Another fantastic workshop this past weekend. And another great question from a writer in class:
How do we know when our scripts are “done”?
Is it the number of drafts?
Is it adoring comments from readers?
Is it how it “feels”?
The answer is: All of the above. And more.
Readers of Save the Cat! know I am big into feedback. From the moment we have an idea and wonder if it’s any good, to when we write Fade Out, I believe in “call and response” — namely the importance of testing and getting impressions from strangers and friends who hear it all cold.
I also think of Save the Cat! as “permission screenwriting.”The ability to be clear isn’t a slam dunk. And while we writers know what we mean, do others? There’s only one way to find out: get permission to continue based on passing each test. The idea of these gated steps is vital to success:
Step One: Is it a good idea? Step Two: Can I say it easily? Step Three: Can we “beat out” this idea to deliver a basic story? Step Four: Do these 15 beats expand to 40 Key Scenes? At any stage of the game we can “drop the ball” too, and discover something in our story needs retooling, so it’s a process with checks and balances, too — if we’re open to them.
I’m your Green Screenwriting Helper: I believe in saving trees as well as cats.
I vote we take into account further steps that help bring an idea to life that makes a script stronger:
— Write a first draft then set it aside. Coming back “fresh” a week later is often a shock, but vital!
— Have not only a coterie of readers who understand, but ones that don’t. Like a pitch, it’s the strangers who know nothing of us, or the arc of our struggle to succeed, that often have much to tell us.
— And even when you have a draft that “feels” right, I suggest you take it one step further: Have a reading. Gather the thespians in your life and make a pot o’ spaghetti for an after-read treat. Bring a tape recorder, too, to catch the nuance of lines that work, and don’t work. And poll the actors afterward to get feedback on how they approached the character and either understood — or didn’t.
Little Miss Sunshine was 100 drafts to get to final shooting script, and even then, further changes were made on set; yet it was the first draft of The Verdict that was the basis of its greenlight, so the number of drafts isn’t always a guide. It’s good to know that whatever it takes, you’re ready for.
And if you want feedback, check out our Forum! We are 1000 strong! And we are big believers in our Cat! Groups, so check out Facebook for Cat! Groups in London, Los Angeles, Austin, and San Francisco.
We have one thing other readers might not: the burning desire to tell you the truth about your story, so that you can go forth and prosper! We know “There is plenty for everybody!” and want you to win!!
Blake Snyder
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“When it feels right” is an important thing. Especially when you can distinguish it from “Protecting the baby.”
On the one hand, you have something like Little Miss Sunshine.
On the other, Changeling, which J. Michael Straczynski says was shot from his first draft. The caveat to that, of course, is that JMS has hours and hours and years and years of writing behind him, in order to pull that off. (It did need a little tweaking though, because the term “serial killer” was not actually current for the period of the film. But that’s my research background talking, and they only used it once. :D )
You suggest pitching my initial script idea to my friends before I begin writing; or better yet, to strangers in line at the cleaners, or at Starbucks… to look for that, “Oh yeah, I’d go see that” expression from them, that *spark* that would tell me I have a marketable idea. I guess that’s okay for writers who need that…
I mean, if I get blank stares, that just means they don’t get it, right? They just can’t see what’s in my head. And my pitch… is golden, but it’s obviously lost on them. What do these people in line know? They’re just professional latte-drinkers, or whatever. I’ll just go with my “instincts,” thank you, and put in all the months of writing and rewriting to complete the script with my vision intact and uncorrupted. I didn’t just fall off the turnip truck; I’m pretty sure I know what’s good.
You suggest beating it out with a program or index cards to I can see how the whole movie plays out first. Workshop it, even, with other writers’ instant feedback. Mmm… think I’ll pass. It sounds too… live. It’s not like a movie’s live. And even though I don’t have a track record, and they say you should listen to those who have come before… this project is different. I know it’s special.
When I’ve completed the script, you suggest, before I send it to producers and studio executives who offer no second chance for a first impression, that I show it to my friends and writing group members for their feedback. Nah, it’s ready NOW, and what do they know? If they knew, they’d be the producers or execs, right?
Okay, so nobody bit. Next. But I’m only a year older, which means as a writer, I must also be a year better, right? And why didn’t that script fly? It could be because there was another one just like it that was made during the same year I was writing mine (apparently this fact was known to many) and I’m sure that’s the reason they passed. In fact, that’s why they passed on even reading the thing, so I’ll never really know if the script was really right for them. If you’re curious, it’s called, “Blockbuster Movie for an Audience of One.” (I laughed, I cried.)
This new idea I got though, shoot – it’s WAY ahead of its time…
Uh, the satire’s apparent, right?
Hee. Yeah, Scott… it did sort of come through as one went on. ;)
I liked your juxtaposition of blank stares and the claim that the pitch was golden. (Exactly! If it was “golden” those stares would sure not be blank!)
I assume the script is done when I hear the word “martini.”
Advice from ChicagoHollywood…
Form a solid writing group with talented folks. Be picky about the selection.
Set up rules. You must have completed at minimum one feature length script. They must be willing and able to do a well-executed coverage. Find people that are willing to give to get and writers that will show up consistently.
Besides the obvious of finding great writers to hook up with…
Look for special talents in the following areas:
•A Creative Guru – one that has lots of ideas.
•Titles and Logline Mastermind
•The Craftsman – one that knows all the rules to follow and break
•Prolific English Teacher/Proofing Specialist
•Structure King – that has studied the various methods of storytelling
In other words, have a well-rounded group with each having their own strengths.
Then set up a monthly coverage program. Take the same script through 2 times… then once it is worked and reworked you may have something.
We recommend at least 7 in the group — not everyone will make every meeting. Include a mix of ages and demographics, genre areas and writing styles. Help and support each other.
Take classes (Blake Snyder, of course) and develop mentors. Good luck!
Linda
If you have questions feel free to e-mail me at [email protected]
I’ve ‘finished’ my script twice now. I submitted the first ‘finished’ copy to several competitions and even placed in the top ten of one (CSMag AAA). But when I went back over it I found some spelling/gramatical errors and a lack of emotion in some sections. Now after I just ‘finished’ the second rewrite (which is really like the 10th rewrite) I discovered the ‘Save the Cat’ methodology. STC definitely helped me see some holes in the script esp. the logline. In my next rewrite I just need to add a couple more layers to the ‘All is Lost’ and ‘Dark Night’ moments and focus some more on nailing the B.Snyder genre type. The beats are strong, I think the title is strong, and soon the I’ll have another ‘finished’ script. Will it be the last? I don’t think so. I don’t think the script is complete till the film is in the can. Currrently, I entered the script in almost 15 diff. competitions this season. I’ll see if it makes anymore waves out there.