A writer friend recently posted a picture on Facebook that captured the scripts submitted for a recent industry writing fellowship.  It looked something like this photo (courtesy of the Austin Film Festival):

So. Many. Scripts.

When considering the contests and fellowships and labs I’ve entered and applied for, it’s pretty daunting to think that among the piles and piles AND PILES of scripts, mine is wedged somewhere in there, fighting/hoping/praying to be recognized.  Am I good enough to be among the chosen few?  A grand prize winner?  An esteemed lab participant?

So far…well…NO.

(Yeah, it’s easy to see why we creative types can get discouraged when facing those overwhelming, seemingly insurmountable odds.)

But of all things, it’s my new day job that has reshaped my sense of perspective on this whole writerly undertaking.  As a line producer on a brand new animated series, I am now on the other side of the creative decision-making process.  I get a front row view as the Executive Producers on the series carefully sift through artist portfolios and tests to determine who best matches the show’s sensibility and, therefore, earns a coveted spot on the crew.  The fierce competition and talent out there may create some difficult choices, but that’s not necessarily a bad thing.

This was especially evident as we chose our Main Title song.  The studio’s fantastic music department put out the call to a number of musicians and composers to come up with a 60-90 second theme song guided by a few creative missives from our show runners.  I don’t know how many total entries initially came in, but the music team weeded through them all and presented us with a final thirty-four to choose from.  Thirty-four.  That’s a healthy chunk of submissions to consider, huh?  And you know what?  Most of them were good.  Really good.  There were a lot of fun, catchy, adrenaline-stirring entries.  Of course, the song that was ultimately chosen as the favorite was the perfect fit for the show.  It was the strongest encapsulation of the humor and tone of the series and we’re all super excited about it.  But it doesn’t mean the other entries were terribly inferior.  Or that the musicians submitting them were less talented.  It just means the “winner” had the best combination of musical and quirky elements desired by the executive producers.

Now the purpose of this post isn’t to say that we writers should just assume the only reason we don’t land the contest wins/fellowship placements/script sales is due to subjectivity and timing.  We should always stay focused on becoming better writers and learn from those who regularly find success.  But we should also know when to cut ourselves a little slack and realize that we do have something valuable to offer through our work, despite the rejection we experience.  And that desire to share our stories is what will keep fueling us forward.  As Winston Churchill stated: “Success is not final, failure is not fatal: it is the courage to continue that counts.”

Don’t give up yet, girl!

I’m sneaking one in under the wire so I have June accounted for in the blog post department.  Yeah, I thought I’d be better about keeping up this navel-gazing diary of mine this month, especially on the heels of finishing that SOA spec, but that exercise in writing madness took a lot out of me.  And while I had plenty of topics I was eager to address (including an analysis of that exercise in writing madness), I found myself too exhausted to put fingertips to keyboard.

Time for a SNOOZE.

Plus, I was facing the Los Angeles Film Fest, which regularly takes place in June.  Over the course of ten days I saw twenty-one films and attended five filmmaking panels.  I must admit, this was a far easier feat to accomplish last year when I wasn’t working a full-time job.  After a full day of work I headed to downtown Los Angeles and stayed up past my bedtime to take in the latest offerings from the independent film world.  The movies I saw were a mix of inspiring, engaging, and irksome.  Ultimately, though, I continue to have major respect for all of the filmmakers out there who brave the odds and get their films made.  Favorites of the fest included AFTERNOON DELIGHT, AIN’T THEM BODIES SAINTS, FOUR DOGS, FOREV, and THE NEW BLACK.  It was also fun to attend a variety of films and panels with some of my favorite film-loving peeps out there – KS, JL, MT, HG, ERW, RA, SK, JJ, CF  – and I’m glad some of us could enjoy the free drinks at the filmmakers lounge, too.  I got to meet some cool new film festers as well, which is worth the price of admission!

I have a trip to NYC on deck, but then I plan on devoting the rest of my summer to more consistent blogging and finally shaping BENEATH THE SURFACE into a short film.  Thanks to the LA Film Fest, I am as eager as ever to get something produced by the end of 2013.

Wake me when you’re done.

Pages 1-10: Hey, I’m writing a script!  I LOVE this new idea.  All of that thinking and research and theme-finding I’ve been doing while walking Lucy or driving on LA’s endless freeways is finally falling into place.  I’ve been percolating over this dynamic opening scene – how can you go wrong having an explosion in Paris? – and look at how cool it is on the page!  And how about that inciting incident?  A SUICIDE?!?  It doesn’t get more compelling, right?  I’m feeling it.  I’m in the zone.  This is gonna be the BEST. SCRIPT. EVER.

Pages 11-30: Wow.  My lead character is a bad ass.  He’s edgy, prickly, and…dare I say it?  Unlikeable.  But that will change.  He’s really a decent guy at heart.  ‘Cuz mercenaries can still be decent, right?  And how about these other characters?  They’re three-dimensional, complex…not your run-of-the-mill cutouts.  Except the sullen teenage son.  Hmmmm….not sure I’ve figured him out yet.  No big deal, though.  It’s only the first act.  This is the set-up, the meeting of the characters.  No need to put too much pressure on myself.

Pages 30-50: Shit.  I have to figure out that teenage son.  He’s gonna be pretty integral, isn’t he?  And now I’m wondering about the opening in Paris.  Sure it’s dynamic, but the rest of the script takes place in Smalltown, U.S.A. so maybe I’m misleading the audience into thinking this is some sort of spy thriller.  And speaking of Smalltown, U.S.A, should I figure out exactly where the hell this story is set?  Uh oh.  Maybe I should spend a few hours making a playlist on iTunes that will serve as my writing soundtrack?  Yeah, that’s a good use of my time!

Pages 50-60: Whew!  I think I have a handle on the son.  But why have I set his early scenes in school?  Clearly this story should take place during the summer.  Okay, I’ll go back later and revise the INT. HIGH SCHOOL scenes and reset them at the neighborhood pool that is now a main set from this point forward.

Pages 60-70: Damn, these characters blather on a lot.  Perhaps that’s because I’m not quite sure where they’re headed?  Why is the ending so much fuzzier than the beginning?  Lots to contemplate.  Maybe if I do a load of laundry that will get the creative juices flowing?  And my room needs to be vacuumed.  Do I need to make more ice cubes?  When was the last time I cleaned the kitty litter?

Pages 70-79: Losing. Will. To Write.

Page 80: What’s that?  A light at the end of the tunnel.  Page 100 is only twenty pages away.  I’M ALMOST THERE!

Pages 81-90: Still haven’t fully realized the ending.  But new scenes are falling into place.  I’m comfortable with these characters now.  The story is going to go beyond page 100, but I’d rather have to cut pages than have to flesh out an anemic screenplay. (At least that’s what I tell myself to feel better.)

Pages 91-99: Character motivations are intensifying!  The conflict is rising!  My iTunes playlist is fueling my writerly momentum!  With fruity martini in hand, I’m gonna plow through these last mothertruckin’ pages so I can put the nail in the final page.

Page 100: BOOM.  Victory. (Although not quite FADE TO BLACK.)

And then…the revising starts.

Inspirational Fuel

Oh dear bloggy, I know I’ve neglected you lately.  April has proven to be an extremely busy month.  My self-imposed Script Frenzy (or Script “Brenzy”, as my pal Eddy Val so cleverly dubbed it) is consuming a major chunk of my extra-curricular time.  I’m a bit behind quota-wise (page 50 and counting), but it’s been refreshing to tackle a new idea.  This current one has been percolating for a while, so it’s gratifying to see description and dialogue filling a Final Draft document once again.

And then there’s the new job, which is occupying much of my headspace lately.  Since the series is just ramping up, there are many elements to establish: staffing, systems, snack table – all of the vitals.  I’m thankful to be coming onto a show at its inception, when I can wield a bit of influence, rather than stepping into the middle of chaos.  I’m empowered to provide some structure and direction that will, hopefully, avoid future chaos – or at least minimize it.  And I’m so grateful to be working alongside such a wonderful, dedicated team of creative souls.  It’s exciting to witness talented individuals shape and craft their vision – I’m learning a lot.

I fed my own creative soul last weekend when I consumed a heavy dose of indie cinema, thanks to the Wisconsin Film Festival.  It was a trip I debated making, but I’m so glad that I did.  Not only was it a treat to spend time with my family – especially considering that my visits will be less frequent now that I have to factor in “vacation time” when I make them – but I also saw some genuine moving pictures.  One, in particular, made the whole experience worthwhile.  It was a little cinematic gem that reminded me why I love movies and storytelling so much.  I will provide a more in-depth review in the next post, but here’s a sneak preview: KAUWBOY.

I do have to admit that it’s also difficult to summon up a blog entry when a tragedy like the Boston marathon bombing happens.  Who the hell cares about a naval-gazing blog when this country is dealing with issues of terror, vulnerability, and deep-felt grief?  So please know that I realize how minor my “challenges” are these days.  I’m a lucky DLB and I’m grateful for all that I have at the moment.  Especially my family, friends, and bloggy readers!

Eureka!

I’ve had a few new screenplay ideas swimming around in my head and I’ve decided that April will be the month to tackle one of them.  While my beloved Script Frenzy is no longer in existence, there’s nothing to keep me from attempting to write 100 script pages in 30 days.  Have concept, will write.

The idea I’m gravitating toward will be my darkest one to date.  Maybe it’s all of the SONS OF ANARCHY I’ve been watching (only one more season to go and then I’m all caught up!), but I want to explore themes of violence, vengeance, and those pivotal moments when compassion enters the equation.  This weekend I watched two great films back-to-back to get me in the zone: SHANE and SLING BLADE.  While one is a 1953 western and the other is a 1996 independent drama, both feature a man with a dark past coming into a small town and influencing and changing those he encounters, for better and for worse.  The movies provided a helpful backdrop to my own film idea.  Scenes are starting to take shape and characters are starting to raise their voices.  I figure if I draw up a solid outline in the next couple of weeks, I’ll be ready to fire up Final Draft come April 1st.

And yet, on top of simply churning out a new screenplay (which ain’t necessarily all that simple), there’s the added pressure to hone my “voice” and strive for distinction in my writing.  I alluded to it in my last post and plenty of other posts before that one: it’s not enough to be a good screenwriter to get recognized – you have to be great.  Memorable and magnificent.  So I turned to a book given to me this past Christmas by my good friend and perpetual cheerleader, JF, figuring it might provide inspiration over how to approach this new idea in a new way.  The book is aptly titled Damn Good Advice (for people with talent!) and it’s by George Lois, a pioneer in the advertising industry.

It’s a quick read filled with 120 tips on which Lois elaborates to varying degrees about how to unleash your creative potential.  He offers his advice through the lens of having worked in advertising, but his guidance is applicable to any creative pursuit.  It all comes down to The Big Idea.

Here are a few of the gems Lois shares that resonated with me:

• Always go for The Big Idea.
• Work is worship.
• You can be Cautious or you can be Creative (but there’s no such thing as a Cautious Creative).
• Any great creative idea should stun momentarily – it should seem to be outrageous.
• To constantly inspire breakthrough conceptual thinking, I go to the Metropolitan Museum of Art, religiously, every Sunday.
• Energy begets energy.
• Make your surroundings a metaphor for who you are.

And in an industry where screenwriters often seem to be chasing the market (or are encouraged to do so), whether it be vampires or zombies or fairy tales, I particularly loved Lois’s mantra: A trend is a trap.  As he so articulately puts it: Because advertising and marketing is an art, the solution to each new problem or challenge should begin with a blank canvas and an open mind, not with the nervous borrowings of other people’s mediocrities.  In any creative industry, the fact that others are moving in a certain direction is always proof positive, at least to me, that a new direction is the only direction.

Hopefully, I’ll discover that new direction through my next script.