CaitlinPodiak at 2012-04-19 11:44:23:
My friend Adam sold his very first script, which also made the Black List. Then the pressure of writing under contract made him feel like Barton Fink, so he decided to throw in the towel and go back to Harvard for a science PhD instead.
Kevin Johnson at 2012-04-19 11:59:09:
I as of this moment have 9 animated TV sitcom specs. I'll have 10 by the end of the month. Is that a decent "writer's equivalent?"
The Bark Bites Back at 2012-04-19 12:24:53:
I started to comment on some of these very points yesterday with regards to balancing theory and actual creativity. I scrapped it because I realized I was going a bit off course, then lo and behold, I read this today. What I had written yesterday was I believe in the rule of three and do not get, at all, the advice sometimes thrown around that one should set something aside and start something else fresh. Writing is problem solving. The author is the God of the world they have created and if they get stuck and don't know how to fix their story, then they're not a very good God nor a good problem solver. Furthermore, I've never figured out these people who write 15-16 scripts. Huh? I admire the ambition, but my gut tells me they keep repeating the same mistakes, over and over and over... because they haven't learned how to actually write. Writing is problem solving. The author is creating some dilemma for their hero to overcome. That's a problem. Finding a way to have them overcome it in a meaningful way the audience can relate to is solving the problem. Think about it: as writers, we're the ones responsible for creating the problem. Why would we bother doing that if we didn't already know the solution before we set out? I know Scott has said this before, but professional writers start with their ending first. How does one go about getting to the end of the journey without first knowing exactly where they want to go? Anyway, that's my hubbub to share. I read a lot of scripts that don't have any theme to speak of and when I ask the writer, they shrug and say "I didn't really think about that". Themes typically come from the climax - how the story turns out, whether they've succeeded or failed, or if they're in a better place despite the tribulations like in Michael Clayton. But the writer needs to know what it is they're working toward because everything that happens up to that point in the climax is going to be the dramatic argument for or against whatever it is they're trying to say, and unfortunately many don't realize this until they're on their third or so script. Hell, it took me several years to look at my first three scripts and ask "what exactly is it I'm trying to communicate here?". Once I figured it out, the quality of my writing benefited greatly - it now was saying something. I was saying something. And once you've figured it out, that fourth script feels like it writes itself in record time because you know more or less what you're doing. There's a purpose to it other than a mere "oh, this is cool!" factor.
Scott at 2012-04-19 14:55:37:
TBBB, we must be in sync because I just started a draft of a new TBOS post titled "They see you as a problem-solver." I've discussed this before, too, but it's worth repeating. A studio exec or producer looks at their slate, and what they see are problems. This script's plot is a mess. That script isn't funny. And this script down here, who the hell knows what's up with that, but it definitely needs work. Problems. Who to solve them? Writers. This is where our critical analytical skills -- the ability to read a script or manuscript, identify the problems, then suggest viable solutions -- are... well... critical. I talked about that a bit here. It should go without saying that you develop those critical analytical skills by reading a ton of scripts, breaking down a ton of movies, and confronting and solving problems that arise when you write your own scripts. Thanks for weighing in with a great observation.
The Bark Bites Back at 2012-04-19 15:30:22:
Yep, definitely in sync! When I started to write this yesterday, I was saying with regards to learning theories, that the writer's journey will have one always learning and that I personally found there to be a learning curve. That quest to get better will ultimately lead people to seek more knowledge out and for myself at least, that came from recognizing there were problems to begin with.
SimAlex2000 at 2012-04-19 16:05:35:
God, I understand this far too well.
Summer Johnson at 2012-04-19 20:08:11:
This is the best, most practical advice you could offer. And I would suggest one more step. Once you've completed that third script, go back to your first. If the concept still grabs you and you think it's worth the time...do another rewrite. It will be an eye-opening experience and give such a confidence boost.
Sean Z P Harris at 2012-04-20 02:55:19:
Totally agree with everything being said here. Would you say that a first (and indeed, second) script should only be considered as training exercises? Only, I'm coming to the end of my first script and was toying with the idea of sending it out when it's completed, but now I'm not sure I should.