Writing A Script, Part 9: Rewriting
Here’s another in a series of 10 posts about how I approach writing a script. Previous posts:
PART 9: REWRITING
Writing is rewriting. That’s the old saying. And it’s primarily about fixing story problems. The problems can be manifold, but the typical issues I run into include:
* Story structure: Perhaps the first act is 45 pages long. Two big plot points in Act II feel too close together. The final act feels rushed. I spend a lot of time feeling my way through and reworking the story structure.
* Logic problems: Events happen or characters do things which don’t make sense. If a reader doesn’t buy that one of my characters would logically do something they do, then I’ve got a big problem.
* Lack of focus: This pertains to the plotline, subplots, character functions, themes and transformation arcs. Almost always, in the writing of the first draft, a lot of this stuff emerges, so the issue is really more about digging deeper into what I’ve surfaced, pulling together the various elements.
* Episodic: There will be sections or scenes within the script that feel episodic; this almost always is the result of that scenes not having a strong, direct link to the Plotline or an accompanying subplot.
* Emotion: Is the emotional experience of the storyline working? Do I feel anything? Do I feel the right things? A script reader wants to feel something. What are the points of emotional resonance in my script?
I’m also always on the look-out for callbacks, lines or bits of action which I’ve uncovered in the writing process: Implementing those carefully in the script is a great way to provide both continuity and measure a character’s emotional growth. Plus, I like to kick around themes which emerge, see how I can best use those to tie together the overall story.
I may take as much as 2–3 weeks to break down the first draft. This can require more brainstorming, character work, plotting and the rest. I create a hybrid outline to help steer the writing of the second draft. And then I write the draft.
In some ways, rewriting a second draft is almost more difficult than the first draft because it represents a lot of grunt work, all the while knowing that there may still be story problems lying in wait. This is where I call upon another writing mantra:
“The only way out is through.”
If I allow myself to get caught up in the enormity of the process, that can paralyze me. And so I focus on this scene, this page, and even this side of dialogue.
Again the script diary can be enormously helpful as I go there to complain about things not working. Invariably through that cathartic process, the solutions emerge.
Once I start the actual page-writing part of the rewrite, it typically takes around 3–4 weeks to get to FADE OUT. Obviously that can vary, but I want to make sure to take enough time to iron out the big story problems.
After I get done with the second draft, I will oftentimes give the script to a handful of screenwriters who are my friends for feedback.
Once I finish the second draft, I like to take off a few days. Set it aside. Review. Assess. Rewrite. However many drafts it takes. Remember: “The only way out is through!”
Eventually I get to the point where the only changes are pretty much cosmetic, requiring only some editing. And that is the subject of my last post on the subject which will be available tomorrow.
[Originally posted June 14, 2008]