Archive for September, 2009

September 28th, 2009

William Safire – A Personal Memory of an Eloquent Writer

William Safire died yesterday. He was a wonderful writer and a man whose grammatical flair, his intense style and his sense of right and wrong I will always admire. When I read the news of his death, I was saddened, but reminded of my own personal connection to a man who helped shape my direction as a writer.

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It was the spring of 1992, my last semester of high school and I was studying Hamlet in AP English. We were forced to learn the whole “To Be or Not to Be” soliloquy by heart and as if that wasn’t tragedy enough for my teenage schedule, my English teacher, Mrs. Brown, gave the class what appeared to be a fairly straightforward assignment but would take me someplace I never anticipated.

The assignment: Mrs. Brown, gave the class a photocopied “article” written by William Safire that was a list of 20 Hamlet quotes. We were to correctly identify the act, scene, and line of each quote. Simple enough, right? I was able to easily identify 19 of the 20 quotes. I read Hamlet 15 times, by this point. No lie. 15 times. I scoured each line looking for the last quote, but nothing about it was familiar. No giveaways, no hints, no obvious character patois. It was a real puzzler.

No one else in my class could identify the last quote either. Being the industrious and brazen girl I’ve always been, I decided that if I was going to get number 20, I was going to have to go right to the source. Naturally, I did what any normal 17-year-old highschool senior would do, I called The New York Times and asked for some dude named “William Safire,” like he was just some sort of rookie desk jockey, not the respected, award winning journalist that he was.

The receptionist put me through to the Washington division, and then within a second, William Safire answered his own phone, just like he was a regular person. I introduced myself and explained my assignment. I asked if he would just please tell me the answer, after all, he would know, he wrote the thing! His tone was gravely serious. “No, I won’t tell you. That’s cheating.” That wasn’t quite the outcome I was hoping for.

He started off condescending. “Did you even read the play?” I explained I had read the play 15 times now, that coupled with all the re-skimming to find the quote. To prove myself, I even recited “To Be or Not To Be,” for him. He, unlike Mrs. Brown, clapped for me when I was done.

Safire said I was “charming” and then asked “do you know what a Concordance to Shakespeare is?” A Concordance to what? “Uh, no sir, I do not,” I replied. He told me to go the library, and there, I would find a book called A Concordance to Shakespeare. Contained inside this magical book would lie my answer. I should call him back when I have the answer that’s all he said. Like Bastion the young boy in The Never Ending Story, I was on a quest, to find a book that would provide the answer and save the world (well, the first of the two anyway).

Armed with theses instructions, I raced to the library, there I found the magical tome with the answers I sought. A Concordance to Shakespeare is an alphabetical list of every Shakespeare quote from every play, sonnet, anything he ever wrote. If you just know one line from something, you can look it up and voila, all the info you would ever need. And there it was the 20th quote in all its glory! Maybe there was something to this Safire guy after all!

That night at dinner my parents asked me about the William Safire assignment and had I found the 20th quote? I told them “Well yeah, I called The New York Times and spoke to William Safire” My step-mother, Eileen, nearly spit out her wine. My father almost choked. They wanted to know everything; had I spoken to him, what did he say, what was he like?

I couldn’t understand why they cared about some writer guy. My family was impressed with my tenacity, it took gumption to get a literary celebrity on the phone. A “literary celebrity?” Who, this Safire guy? As my family relayed his importance, I felt humiliated, I must have made a fool of myself in front the the prestigious Mr. William Safire.

The following day, I called back William Safire, he again answered his own phone. I told him his advice worked brilliantly and I thanked him for taking the time to help. He told me to hang in there, I told him I’d be going to NYU and he was sure I would do well as a writer.

Six months later, my father and step-mother were attending the White House Correspondence Dinner and found themselves standing next to William Safire at the bar. He was relaying a story of a ballsy high school girl who called him up once to ask for the answer to her homework. My parents looked at each other, as my step-mother interjected, “That was my daughter.” William Safire spent the evening with my parents, he was very nice and inquired about me. They told him how I was thriving at NYU and how happy I was. He was delighted.

Sometimes, as a writer (and as a person) you may not know the rules, and you brazenly run into a room only to have weapons turned on upon you at the doorway. William Safire taught me it was okay to know that I didn’t know. The spirit of asking questions, however potentially embarrassing, has been thoroughly instilled in the very fabric of my writery being.

And so, today, as I was on my Blackberry, the world’s information at my fingertips, I got word that William Safire died. Suddenly, I felt like it was 1992 all over again, and I was an unabashed high school student with nothing but promise and a willingness to get the job done regardless if I would embarrass myself. As I remember my brief encounter with him fondly, I can never discount the power of personal connection with a phenomenal talent; something for which I will be forever grateful. I’ll miss you, William Safire.

Thank you deeply for making me work for it.

September 23rd, 2009

Relationship Porn: Your Jenna Jameson is my Don Draper

Everyone has their porn. For some, the word “porn” may evoke girls in cherry red pumps and little else; not a bad way to spend an afternoon. But there are other kinds of porn out there, porn often more satisfying than sex and better yet, it’s taboo free! For me there has always been “Relationship Porn” and god does it feel good! Oh, yes it does!

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For “Foodies,” there is “Food Porn.” Think Top Chef, Hell’s Kitchen, Iron Chef, all that quick paced, rat-a-tat-tat chopping, steel against wood, parsley minced to beatific perfection resulting in a fluffy cloud of green. How could you not get a little turned on by such a cunning culinary display?

For “Gearheads” there is “Car Porn.” Think Top Gear and American Chopper, all that gleaming chrome, endless road, open terrain whizzing by at dizzying speeds, making you long to drive like The Dark Knight in a tunnel with the dazzling flair of 007. How could you not want to fondle that gear shift, firmly in your grasp, as you punch the clutch?

Then there is my favorite kind of pornography, the very best smut around that satisfies me, and countless other like-minded women, on every level: “Relationship Porn,” the delicate balance of romantic minutiae and overly complicated details woven into a tapestry of magnificent, belabored satisfaction. What a remarkable invention! Shows like 90210, Melrose Place and certainly all daytime soaps like The Young & The Restless create, for me, the sort of feeling you get after taking an hour to eat a single frozen Milky Way; sheer, unadulterated, prolonged ecstasy.

Any television series that revolves around regular characters in love and in peril, progressing in the tiniest of baby steps, while hyper-examining lint sized emotional triviality, falls under the category of “Relationship Porn.” I, like most women television viewers, love the details. I always want to know everything that happened to everybody, ever. and also because the details are what make a story interesting and engaging. It is these details that reveal the character and what invests us in their outcomes.

Felicitylogo1998’s Felicity taught us that a single word could mean so much, to so many. Every time Ben, the hunky Northern Californian barista, said “Hey,” to Felicity it was never clear if it was going to be a good “Hey,” like when they were in love, or a bad “Hey,” like when they weren’t. Either way, the “Hey” signified that they needed to discuss their feelings over lattes and ringlet curls.  And lest we forget a perfect example of contemporary “Relationship Porn:” Mad Men.


MadmenlogoIn Mad Men, not only does the show have the romantic, nostalgic costumes and sets, but it has Don Draper, the king of “Relationship Porn.” He is a cheater, a lover, a genius and the smoothest man on Madison Avenue. It is his devastating good looks that draw in the ladies, but the minutia is with his desperately sad, yet tragically beautiful wife Betty. Then, there’s star-crossed lovers Peggy and Pete, their story so subtle yet so intangible. We only get just enough to tease ourselves, but never quite enough to feel like we’ve eaten a full meal. There is always room for Peggy and Pete, definitely seconds and sometimes thirds

Just as there will never be enough Don Draper, I will always want more “Relationship Porn.” Give me interesting characters, romantic complications and a sincere desire to tickle me slowly with feathery details, and I’m there every time.

In Shaun of the Dead: How do you Pegg it, when you Wright, I discussed how changing details can reinvent a standard plot. Well, in “Relationship Porn,” change even the most insignificant details, and you’ve got season two. With each new detail revealed, a rippling complication can further separate desperate lovers. Yes! More time to savor that sweet character drama melting like chocolate slowly on my tongue. It is the willingness to see heroes vanquish evil, overcome every romantic obstacle and saboteur, and finally be united in a brief yet emotionally satisfying manner that keeps the audience tuning in week after week. The key to keeping the audience around? Our lovers can only be happy momentarily before, once again, they are ripped apart by evil forces determined to ruin the lovers’ chance at a happily ever after. It gets me every time.Real_Wives_NYC

When women talk life with their friends, it’s the details that we focus on.  The salacious details, all dramatic pathos, plots rife with potential conflict and drama in the most delicious possible way, and it will take the long slow road to solve each dilemma. The Real Housewives of NYC is a great example of Reality Show “Relationship Porn” that isn’t sexual or romantic in nature. Since it is about straight women’s relationships and the in-fighting with each other, it is nothing but “Relationship Porn.” There’s Simon, the husband who crashed a “Girl’s Night” dinner party and started a war with Ramona, another party guest, in season one, setting off a series of disastrous and drunken confrontations that are always a train wreck and a delight to behold. Season two found Bethany at odds with Kelly, the newest housewife and resident snotty bitch. As they fought about who was cooler and who was “stupider” and whose face belonged under whose Jimmy Choo, we hated Kelly and her embarrassing display of childish brattiness as we rallied behind Bethany for rising above. Godbless, Bravo!

“Relationship Porn” isn’t about the outcome, it’s about the journey. The satisfaction doesn’t come from the big climax at the end. Because once the secret’s out, then it’s time for the next big reveal and then next, into infinity (or until the show is canceled). It’s pervasive, it’s ubiquitous, and it’s just like life, only better. Revel in those details, soak up all that minutiae. You’re deep in the throws of “Relationship Porn” and, oh god, is that a sexy place to be!

With contributions from Merrel Davis (www.merreldavis.com)

September 18th, 2009

Shaun of the Dead: How do you Pegg it, when you Wright?

HEAD TO HEAD

As part of a new collaborative series of articles with Xandy Sussan of Covermyscript.com and Merrel Davis of MerrelDavis.com, we will deconstruct and evaluate modern and classic films from the screenwriting, directing and story perspectives. Our first movie is Shaun of the Dead. Articles will be cross-posted on both sites.

Shaun of the Dead: How do you Pegg it, when you Wright?

The zombie movie is as pervasive in our cinematic culture as popcorn at the concession stand, but what Shaun of the Dead brings us is a new take on a staid and challenging genre by seamlessly incorporating fresh comedic and romantic details into the traditional George A. Romero style zombie film. Edgar Wright and Simon Pegg figured out how to take a genre and twist it around, all the while, never sacrificing the key elements that make it what it is: a true zombie flick.

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How do you tell a standard story in a way that is so fresh, so new, that while the pacing and character arcs are familiar, the offering is unique and special? How do you avoid being cliché, when there are only so many stories to tell and so many ways in which to tell them? The answer: Change the details. Could it really be that simple? Indeed, the Devil is in the details and the details are what makes a standard, typical, pat plot, fresh and inventive. That is exactly what Wright and Pegg did with Shaun of the Dead.

Shaun of the Dead changed the details in several key ways. In most zombie films, we open with a mysterious outbreak of a virus or some government experiment gone awry. The citizens get infected and then finally, a reluctant hero emerges, with a sawed-off shot gun to save the day… of the dead. But he winds up tragically only saving himself. Wright and Pegg take those elements and redefined them when they created Shaun.

CHARACTER

Xandy Sussan: Shaun, as a character, is archetypal, relatable, and understandable. He has a girlfriend he loves but he can’t get his act together. He works a dead end job, because he can’t get his act together. He has a Hamlet-esque relationship with his sainted mother, and childishly hates his step-father, because he can’t get his act together. Shaun is your basic everyman. The twist? Shaun is, while healthy, a zombie merely plodding through his own life. It takes the confrontation with the real zombies to knock him out of his stupor , to seize life, and to regain his love.

Shaun-Zombie-walk

Both as a character and a visual metaphor, Shaun is what makes this movie such a gem and it is the literalness of the metaphor that makes it so clever. While the concept of the man sleep-walking through life is a well established premise, showing a man literally walking through life like a zombie, until such time as he has to fight actual zombies is a fresh and inventive take on that basic idea. The script wove pedestrian character dilemmas in to the fabric of the story so seamlessly. It used action counterpoint so masterfully, to articulate the problems that it felt there were two films (a romantic comedy and a zombie flick) running side by side, in harmonious, parallel perfection.

Merrel Davis: It is Shaun’s day-to-day minutiae, which establishes his character as someone we know, but that is only half of the character equation. Every Lone Ranger needs his Tonto, and for Shaun, it is the daft and selfish, best friend Ed. Ed appears only as comic relief in the first act, a bumbling fool who is so self-involved that while everyone is running from zombies, it is he who pauses for a silly photo-op or takes a call from a mate looking to score some weed. Others, including Shaun, feel that it is exactly this behavior that is holding Shaun back. Ed’s actions, serve to highlight the duality of Shaun: the man-child and the emerging hero. It is these two discordant characteristics, which illuminate Shaun’s inability to marry his old life with his new.

Shaun-Yelling

When Shaun finally decides that he must grow up, that he must be responsible for more than just himself, it is Ed’s ridiculous and selfish behavior that forces Shaun into a moment of clarity and responsibility. At the height of being surrounded by hundreds of zombies in front of the locked pub, “The Winchester,” Shaun can no longer ignore what he hates about his friend, what he hates about himself.

Like a good “Tonto” always did, when backed in a corner, Ed displays a triumphant act of heroism and sacrifice. When the zombies are closing in on the cellar and it seems as though all is lost, Ed redeems himself and shows Shaun that while you can still be a child at heart, you can also be a man.

Visual Style

Turning an eye to the visual look of Shaun of the Dead, we discover frenetic and fast paced cuts ala Requiem for a Dream for the most mundane of tasks such as brushing teeth. It is this visual reinvention of pedestrian activities which creates a feverish yet controlled environment that enhances the pacing of the plot. It is this filmmaking style, married with intuitive use of tracking shots and visual call backs that makes this movie.

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MD: The first scene is a brilliant piece of filmmaking and editing that immediately pulls the audience in, while exposing several layers of backstory through a series of cut-aways and reveals. The scene begins tight on Shaun. It appears as if he is alone at the bar. Then, as we pull back, Liz is revealed. It now seems as though they are alone having a relationship chat. But then, we go wide again to reveal Ed, as he plays a fruit machine, mere steps away from the quarreling lovers. Then we ratchet back in tight to Shaun and Liz, until the line “It’s not like I don’t like David and Di” where we reveal yet again, there are more players in the room. We cut to a medium wide of David and Dianne as they sit right next to Liz; a hilarious reveal.

This style of editing and shot construction opens up the scene to five players, in a clever way that later echoes the interpersonal relationships and struggles the characters must confront. It also allows for us to go back in tight between two characters and then go wide again, without feeling too jostled.

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XS: I love the entire “You’ve got red on you” sequence and multiple call backs. From the moment it begins, we find a foreboding, yet hilarious rake joke foreshadowing what’s to come. A simple pen stain on a white shirt really means so much more. It establishes character: a schnook of a man whose pen breaks open, ruining his work shirt. We suddenly know all we need to about that guy, and it’s all conveyed through one tiny detail: a small red stain on a white work shirt.

The red ink establishing the bloodshed to come is both a simple and elegant. It is a perfect visual clue to let us know what is just around the corner. When both Ed and Shaun’s Mother subsequently deliver the line “You’ve got red on you,” the meaning and intention is overtly clear. It is a quite clever touch, really.

STORY

The story is as basic as they come. Boy gets girl, boy looses girl, boy gets girl back by slaying zombies. What Wright and Pegg did was take a standard by-the-numbers plot and make it dazzling, simply by adjusting the details and changing up the visual way in which they were presented. They did so without sacrificing originality and staying true to their genre.

XS: The story, on the whole, is satisfying on a number of levels. There’s the romance between Shaun and Liz: their easily relatable problems, their commonplace if not charming arguments, their friends who can’t help but interfere with their own agendas. It’s your standard three act romantic comedy but it delivers with clever, fresh dialogue and a breezy pace.

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MD: Then there is the zombie element, the action, and the adventure. All of which takes us down a path of thrilling edge-of-your-seat entertainment.

As the zombies spill to the streets there are moments that evoke Resident Evil 2, a survival horror video game. These are moments of intense desperation and fear, not only just of the known (zombies) but the overarching fear of the unknown (government conspiracy?)

Shaun embarks on a treasure hunt of sorts, he must go from location to location, saving person by person, until he leads them to relative safety. And, as though the filmmakers knew the audience was getting a little antsy for some gunplay, they deliver in the form of a pump-action shot gun!

XS: And of course there is the comedy to give us a much needed respite from all of the harrowing gore. There’s always room for a joke and Wright and Penn know the proper moment to deliver one, especially in the most dire of circumstances. Whether is be an off-color fart joke (“Shaun, I’m sorry. No, I’m really sorry”) or the more subtle joke (“No, what does ‘exacerbate’ mean?”) there is always an instance, which enhances the story or gives us a momentary break from the non-stop action.

MD: I especially liked the choreographed attack of the elderly zombie backed by the soundtrack of Queen’s Don’t Stop Me Now. It was new, different and gave the audience a catchy tune to bounce around to, while violence was erupting all around us.

A zombie flick is several things: it is a visual story, it is an emotional, and oft times painful journey, it is a bloody catharsis, which by the end, leads us to be reborn, satisfied movie goers. Shaun of the Dead is a perfect example of a film whose details made all the difference between lazing down the path of least resistance and charging down the avenue of newly conceived, exciting peril.

It is with Shaun of the Dead that we rediscover our love of romance, adventure and are thrilled by an equal amount of gory, yet hilarious, zombie slaying. The audience leaves with two lessons: Pay attention to your life, because it’s over before you know it. And that any story is new again when you simply change the details. The details are what will make your script and subsequent film stand out from the lackluster trite projects that consistently glut the marketplace. Shaun of the Dead should inspire you, as it did us, to employ standard structure and stay true to our chosen genre, but be intrepid when crafting original and creative, stand-out details.

September 16th, 2009

Xandy and the Screenwriting Squad

It’s 1975 and I’m standing in a room filled with high-level creative executives, pitching what I think is an excellent television series. It’s got something for everybody: music, adventure, comedy, action and it’s high concept! Here’s my pitch: It’s an animated comedy / action / adventure series (with an emphasis on comedy) for kids 8-11, about a group of amateur, teenaged detectives who solve crimes, while traveling in a band, on tour, in the future, under water, and their sidekick is a talking shark that sounds like Curly from The Three Stooges. I pause for a moment and let it all sink in. My genius never more apparent to these awestruck executives.

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Guess what? It’s a sale! A total greenlight. And since it’s got a little bit of everything, my 22-minute underwater hijinks, mystery and music romp appeals to even the finickiest 8-11 year old demographic. Indeed, fun will be had as they eat their Saturday morning bowl of Lucky Charms.

Would you believe that such an idea would speak to modern audiences and generations to come with its busy, eclectic and broad comedic plots? It did. In fact it was not me pitching this little golden nugget, but rather it was Ruby and Spears for Hannah-Barbera’s Jabberjaw; my favorite “Kitchen Sink Show,” nuk nuk nuk.

Everyone knows the phrase “everything, but the kitchen sink.” Well, in television there are programs that are everything and the kitchen sink. A “Kitchen Sink Show” is a series concept that is so broad that it encompasses every plot and any idea the creators can think of to fill the allotted time.

Take your most basic of plots, (teenagers solving crime), tack on a suspiciously large laundry list of unnecessary, yet bizarrely colorful elements (in space, in a hot air balloon, in a band, speaks like Don Knotts, on unicycles that talk) and add one more for good measure, (the teenagers are all coconuts) and you’ve got yourself a “Kitchen Sink Show.”

As the sole story analyst for Warner Bros. Animation, I read hundreds of scripts. In the true spirit of the original Hannah-Barbera cartoons, almost every submission I read was a “Kitchen Sink Show.” Somehow, it seemed, each writer was merely lazily throwing in every element, character, and quirky ingredient they could think of in a haphazard manner. I soon came to realize, it wasn’t really laziness, but a loving yet misguided homage to the “Kitchen Sink Show” of yesteryear.

The “Kitchen Sink Show” emerged to satisfy two basic market needs: 1) Staying current with modern children’s interests. And; and, 2) Consistently churning out properties, on the cheap, with the least amount of effort.

Regardless of generation, children’s interests generally remain the same and it is this consistency that helps broadcasters choose their programming. They want it to appeal to the greatest number of eyeballs, so, they take an amalgam of “everything kid” and turn it into a show. Kids are into silly comedy. They enjoy action and potential romance, so we have those three elements. Kids also want to see teenagers fighting crime, because it’s aspirational. So, now the characters are detectives. They’re into music, so the show’s heroes are in a band. And then, you add in a funny fourth thing, something quirky to wrap it all up in a seemingly shiny new, if not oddly familiar bow. Et, voilà, you have a “Kitchen Sink Show.”

During the 60’s and 70’s Hannah-Barbera was responsible for an awesome percentage of the on-air children’s Saturday morning programming. They had to think outside of the box and frugally, to get programs to air. Like environmentalists before their time, they knew they must reuse and recycle… character design, concept and premise if they were going to be able to churn out property after property, and the most cost-effective way, is to cannibalize your own properties. They knew, if you paint the kitchen sink, you wind up with a brand new “Kitchen Sink Show!” You go Hannah and Barbera, for being just that clever! It’s a little bit of genius really. They reinvented their properties over and over again, twisting minor details, changing locations, shrewdly disguising that it really was just the same “Kitchen Sink Show,” swaddled in new clothing. And they made a fortune doing it.

Speed Buggy was a show about a group of teenaged detectives, who look alarmingly and suspiciously, exactly like a certain gang from Scooby Doo. They drive around in a busted car, fighting evil forces, solving crime, and the Jalopy transforms into a magical talking race car that can help the kids accomplish their crime solving goals. It’s basically Scooby Doo only sub a talking car for a talking dog, and Hannah-Barbera didn’t even bother to really adjust the character design. They just added a few extra elements to freshen it up.

Today, if you gather a room full of old time animators, they’ll tell you about the grand old days of animation. It was a golden era, where the cartoons were classic. Understand me, I am not advocating that you, as a writer, go and write a “Kitchen Sink Show” and try to pitch it. “Kitchen Sink Shows” are mostly terrible. But they are also a significant piece of television history and are revered for their nostalgic charm. While today, a series like Captain Caveman probably would be incarnated as a poorly dubbed Japanese import, its charm, its personality and the peaceful simplistic story telling would be lost to flashing lights, obnoxious dialogue and bad design.

Where it used to simply take moxie to break into animation, now it requires a team of assassin-like agents, a library to rival Shakespeare’s, a high-concept premise, and Carl Lewis’ track record just to get a meeting. And the saddest part is, that for sentimentality, the “Kitchen Sink Show” is no more.

But it’s funny, after listing what it takes to break into animation writing, I realized I just created my own “Kitchen Sink Show.” It’s called Xandy and the Screenwriting Squad. It’s a futuristic romp, where a modern screenwriter goes back in time to the animation heyday. Armed with my library rivaling Shakespeare’s, my team of assassin-like agents, my moxie, my all-girl rock band (made up of said agents), plus my ability to run track like a god. We write cartoons and solve minor yet eccentrically complex crimes, while running super fast, and then celebrate with a song and a shared chuckle as the episode ends. What do you think? Greenlight? Nuk, nuk, nuk.

With contributions by Merrel Davis (www.merreldavis.com)

September 1st, 2009

Avoiding Mental Spackle: How Not To Fill Holes In Your Script

This is a guest article from Merrel Davis

Recently I worked with a friend, Emery, on the seventh draft of his romantic comedy. He had been toiling away for the better part of a year and he was positive that his opus was now finally ready to send out. When he asked me to give it a once over, before he sent out his queries, I was excited to see where he had landed with his script.

What I encountered, unfortunately, is a very common pitfall. There were gaps in his character development that could only be explained through backstory; they never made it onto the page. He had a handful of obvious typos, and worse still, in a pivotal scene between three main characters, he misused one of the character’s names for all the dialogue, a character that no longer existed. Emery was usually so fastidious about his work, so how could he have missed so many crucial details? The answer was simple: Emery had applied a thick coat of Mental Spackle and he could no longer see even the most minor of infractions.

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Image Creative Commons Licensed / CC BY-NC 2.0

Mental Spackle is a term I’ve coined to describe what the mind of a writer does when revising. As you go through each change, shift scenes, consolidate characters, details inevitably fall through the cracks. With each minor adjustment, with each new scene, even the most dedicated and observant writers will miss minutiae that could ultimately cause their excellent, thoughtful script to be a pass. While a story may exist fully in the writer’s mind, it almost never exists entirely on the page – certainly not in the first couple of revisions. It is very easy for a writer to gloss over holes or problems in story as they revise because as the old saying goes “you can’t see the forest for the trees.” Writers, like Emery, unwittingly become blind nature walkers and every additional revision seems to solidify a layer of spackle somewhere.

Am I Spackling?

It is so easy to get lost “too inside your own head” during the writing process and forget there is a difference between subtext and nothing there at all. You won’t know you are spackling until after you have put away the putty knife. As you write, you’ll gain a sense of depth and breadth of your character. After all, you are living with them every revision. But is it on the page? If you write like I do, then you have likely created detailed backgrounds for all your characters. 98% of this detail will never make it into the script outright. If when you receive notes and you find yourself explaining how your protagonist needed that chocolate ice cream as a child in order to set up his current job loss as a engineering contractor at the end of Act Two, but the ice cream scene isn’t in there, nor mentioned, it is likely you are Mental Spackling.

An example from one of my scripts: My protagonist must make a pointed decision at the age of eight, one which will forever change the direction of his life. In the first two revisions – this decision took place off screen. I knew the decisions, based on the backstory I had developed so, in retrospect, I believed that the different lives he would lead as a result of those decisions would contrast enough. It didn’t. In the next revision, the decision took place on screen, but it still didn’t pronounce in a truly effective manner. Even though I knew what was going on, there was a disconnect between what I knew in my head about the character and what was actually on the page. Mental Spackle struck at the most important incident of the first act! It happens to the best of us, but if you follow a few simple steps, this won’t happen to you.

How do I combat Mental Spackle?

As you are the closest person to your own work, it will always be hard to ferret out things that may seem obvious to others. That’s why it’s always important to have a group of readers whom you trust. I have a friend that is excellent with grammar and typos. I have another who can critically deconstruct even the most challenging plot arcs with ease. I have actor friends who help me make dialogue more authentic.

  • Don’t fly solo. Discuss your work with your trusted peers. The simplest of spackle jobs can be addressed with a read through by someone other than you. Send it out for a round of informal notes. This will catch the top level stuff; grammar, wording, formatting and spelling problems.
  • Have professional coverage written on your script. Getting coverage on your script can really help you make your story a concise, precise and marketable piece of work. A good analyst will deconstruct your story, find your mistakes and missteps and tell you what may be holding your script back. It is through this analysis that you’ll know what works, if your highs are where they belong, and if your characters’ arcs read correctly. Learn a bit more about script reading and how it can help greatly in my other post Script Reading and Analysis: Why?
  • Organize a table read with real actors. There is nothing more helpful than hearing the words you’ve written coming form the mouths of actors. A table read is not for performance sake, it is to hear your dialogue and action text spoken aloud. Does it seem natural? Does it make sense? Does the pacing work? I personally like to have the actors read the script cold. If my characters and their voices are strong, the actors will be able to find their groove easily, and spot embarrassing mistakes, such as Emery’s.
  • Revise, Revise, Revise! Each pass through of your script you’ll find something new to adjust, sweeten and tweak. I know writing is an eager process and instant gratification is the solution for excited writers. And while it may feel like it’s done at the end of revision two or three, it probably isn’t. Space out your revisions. Editing back to back will increase the likelihood that you will accidentally spackle right over major problems because you’re too close to your project to notice.
  • Workshop your script. Workshops provide an immediate, collaborative environment to vet your work. If you are able to get into a workshop with a strong workshop leader and committed participants you’ll find it a worthwhile endeavor. Plus, you never know what comment will spark that “Eureka!” moment that will help you fix your script.
  • Most importantly, Step away for a bit. If you have the luxury, let the work breathe. You can’t eat a pie straight from the oven, and you can’t finish a script and shoot it out to the world before really making sure that every detail, every character, every scene is perfect. For every writer there is a want, a need to finish a revision and share it with the world. That urgency is healthy. But being hasty can be your downfall.

Avoiding Mental Spackle altogether is impossible. Your mind will always fill in your character’s gaps, confuse removed scenes from five drafts ago with your current version and think like they are still a part of the script.

So, after Emery and I finished our consultation, he was astonished he had overlooked such obvious items. I explained to him that Mental Spackle afflicts even the best of us. But the only real way to make sure that doesn’t happen is diligence, patience and a solid core group of trusted friends, readers and peers to help keep you on track. While writing a script is a solitary business, taking your script to the next level is only possible when you get good, thorough and thoughtful feedback.

Instead of succumbing to mind-numbing Mental Spackle, plan ahead and be methodical. Lest you end up like Emery. While his script used to take place in Kansas, it was moved to outer space. Apparently, Emery didn’t catch that when he changed the meet-cute from the Wichita Wal-Mart to his new location planet Merrilia, he left the stage directions the same. But who knows, maybe Emery knows something about inter-stellar retail that we don’t.

(Merrel Davis is a NYC based screenwriter, story analyst and director. Article written with contributions from Xandy Sussan at CoverMyScript.com)