Writing Process Q&A (006)

Last week a fellow blogger commented on my writing schedule, asking some excellent questions about my writing process. I’d like to use this entry to answer those questions to the best of my ability and as honestly as possible.

Question
Is this how you went about writing your previous scripts?

Answer
Every script I have written has been slightly different. The first feature script that I was really proud of was written in a screenwriting course with a workshop. Since then, I’ve attempted to duplicate those writing conditions in order to repeat the results. The writing process I used for that first solid feature looked something like this:

I started with the idea and turned it into a logline. A good logline has built-in conflict and gives a concrete idea of the beginning, middle and end. If I have a good logline, then I move forward with a bit a confidence, knowing that I should be able to find a good script.

[If I were writing a script that needed research, I would research here. For instance, for the Psychological Thriller (PT) script, I read three books about the subject I am writing about. I jotted down notes and just sat around thinking about the world I would be writing about for a long period of time. Actually, I was busy working on other projects at the same time, so this process lasted for a couple of years].

Snowplowing came next. Snowplowing is basically just writing out everything you think should happen in the story from beginning to end. Then, you try to do that again a day or two later and see how similar the two snowplows are. Repeat as many times as necessary. The idea being that the really important things, the heart of the story, will force itself to the forefront.

Next, I made character bios for the protagonist, antagonist, and a couple other secondary characters. Within the character bios I wrote some dialog to get a feel of the way the characters speak.

I then took the major beats from that snowplow and plugged them into a script timeline. I played around with this for a while, making sure that the arc and the ups and downs of the script were sufficient. (More on the timeline later).

From the timeline, I wrote out a couple pages that summarize the beginning, middle, and end of the film. This is a called a “two-minute movie.” From the “two-minute,” I made a more detailed step outline of the entire story. For me, this was each and every general scene heading, followed by the scene written out in prose. No dialog is included in this part.

I was taught to do a beat sheet before this step outline. A beat sheet is simply every single thing that happens in the film from beginning to end. Each beat is only a few words or one line. I found myself skipping this step and going right to the more detailed step outline.

From the step outline, I started writing the script.

I have since made an attempt at some type of detailed writing schedule for every project I work on. It has been extremely difficult to discipline myself without a workshop holding me accountable each week. All I know is, the more I outline and prep, the easier the script is to write and the better the script will be.


Question
Do you plan to go back and reread (and edit?) what you've already written while you're adding more or do you plan to just get the full page count before you do any editing?

Answer
I don’t plan to go back and edit before I’ve finished the rough draft, but sometimes I can’t help it. There’s no way around it really. When I have a tight outline, it isn’t as necessary, but I still make minor adjustments as I go. When I don’t have a tight outline, as I’m learning now with this PT script, things get very difficult. I’m desperately trying to power through the rough draft, but it is impossible. I just realized that I didn’t need to introduce a particular character until twenty pages after I introduced him. Knowing this is driving me crazy and I feel compelled to go change it now before I continue. Then again (because my outline is so flimsy), I will probably just change my mind and waste more time changing it back.

Question
Do you know what point in the story you should be at by certain pages, or are you just going to figure it out as you go?

Answer
Yes and No. When I start a project I use a timeline that I adopted from some of my writing professors. I set out with the intention of having all my major story points fall comfortably into this timeline. In some instances, that includes actual page numbers lining up. More often, I start by following the timeline and wind up improvising on it. I use the page numbers as rough guidelines. The most important thing is to actually hit the major beats of the story. The beats are like tent poles that hold up the story and give it shape. It is a lot easier to pitch the tent when you have these tent poles in place.

The following timeline should give you an idea of how I plot the major beats in my screenplay.


Page 1 - Opening Hook
In the first couple pages (preferable the very first page) I want to pull the audience into the film while setting up the genre and the tone.

Back Story
Only if needed. This information may not be needed until later.

First 10 Pages
In the first ten pages I want to set up the world of the film and learn what the protagonist values. These values could and probably should change.

Also in first ten pages:
What does the protagonist fear and what is his flaw?
What is at stake? The stakes should be life and death for the protagonist.
What is the goal? The protagonist should be willing to go great lengths for this goal.

And:
Establish a Central Question that can be resolved in climax.
Example: “Will E.T. find his way home?” At the climax we get a yes or no answer.


Page 17
Essential set-up. Should be clear what the movie is about.

Page 30 - First Act Break
At page 30 you hit a reversal, a crisis. Positive becomes negative. Fears come to the surface. Now there are new rules, new teams, and a new world. Sometimes characters cross over to the new world but now they have a new job. Some schools of thought say that first act should break earlier, around page 17. For me, it differs from script to script.

Page 45
There should be an indication of the love story. Could be man/woman, father/son, best friends, or boy/dog.

Page 50
Start the sequence to midpoint. From beginning of story the protagonist has been reactive. Things are going great for the protagonist. On page 50 the antagonist ruins everything and the protagonist must rally the troops and rise to the midpoint.

Page 60 - Midpoint.
Protagonist seizes control of his or her own destiny. Goes from reactive to active and from want to need. Goes forth with knowledge. The protagonist knows the power of the antagonist but chooses to go forth anyhow.

Page 60+
Immediately after the protagonist tries to move forward, the antagonist rains down hard, with full force. The antagonist is not at bay here.

Page 75 - Big Pit
False achievement of goal, then things are shaken up. Whatever the protagonist fears comes very close to happening.

Page 90 - Big Gloom
Things have been going good again. Protagonist is back on top then the antagonist comes back in and things are as bad as ever. Just when it can’t get worse, it does. The protagonist is in the most pain possible. Everything dear to that person is gone.

Epiphany
Somewhere between the big gloom and the climax, there must be an epiphany. Why he is really there, etc.

Climax
The climax.

Resolution
Could be one page or fifteen pages. I prefer when films end when the story is over. I like short third acts.


That's the timeline. It isn't a science. It is just a guideline that I start with. I think it is debatable whether or not the second act ends after the big gloom, or if it ends after the climax. I also don’t think it matters as long as you hit the major beats.

Sometimes a story magically falls into place along that timeline. Sometimes I have to force it. Sometimes I knowingly shoot myself in the foot and makes things difficult. In my PT script, I’m making things very difficult. I’ve decided that my protagonist should become my antagonist around the big gloom, when he kills the antagonist. How does that fit into my trusted timeline? I have no idea.

I brainstormed the PT script forever but I still couldn’t find a way to make it fit into a neat little structure. Still, I loved the concept and really believed that there could be something great in it. Eventually, I said, “screw it.” For the first time, I’m going into the rough draft not knowing all the answers. I’m putting my faith in the rewrite process. I’m on page 35 today and I detest each and every page that I have written. The only good news is that I finally know what my protagonist looks like. He looks like Joseph Gordon Levitt.