I'm of the opinion that writers, including myself, need to identify and improve on their weaknesses to truly hone their craft. We all have strengths and perhaps it's possible that our strengths can mitigate our weaknesses and get us traction in terms of the holy grail: breaking in.
My thinking is -- with the massive competition of anyone with screenwriting software clogging up the "break in" pipeline with subpar work, identifying our weaknesses and resolving them is crucial in terms of standing out in the clutter.
I think it may be helpful for such a discussion in as much as those with strengths in certain areas can give tips to help those of us with weaknesses in those same areas. I'll start.
Strengths and Tips
Character Development:
I've consistently received high marks on character -- scripts and prose fiction. Readers saying virtually the same thing about my protags: I like your characters so much I'd like to have a drink with them in real life. Or, when it came to unlikable antags: he/she rang true to life.
The tip: I strive to base my characters on people I know, have known, or strangers and people I barely know, yet have observed closely (example: Mr.Big Ego CEO in a business meeting who couldn't remember anyone's name half the time). This tip works if you're a people watcher or can develop people-watching skills -- observing as much as you can: physicality, psychological traits, the way they speak, the cadence of their speech, tics, accents, etc.
Dialogue:
I rate my my dialogue skills higher that average. I've gotten kudos because my characters never sound the same. It's the same tip as above: listening closely to the way people speak in real life.
For dialogue inspiration I've even used lines I've overheard in bars, at the grocery store, etc. AND I often write these gems down. Learn to eavesdrop whenever or wherever you can.
Another tip: lurk online message boards on non-writing topics. I participate in a couple of political discussion sites and have found that people with zero interest in writing have a talent for a turn of phrase, a killer metaphor, even an amusing malaprop that generates an LOL. I also lurk a number of boards. This is essentially people watching and eavesdropping online for dialogue and more. Because they often share personal experiences you can use for inspiration. The best part -- you can copy/paste these inspirations into a file.
Description/Action Lines:
After studying prose fiction I should be good at this -- I am. And the fact that I also write and have published poetry, I'm good at crystallizing a description to the fewest words possible for maximum effect. A skill I also apply in my day job as copywriter. On this, my only tip is to read others who have mad skills in description -- from other screenwriters to poets and novelists. Which brings me to my next strength....
The Ability To Read, Analyze & Access The Work Of Pros (and learn from it)
This skill was developed during my years as an English Lit major. As a writer, I believe if we can't "see" all the reasons why a killer screenplay works, we'll have a harder job elevating the quality of our own work. This requires developing your objectivity and not letting your own ego (or jealousy) get in the way. I've seen comments here about sold and awesome scripts being pulled down several notches with remarks like: "...not so great, no big deal, I could've written that ..." and worse.
If you have blinders on as to why a script sold, attracted investors and talent, then made it to the screen to be a BO hit, in my opinion you're bumping around in the dark with your own scripts.
And when I say analyzing -- I'm talking about being able to see what's under the hood of a great script. This requires more than assessing around the edges or identifying Save-The-Cat structure. It requires understanding the ways the writer seamlessly accomplished the whole of the script, why it fires on all pistons or, to use another analogy, finding the ghost in the machine.
The one tip I can offer is rereading the same script several times. Because only one read sets you up to miss things. Rereading also enables you to better identify how and why this or that turning point or reversal works -- "Ah, I see what you did there." I also suggest reading scripts for produced films you haven't yet watched. Then watching them after you did the deep dive. My own problem with reading scripts for films I've seen is that my mind just plays the movie and I miss too much in terms of learning craft.
Deep Respect for the Craft and for Successful Screenwriters
This strength sits on the foundation of the one listed above. Maybe it doesn't seem necessary in a discussion about strengths and weakness. In my opinion, it is crucial. Far too many aspiring screenwriters jump in thinking screenplays are easy to write. Easier than writing a 300-page novel. I know. Because I jumped in with the same ignorant idea. Since I write prose fiction, I didn't think screenwriting could possibly be harder for me. It was. It is.
Why? Because you not only need to be creative and talented -- you also need a strong dose of what I would call technician skills, in the broad sense, to write a killer story in 110 to 120 pages -- for a visual medium.
Novelists can be a bit self indulgent and get away with it. They can get away with over-writing here and there. And they have the luxury of the omniscient narrator to boot. "Mary called Jack and told him what had just happened." Not to mention, novelists, if they write well, don't have to worry much about a high concept or attracting talent who want to play their characters. Though some novels work very well being adapted for the screen the vast majority of solid novels do not.
Don't get me wrong, I'm not saying novelists are less skilled than screenwriters. I'm saying aspects of of each discipline require different skill sets. One is no easier than the other. Simply put, novelists and screenwriters have different hurdles they must clear.
I believe you have to have a deep respect and understanding of the challenges of the craft in order to get miles within striking distance of breaking in.
My Two HUGE Weaknesses
Though I can objectively say I possess the strengths listed above, I know my two huge weaknesses are preventing me from writing scripts that will make people in a very cynical, seen-it-before industry sit up and take notice. Until I can correct these weaknesses, I can only achieve "Close but no cigar" status which was what happened when I had a manager. That's why I stepped off the spec/query train and will not step back on until I conquer these weaknesses.
Out-Of-The-Box Commercial Concepts (High or at least Tall Concepts).
Until I can become better at this, I'm not sending any scripts out for consideration. If I know my concept is "just okay" why the hell would I expect any industry exec to think it's good?
The frustrating part is I am able to concept out of the box in my day job. I've won Addy Awards and niche industry awards for ad campaigns. But developing a cool concept for an ad or even a billboard or local TV/Radio spots -- to hold attention for, at best, seconds to a few minutes -- is far easier than a concept that holds attention for 90-minutes-plus.
It's true I'm inspired to write character-driven stories, in my prose fiction and scripts -- but there are many films that deftly execute out-of-the box concepts that ARE also character driven. So far, I can't.
Out-of-The Box "What Happens Next" (Plotting)
This goes hand in hand with my Concept albatross. I simply suck at it. The problem with my "What Happens Next" skills is that I'm too predictable. There are scarce few to zero surprises. With COVID, I've been binge watching work from all over the world and though some of it is predictable the better work has me thinking: "I wish I came up with that." Or, worse: "I don't think I could ever come up with that."
If anyone has any tips and pointers on conquering these two issues -- it would be greatly appreciated.
Now -- how about sharing your weaknesses, strengths and tips.
NOTE:
I can't edit title. It should read: What are your weaknesses. Sorry.
My thinking is -- with the massive competition of anyone with screenwriting software clogging up the "break in" pipeline with subpar work, identifying our weaknesses and resolving them is crucial in terms of standing out in the clutter.
I think it may be helpful for such a discussion in as much as those with strengths in certain areas can give tips to help those of us with weaknesses in those same areas. I'll start.
Strengths and Tips
Character Development:
I've consistently received high marks on character -- scripts and prose fiction. Readers saying virtually the same thing about my protags: I like your characters so much I'd like to have a drink with them in real life. Or, when it came to unlikable antags: he/she rang true to life.
The tip: I strive to base my characters on people I know, have known, or strangers and people I barely know, yet have observed closely (example: Mr.Big Ego CEO in a business meeting who couldn't remember anyone's name half the time). This tip works if you're a people watcher or can develop people-watching skills -- observing as much as you can: physicality, psychological traits, the way they speak, the cadence of their speech, tics, accents, etc.
Dialogue:
I rate my my dialogue skills higher that average. I've gotten kudos because my characters never sound the same. It's the same tip as above: listening closely to the way people speak in real life.
For dialogue inspiration I've even used lines I've overheard in bars, at the grocery store, etc. AND I often write these gems down. Learn to eavesdrop whenever or wherever you can.
Another tip: lurk online message boards on non-writing topics. I participate in a couple of political discussion sites and have found that people with zero interest in writing have a talent for a turn of phrase, a killer metaphor, even an amusing malaprop that generates an LOL. I also lurk a number of boards. This is essentially people watching and eavesdropping online for dialogue and more. Because they often share personal experiences you can use for inspiration. The best part -- you can copy/paste these inspirations into a file.
Description/Action Lines:
After studying prose fiction I should be good at this -- I am. And the fact that I also write and have published poetry, I'm good at crystallizing a description to the fewest words possible for maximum effect. A skill I also apply in my day job as copywriter. On this, my only tip is to read others who have mad skills in description -- from other screenwriters to poets and novelists. Which brings me to my next strength....
The Ability To Read, Analyze & Access The Work Of Pros (and learn from it)
This skill was developed during my years as an English Lit major. As a writer, I believe if we can't "see" all the reasons why a killer screenplay works, we'll have a harder job elevating the quality of our own work. This requires developing your objectivity and not letting your own ego (or jealousy) get in the way. I've seen comments here about sold and awesome scripts being pulled down several notches with remarks like: "...not so great, no big deal, I could've written that ..." and worse.
If you have blinders on as to why a script sold, attracted investors and talent, then made it to the screen to be a BO hit, in my opinion you're bumping around in the dark with your own scripts.
And when I say analyzing -- I'm talking about being able to see what's under the hood of a great script. This requires more than assessing around the edges or identifying Save-The-Cat structure. It requires understanding the ways the writer seamlessly accomplished the whole of the script, why it fires on all pistons or, to use another analogy, finding the ghost in the machine.
The one tip I can offer is rereading the same script several times. Because only one read sets you up to miss things. Rereading also enables you to better identify how and why this or that turning point or reversal works -- "Ah, I see what you did there." I also suggest reading scripts for produced films you haven't yet watched. Then watching them after you did the deep dive. My own problem with reading scripts for films I've seen is that my mind just plays the movie and I miss too much in terms of learning craft.
Deep Respect for the Craft and for Successful Screenwriters
This strength sits on the foundation of the one listed above. Maybe it doesn't seem necessary in a discussion about strengths and weakness. In my opinion, it is crucial. Far too many aspiring screenwriters jump in thinking screenplays are easy to write. Easier than writing a 300-page novel. I know. Because I jumped in with the same ignorant idea. Since I write prose fiction, I didn't think screenwriting could possibly be harder for me. It was. It is.
Why? Because you not only need to be creative and talented -- you also need a strong dose of what I would call technician skills, in the broad sense, to write a killer story in 110 to 120 pages -- for a visual medium.
Novelists can be a bit self indulgent and get away with it. They can get away with over-writing here and there. And they have the luxury of the omniscient narrator to boot. "Mary called Jack and told him what had just happened." Not to mention, novelists, if they write well, don't have to worry much about a high concept or attracting talent who want to play their characters. Though some novels work very well being adapted for the screen the vast majority of solid novels do not.
Don't get me wrong, I'm not saying novelists are less skilled than screenwriters. I'm saying aspects of of each discipline require different skill sets. One is no easier than the other. Simply put, novelists and screenwriters have different hurdles they must clear.
I believe you have to have a deep respect and understanding of the challenges of the craft in order to get miles within striking distance of breaking in.
My Two HUGE Weaknesses
Though I can objectively say I possess the strengths listed above, I know my two huge weaknesses are preventing me from writing scripts that will make people in a very cynical, seen-it-before industry sit up and take notice. Until I can correct these weaknesses, I can only achieve "Close but no cigar" status which was what happened when I had a manager. That's why I stepped off the spec/query train and will not step back on until I conquer these weaknesses.
Out-Of-The-Box Commercial Concepts (High or at least Tall Concepts).
Until I can become better at this, I'm not sending any scripts out for consideration. If I know my concept is "just okay" why the hell would I expect any industry exec to think it's good?
The frustrating part is I am able to concept out of the box in my day job. I've won Addy Awards and niche industry awards for ad campaigns. But developing a cool concept for an ad or even a billboard or local TV/Radio spots -- to hold attention for, at best, seconds to a few minutes -- is far easier than a concept that holds attention for 90-minutes-plus.
It's true I'm inspired to write character-driven stories, in my prose fiction and scripts -- but there are many films that deftly execute out-of-the box concepts that ARE also character driven. So far, I can't.
Out-of-The Box "What Happens Next" (Plotting)
This goes hand in hand with my Concept albatross. I simply suck at it. The problem with my "What Happens Next" skills is that I'm too predictable. There are scarce few to zero surprises. With COVID, I've been binge watching work from all over the world and though some of it is predictable the better work has me thinking: "I wish I came up with that." Or, worse: "I don't think I could ever come up with that."
If anyone has any tips and pointers on conquering these two issues -- it would be greatly appreciated.
Now -- how about sharing your weaknesses, strengths and tips.
NOTE:
I can't edit title. It should read: What are your weaknesses. Sorry.
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