, hobble, scuffle, trundle, shamble, waddle, trek, tramp, scramble, trudge, slog, traipse, trek plod, lumber, tread, clump –

Jane slaps Dick in the face and strides away. She looks over her shoulder at a stunned Dick.

JANE
You said trek twice.


Well, there you have it. We don’t mean to sound like a dick, but spicing up your verbs makes your story more interesting.

LOGLINE HELP

Along the lines of our "free notes" idea, we've decided to do the same thing with loglines. Not positive if we'll have time to read and give notes on three scripts this week, so instead we're gonna check out some loglines!

So twitterers, man your twitter stations, and prepare to retwitter for free logline help sometime today!

emergency post

be totally aware of what you are thinking at all times.

for instance, i just got back from a trip. took my first home shower. had the thought "huh. i kind of forget which way is hot and cold at home."

then i thought...these are the thoughts that make a screenplay rich. this kind of dialogue. in movies that i love, the dialogue is peppered with incredible anecdotes, or surprising realizations. this stuff tells you so much about a character.

i thought everyone forgot how their home shower works.

but jane never forgets.

this has to say something about CHARACTER.

this was an emergency blog post. i'm gonna start doing this now. when things come to me, if i have time, instead of jotting them in my note book, i'm gonna post about them.

clearly i guess this means there will now be a lot more rambling, odd posts that are often stupid or irrelevant.

but i think things like this are really what's worth sharing and what i wanna blog about.

then again, maybe i'll never make another post like this again.

Screenplay too long?: What to cut...

Recently, I saw a link that said “How to Make Your Screenplay Better.” And then I realized, that that is really the root of all our problems of screenwriters. We always have to strive to make our work better. I also realized that that is really what this blog is about. Cataloguing all the ways that works for us, so these tricks and tools get indoctrinated in our heads, and maybe sharing it with whoever reads this.

So I asked myself that question, and the first thing that popped into my head – the one piece of advice that has stuck with me possibly more than any other – is to get into your scenes as late as possible and get out as early as possible.

We always ask ourselves this question. With literally every scene. Is that “Hello, how are you?” really necessary? No…probably not. And if you cut it, it might help solve some pacing or page count problems or any number of other issues you might be faced with.

Here are our top 5 pieces of extraneous dialogue:

1) Hi. – we don’t need to see our characters greet each other. If you do this a lot, that could be five or ten pages of purely useless dialogue. Also, see number 2.

2) Any response to hi. See number three.

3) Salutations in general – Yes, this basically got three spots because it is the most frequent culprit. There are some really interesting ways to incorporate salutations, but they must be used sparingly. (when salutations are acceptable…future post?)

4) Opening with a question – Scan your work for scenes that open with question, and see if you could achieve the same effect by opening with the response. Or even the response to that response. But be careful not to rephrase the question in the response, it usually comes off as sloppy. “What do you mean rephrasing the question in the response comes off as sloppy, John! I want a divorce!” SEE!!! Open with the demand for a divorce and work backwards, and I’m hooked.

5) Any aside. At all. Especially to end a scene. Especially if the scene ends on a joke. Don’t deflate your punch by having one character comment on it before you cut away. No matter how clever that comment is…you want to get out of every scene as quickly as possible, and on a high note.

This kind of cutting is what a lot of people refer to ‘cutting the fat’ in a script. Often, these mistakes come in early drafts, but they also stick around far too long after that.