That's a lot of projects for one man. Considering the sheer number of projects he's attached to and the fact his ouvre includes LOST IN SPACE and BATMAN & ROBIN, I have a pet theory that "Akiva Goldsman" is actually a joint Alan Smithee-type of pseudonym that has been deployed when appropriate during the last decade and a half.

Joint WGA and PGA approved pseudonym, I meant

I recommend one piece of software to manage ongoing projects: Scrivener

Opening up a Scrivener file is so much better than opening up a Word document. It's designed for project management. I could wax poetic about it all afternoon, but you really just have to try it out yourself. It was designed by a writer and will only cost you about $50. Once I know I really want to write a story, I start a Scrivener file on it. It's like crossing the Rubicon. After that, all character notes, web pages, research, etc. goes into the file in the right place. The other thing I do is always brainstorm with a notebook and pen. If I'm not jotting something down, it's fantasizing, not brainstorming. The difference between the two was a big learning lesson. Just today, I didn't feel like working, so I opened up my notebook where I'd done some character work two days ago, read what I'd written, and then just segued right into writing new stuff and ended up writing an outline. Not bad for a day's work when you started out wanting to screw around. The next step will be opening up the Scrivener file and transferring the outline, then there's really no turning back.

@Annika: Okay, I'm sold. Heard too many good things about Scrivener. I'll pick it up and tell you what I think.

Different notebooks: check.

Finishing the writing script: check.

Great advice, Scott.

The Incredible Mr. Limpet ? I heard that was dead. I really, really hope it dosen't happen.

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@ Scott - This is a fantastic article about the managing the creative process. Thanks for sharing. A corny analogy inspired by this article: When you meet that idea, it's love at first thought. A sexy idea you spend every waking moment with and thinking about. Late nights on the phone - typing sweet nothings into the memo section. You take the plunge- and pledge to take this idea, to have and to hold, 'til FADE OUT do you part, and you commit exclusively to this one of a kind idea. Then, the honeymoon stage is over. The idea sends you out to the grocery store one night for some fresh tomato and baguette in order to make its famous bruschetta, and bam! You make eyes with a fresh, exotic, new idea, browsing through the basil in search of mint. Then it begins. You're not paying as much attention to your script at home. You're distant. It's like you're just going through the motions, and the second act of your commitment is dying. You're getting started later in the day as a result of spending late nights frolicking and flirting with the details of this new, exciting idea. Your idea at home catches wind of the situation, and cuts it off- into a short story at best, but most likely the relationship is incomplete. Then you move on, seemingly excited to mingle with the mistress of mint, but perhaps the excitement was in the temptation? That spark isn't there as you approach the second act and she sends you out one night for some fresh lime for her famous mojitos, and bam! It's a wash, rinse, repeat cycle. Sorry if this was insanely corny, but I found the thought of it amusing. Scott, this article has made me realize that commitment to idea is paramount. A screenwriter must have LOYALTY to his/her idea. One must take the commitment of opening a new file in Final Draft very seriously. Play the field if you must. As a screenwriter, you can be a PLAYER. Go to bed with as many ideas as you can -and never call them again, but make sure when you're standing on the alter of FADE IN, you're committed to the loyalty of that script. Just needed to get that out of my head. Thanks for the community, Scott, and all the participants. Good day and good writing.

rojomayne, that is a MOST apt analogy. Combine that with Shiny Object Sydrome and a writer faces a pretty stiff form of resistance in getting a script written: the natural flow of the 'relationship' becoming familiar and lose its luster in combination with the excitement of discovering a new idea. Generally speaking it's best to - as you say - remain "loyal" to your script and you do that by FINISHING it. There really is some truth to that whole 10,000 hour thing or 1 million word thing, however you typify whereby we learn the craft by DOING it. So pounding out scripts is key. Plus each finished screenplay represents original IP (intellectual property) and a potential sale, option, writing sample, whereas an unfinished script is a sad, sad sight to behold. Thanks for your observation. If you don't mind, could I use it as the basis of a blog post?