When It Gets Challenging

It’s a tough time of year — the weather is hot, in the way that August is always hot, and the way that portends the ever-nearing climate apocalypse. The autumn is nigh — in the way that August always precedes the too-fast downhill slope into the holidays and the end of the year.

We’re housesitting for a few days — in a beautiful house with air-conditioning and a calm, well-behaved dog. An ideal writer’s retreat… but I am not being the ideal writer, and it makes me feel ashamed of passing hours lacking in accomplishments, and it’s too easy to make the mental jump from passing hours to passing life.

I have my reasons for minimal output, as maybe writers always do. So far, it has been yet another year of almosts, promises, feigned excitement and “contracts on their way from business affairs,” that in the end… turn out to be lies. Some innocent, others intentional — plentiful enough to have some of each. the. Another year of “free” work — which, of course is a misnomer, since it’s paid for by me…

So what should I be writing? I have two stories, a feature in need to a rewrite, and three feature outlines all begun, and I find myself in a state of paralysis, unable to make a good dive into any of them.

There is the pervasive Hollywood myth, that I am realizing is much the same as myths perpetuated by abusers everywhere, that there is some right choice, some story, that if you execute it in a way that’s transcendent– that will make the relationship healthy, that will make the abuser act not act like a sociopath. If you can just be GREAT ENOUGH, then THIS TIME all the promises will be made good on, this time you will be pulled from indentured servitude into the rosy future. if YOU can pass all the tests and reach it.

I don’t believe in it anymore, and yet… and yet. Like a seven-year-old coming to some certain conclusions about Santa, I’m still like, but WHAT IF? What if there are awesome presents that you get because you’re good? So, there’s still this irrational weight placed on choosing which project to invest in — what if one of them has the potential to be a project that CHANGES EVERYTHING and I choose another one instead? Or, what if NONE of them will change everything, but there’s a project that will give me personal satisfaction, and instead I’m choosing to chase promises and pots of gold at ends of rainbows again?

At this point, my compass is so messed up (or because it’s impossible for anyone to predict) I’m having difficulty even choosing what will give personal satisfaction. Which project will be worth the frustration of finishing a draft and realizing I need to tear it down to the bones and build it yet again?

So here I stand at a fork in the road, unable to choose which way to walk forward, waiting for clarity.




Writing: Obstacles and Stakes

The other day, I was asked to give notes on a short script that had an interesting premise and main character and cool settings, but felt lacking in dramatic dramatic tension. In my notes I talked about obstacles and stakes, which are elements that come up commonly enough with clients or students, that I thought I might do a mini-lesson here.

Here’s a simple four-step structure you might use for a short film:

  1. A character has a goal.
  2. The character makes a plan to achieve that goal.
  3. The character attempts to execute the plan.
  4. The character succeeds or fails in the plan = outcome / aftermath.

Here’s an example that matches that goal. (EXAMPLE 1)

  1. A cat wants the kitty-treats on top of the fridge.
  2. The cat plans to jump on the counter, and then to the top of the fridge.
  3. The cat jumps to the counter, and then to the top of the fridge.
  4. The cat eats the treats.

What would happen if we added some obstacles and stakes to this story?

OBSTACLES in writing are pretty much the same as obstacles in life — they are whatever gets in the way of our progress toward a goal. These can internal, like self-doubt or external as in this case: Let’s say that there’s a pile of dishes on the counter, waiting for their turn in the sink. There’s only a TINY area of counter where the cat can land without dislodging a dish…

STAKES are what a character stands to gain if she succeeds or lose if she fails. We already know what our kitty-cat gets if she reaches the top of the fridge — delicious cat treats, but we can make those treats a little more important. Let’s say the cat didn’t get any dinner, so she is legit HUNGRY. Maybe her owner was making an important romantic dinner for someone, got distracted and forgot to feed the cat. (Then she brought the dishes into the kitchen, and forgot again!)

So what happens if the cat FAILS? If the cat jumps and lands badly, she will dislodge a pile of dishes — they will come CRASHING to the floor, breaking the good china and ruining the romantic vibes happening in the next room. The cat’s owner will be pissed, and will throw the cat outside — still with no dinner! Oh — and it’s RAINING outside!

What does our story look like now? (EXAMPLE 2)

  1. The cat, locked in the kitchen, looks mournfully at her empty bowl. Her stomach growls. She looks at the treats on top of the fridge and licks her lips.
  2. The cat evaluates her route to the top of the fridge. There’s a pile of fragile dishes on the counter, but there’s also just enough space for a pair of kitty feet. The cat decides to go for it.
  3. The cat jumps to the counter and lands perfectly on the counter — but what she didn’t see was — it’s WET. As she makes her leap to the fridge, her paws SLIP! She madly claws for the top of the fridge but doesn’t make it and falls backwards. Now she’s in danger of smashing the dishes AND seriously injured! [We’re RAISING the stakes.] BUT at the last moment, she TWISTS and sinks her claws into the CURTAIN on the window. She climbs the curtain, and drops down to the top of the fridge!
  4. The cat happily digs her nose into the bag of treats.



So, here’s a little news on the professional front.  I’ve got representation now! A little more than a year ago, I received an email from a college classmate, introducing me to his manager and suggesting that we might enjoy working together. I had some work ready to go, so I sent the manager some samples which he liked and thought maybe he could do something with. He suggested that we spend time working together to see 1) How we worked together creatively and personally/professionally, 2) If I could continue producing work, 3) If he could get my material read (and what the response was), and 4) If we could get me more representation in the form of an agent.

Early on, I think most aspiring writers have a vision of being “discovered,” by someone who “falls in love,” with their writing. Clearly, this scenario was a bit less romantic. After taking a moment to calibrate, I was grateful for this. There’s a certain rush that comes when people LOVE you immediately, and say you are brilliant, and “you’re going places, kid.” But I’ve now had some Hollywood relationships that began with enthusiasm and fanfare end with no fanfare at all. As the saying goes “If you let yourself  get swept off your feet, you’ll probably land on your ass*.” So, this probationary arrangement was not unappealing to me.  I figured it would keep me from getting complacent and keep us both working to impress the other.

For about the next six months we tested the waters.  I was very happy with both his notes and his work ethic. Creatively he was insightful but not too pushy, and I liked how he was responsive, detail-oriented, and didn’t over-promise. We discussed formalizing our relationship based on that, but there was an issue that we were having a hard time getting readers to respond to the work we sent out. And by respond, I don’t mean emotionally respond–I mean even glance at the material and take the time to say no. This is not surprising, because feature scripts, especially from new writers are a hard sell**. But, it was a point of concern.

Then, I tried my hand at writing a television pilot.  This time, when my manager sent it to three people, amazingly, all three people responded. They didn’t all respond with “yes, tell me more about the series,” but they all read it and responded (and one of them said, “yes, tell me more about the series.”) This seemed like some movement in the right direction, and gave my manager the confidence to show the pilot to agents and a couple of agencies. One of them was interested, and I went in and met with them. Before our second meeting with the agency, the manager and I signed a contract.

So, for this moment, I have a “team,” consisting of both and agent and manager. They cannot work miracles, and they will not be champions of everything I write. But for certain projects that they feel have marketplace potential, they can amplify my visibility…to convince more people to read a script, and arrange some meetings with people at companies who have a track record of getting things made. That, for me, is a huge step forward.

So, YAY, representation!!


*Actually, this is not “a saying,” I think I just made it up. It’s pretty good, though, right?

**Some depressing but informative articles about selling spec feature scripts.

The Odds of Selling a Spec Screenplay (2011)

What are your real chances of success? (2012)

What Screenwriters Can Learn from Hollywood’s Dismal Spec Market (April, 2016)

2016 Spec Script Sales to date (October, 2016)

It’s Free Script Season!


Movie awards season. I have mixed feelings about the awards themselves. Living in proximity to that world, I become ever more aware of all the lobbying and advertising, and how the people who get to vote on such things rarely have time to even watch everything they are supposed to be choosing between… And then there are all the moments where one person wins and another loses — not just a shiny statue, but career opportunities and creative freedoms. It’s fraught.

But one aspect I love is the free scripts that are released during the months surrounding the big awards. I have built up a tidy library over the past few years.  And script season is upon us again! Here’s the first batch I’ve seen:


If you’ve never read a script before, it’s fun to look at one for a movie that you’ve seen (and remember!). I’m looking forward to checking out the screenplay for Ex Machina.

The Finish Line

Ohmigod friends, I think I’ve actually finished something.

By “I” I mean, “we”–my co-writer on Lovers In Their Right Mind and me.

Two years ago last month, we finished the first outline, and since then we’ve been writing and re-writing, re-carding and doing a lot of “my draft,” “your draft,” “my draft.”  For the last few weeks however, we’ve been sitting side by side doing a joint draft–discussing and arguing and hammering out compromises–and tonight we reached page 103. Assuming we can manage to not rabbit-hole when we do our proofing reads this weekend, and it can go to our co-producer on Monday.

This is not to say there won’t be more changes down the line–but this is the first draft where we feel confident enough to send it to industry-type folks. And for me, it’s about feeling solid enough about what it is that we don’t have to crumble under the opinion of the first reader who doesn’t love it–we can take some time looking for the people who do.

Now, if I can just get to that place on two other scripts, I might actually get to start something new someday!