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HABITS OF WORK
"As we approach any creative endeavor, we must prepare
ourselves with new and careful habits of work"
Our habits
of working are by far the most crucial part
of the writing process. The word process
itself is a word that gently reminds us that
the work is done in careful steps,
each one leading to the next. If we rush
into the body of the work before we're
properly prepared, then the process breaks
down.
However, if
we take our time, forming new habits of
work, then the chances of success in
achieving our creative goals will be
greatly improved.
The word habit
is defined as "characteristic or usual
way of being, doing, growing, etc.;
character, tendency, disposition"
or "a
thing done often and, hence, easily;
practice; custom. An acquired pattern of
action that is automatic and thus difficult
to break."
The word work
is defined as "A
physical or mental effort to do or make
something; labor; toil."
If we look
carefully at the true meaning of these two
words and try to apply them to the daily
task of taking on our present projects, we
might be able to create a healthier approach
to our writing.
With the
word habit, we understand it is
something done often, something which
requires practice, a way of being, doing
and growing and, ultimately, a pattern which
is difficult to break.
In our
writing, we have learned specific habits
which have made the process arduous,
confusing and frustrating. My goal is to
find ways to alter these habits of work, so
that the process of beginning a screenplay
will become less painful. Then, we may allow
the process to take root and ultimately,
pave the way for the writer to feel a sense
of completion. A completion which is smooth,
gentle and pleasurable.
The work is
complicated and hard. Hence, the word 'toil'
in its definition. It is precisely because
of this, that approaching the process gently
is crucial.
When we
begin, the most common route is usually to
think of an idea. It is exactly at this
point where most writers set off in a manner
which will make their process far more
difficult.
In my life of movie going, I have never seen a
movie about an idea. Every film, good or bad,
is usually about a person. So, finding that
person (and what interests us about them) is
a top-notch way to begin. We begin, I
believe, in asking ourselves WHY we want to
write a movie? WHY are we compelled to tell
this person's story? WHY do we want to do
this? WHAT is it that has inspired us? WHAT
is our passion?
If we are
able to answer these vital questions, then
we might just discover what it is we want to
write. All of us have a multitude of
opinions, thoughts, desires, and fantasies.
Find out what those are and you will be a step closer
to finding your authentic voice.
Asking specific questions will root out the ones
that mean the most to us. It's here we do the most difficult work, because it's here that
we discover our true voice. And here where we will have authority.
Once we have decided on what, we can begin to seek out
WHOM we choose to embody our beliefs.
Throughout
our school years, we've been told again and
again that to write autobiographical is a
way of cheating the process. I
disagree. I agree that writing about
ourselves specifically can be tedious.
But it is from ourselves that
we can draw the purest riches.
Our
intuition is the wellspring of our
creativity. Every time we sit in a coffee
shop or a park, or walk through a mall or
spend time with friends, we are observing.
Intuitiveness
is the jewel of any creative process. Using
our intuition, trusting it will lead us
closer and closer to the truth in our
writing. While we observe the cashier at the
local mini mart wisecracking with a regular
customer, we can transport ourselves into
her shoes and experience her character. Why?
Because of our intuition, we know `some' of
what it might feel to trade wisecracks with
someone familiar.
By observing
and ingesting, we begin to build the
foundation for our personal sense of
authority. Empowering ourselves with this
authority allows us to write with
conviction. |
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ATTITUDE
"If
we begin with love instead of fear,
the words we write will lead us towards
a world of personal freedom...."
The battles
in writing successfully are won by the
writer's attitude. Identifying the emotional
limitations in your craft will empower you
to be able to write from the heart instead
of the head.
As we
approach our creative pattern - our process
- how we feel about ourselves and what we’re
embarking on play crucial roles in the
success of our writing. We have all heard stories of drunks and madmen
who only wrote well when they were
unwell. When we are at peace, I believe our
focus is better and our vision is clearer
about what it is that we want to write.
Without focus, we are likely to become lost
in a sea of confusion and distraction.
The more we
know about our limitations, our passions, our
opinions and ourselves, the more
information we have at our disposal. If we
let go of the ‘ego’ self and open
ourselves to acquiring new information when
we begin the writing process, we are
prepared to learn again.
If we begin
the process of writing for the screen by
comparing our visions to the films we see,
we sabotage our long range goals. The key is
not to write for the movies of today, but
for the movies of tomorrow. Our responsibility
is great. Film has yet to reach its
potential.
Therefore, a
writer embarking on the path of
screenwriting is saddled with the task of
being able to foresee the future. Not in
technological terms, but in human terms.
What is the audience of tomorrow going to
want to see? What is it that will entertain
them, inspire them, enrich their lives, lift
their spirits and motivate their intellects
to want to share their movie-going
experiences?
As a
screenwriter, it's imperative that we take
the time to know WHY we are writing
for this arena. Why not
books? Or poetry? Or songs?
A few will admit it's the money, the fame and the prestige
of being a part of the family of show business. Belonging to that exclusive club allows
the individual to be seen and heard by millions and millions of people all over
the world.
Without question all of these are good,
solid reasons. However, none of them take into account the obligation that goes with
writing for the medium. This compelling ‘art form’ reaches more people than any other. What a wonderful
thought if ‘we the people’ could use this for the best possible reasons: to
achieve enlightenment, to promote compassion and to share with the world stories of
inspiration and love. It’s just a thought. |
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DISCIPLINE
"1. A branch of knowledge or learning"
This is the first definition of discipline found in
Webster's. Even I was surprised. What does this tell us? For me, it signifies that
with all creative enterprises, learning and the acquisition of knowledge are the most
incisive steps we take before we begin.
Screenwriting
is a CRAFT. Therefore, like any craft, we must learn how to
use it. Seeing 10 movies a week is not
enough. Reading 10 books on "How to
Write a Movie..." is not enough.
Reading 10 scripts a week is not enough.
What is enough, is a willingness to admit
ignorance.
The first
baby steps are discovering what you want to
write about. Once you've discovered that
inner voice, you can begin to take further
steps towards who will carry your message
throughout the story.
Now, let's
break down this definition and see how it
can apply to our process. The first noun in
the definition is the word branch. To me,
this signifies strength, pliable, but solid.
Try to picture yourself as the branch. The
second noun, knowledge, implies something
known, something that we've acquired. This,
too, represents strength. Your strengths.
Your assets. Your knowledge. Finally,
learning, is your willingness to be open, to
receive, to absorb.
These three
words are the keys to mastering the
craft. It is your discipline which, when
carried out, will assist you in the journey
to begin to understand the process of the
craft. The willingness to see yourself as
that branch will enable you to see that you
are strong, yet willing to bend. This, then,
becomes your biggest asset in the search for
your characters and for your stories.
You can let
thoughts, ideas and concepts come in and
go out. Just like the wind. As long as you
remain open, the ideas will follow.
If you've
tackled the first steps in finding out the
reasons you're sitting in front of the
computer writing a screenplay, you'll have
fortified yourself with the knowledge of why
you want to write. Taking this first step
will feel awkward, but your instincts will
drift to ideas, concepts, etc. I encourage
you to stay focused with your own personal,
internal reasons for making this decision.
If you keep your heart here, you will write
with authority and passion. It takes passion
to commit to this craft. Naturally, you'll
move on and begin to construct who will tell
your story. Who will carry your message. Who
will speak for you. Who will act out what's
in your imagination. |
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THE
ABILITY TO RESPOND
"An ability we are born with…"
My first
understanding of the word Responsibility
painted a clear picture of HIGH EXPECTATION.
Whether this was true or not, the
commonality of its meaning was the same for
most of us. It had to do with fear of
failure.
As a
teacher, I have found responsibility
paints the same perception for
most writers. This fear of failing prompted
me to see there was a way of communicating
this word with a softer touch.
Writing
requires the Ability to Respond. This
play on words allows you to feel the
possibilities of your talents without the
expectation of perfect performance. Do you
have the ability to respond to new ideas,
characters, dialogue and structure? Of
course you do.
Applying
this concept to the craft will empower you to
process with personal confidence.
Let’s look
at a typical stumbling block. You’ve
almost finished the second act, but you feel
it rambles. You get stuck. You avoid going
to the source of the problem. You probably
find yourself back in the middle of the
script, attempting to heighten existing
scenes.
Throughout
this process, you feel this nagging sensation
that there’s something bigger that you
need to look at, but you avoid it. Ask
yourself "do I have the ability to
respond to the bigger problem?"
It will take courage to look deeper. You
decide to take the challenge. The quest will
probably lead you back to the Set Up. Once
you’ve taken the first step, the rest will
follow. You’ve lifted your self-esteem a
notch by daring to ask the question. Finding
the answers will be easy. Almost always, the
Second Act angst will relate to either the
structure or the main character’s voice.
You may have
a long First Act, or a short First Act. The
jeopardy may be weak, or without a purpose. Every
scene must have purpose. It requires
your willingness to respond to the
question of purpose that will provide the
answers.
In my
opinion, the most frequent dilemma writer's
face is maintaining their point of view
throughout the script. Every great film
proposes an ethical question to the
audience. Even the films that we dismiss as
simply box office hits contain some sort of
philosophy. Take 'Independence Day,' for
example. What was the point of
view/ethic/philosophy? A simple story about
how people of all races and religions
can come together to defeat a formidable
adversary. The same can be said for
"Star Wars," "Crimson
Tide," etc.
In each of
these scripts, the characters proved they
had the ability to respond. In most
great films, those who are willing to take
responsibility inspire us.
When you decide that you are ready to market your
work, you must be able to respond to the work required. Too often, writers expect
the doors of Hollywood to fly open without question. Taking responsibility for
your part in the selling process is by far the most crucial aspect in your career goals.
You know the drill. Letters, phone calls, more letters,
festivals, contests, networking, etc. There is no way around doing this work. Having
the ability to respond to the task at hand requires commitment, courage and creativity.
Why spend so
much time dissecting this word? If you are committed to the craft of
screenwriting, then having the ability to respond and knowing what your
responsibility to the audience is, will help you define your personal point of view.
We are
living in a time of waning cynicism. Taking responsibility
for our actions is essential for us to
survive as a community. It is my belief that
being responsible no longer harbors
the stigma it once did.
Those of you that have been reading my musings this
past year know that I’m an eternal optimist. ‘Hope’ is my middle name. I
reach out to you, and you respond. I know this with certainty. For the past year,
1,685 writers have laid open their hearts on my desk. What is so remarkable is that all
of them, without exception, have shown their ability to respond.
Responsibility is a wonderful characteristic. It is noble
and courageous. At some point in our lives, we are forced to face the truth about our
work and ourselves. When we do, we grow. When we grow, we change. When we change, we
crystallize our philosophy, our ethic, and our point of view.
It works for me. I hope it works for you. |
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CREATIVE
INSIGHT
When creative expression is interrupted, judged
and over analyzed, the joy of participating in the dance disappears.
Breathe, then breathe in again. Breathe in the
perfect moment of your first insight.
There are times when insight may come in a rush, like the
ocean; but as soon as inspiration appears, it washes out to sea. Try to hold on to it; write it down.
Don’t wait until later when you're at your computer. Jot it on a napkin, a matchbook
or your hand, but write it down.
When you get home, write the insight down once more, and see how it
feels. Loosely, without demands or expectations, try to expand the thought.
Now, rest with it. Leave it alone for now. Open up a
new file and write the following question.
"Why do I want to write?" Explore all the
reasons. Write from your heart, and write as much as you can about your personal
reasons. Write about this until you’re written out. Good. You’ve started. Now
give yourself a pat on the back and turn the computer off. This is a good days
work. Just don’t forget to breathe.
When you return to the words, there will probably be an
overwhelming sense of expectation. Performance anxiety rears its
ugly head and you may find yourself rearranging your pencils, filing, or simply
doing things that you know you can accomplish. Whatever you do, don’t beat up on
yourself for not writing. What’s happening is a creative choice. You are committing to
your insight.
Sometimes, you may have to go through this two or three
times before you come up with the one that feels closest to your center. That’s okay.
It’s a normal part of your process.
It is at this stage where most of us freeze. Fear of failure is paralyzing. The distance
before us seems endless.
The expectation is that the idea will come in a
straight line. What about that left turn just up ahead or the yield sign in rush
hour traffic? Creating requires you embrace the unexpected.
The decision here is for your self. Will you
choose to go forward or abandoned the process? Your passion for the artistic
experience eats away at you. You want this, but you want it to present itself, all
wrapped up in a perfect package.
Writing/Creating is hard work. So let’s commit to it, and
tread gently as we make our way through the forest of our own darkest expectations. |
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WHAT DO YOU KNOW
ABOUT CHARACTER?
Contrary to the well-worn theory, the most comprehensive
source of information about character comes from within you.
You are the encyclopedia of people and places
that will shape your art. Sometimes it’s difficult to trust this vast well of life
experience. I believe it's because we tend to remember events in a way that makes them
appear as though they were happening to someone else. These moments in our lives are
what helped shape who we are today, and who we can become tomorrow.
Characteristics are the stories of our lives, the myths we’ve
created as a result of our life experience. These myths are why we create. To put words,
music, art in motion into the telling of our stories.
Which of these characteristics move you; keep you
coming back over and over again? It’s an abundance of the never-ending miracles of
memory.
Once you’re able to identify your choices, you should
feel a surge of self-esteem. It’s sort of like knowing when to come in out of the
storm. This is the first moment of artistic choice that propels you to want more. If you
avoid the work on character, you’ll probably find yourself lost in the details.
Trust in what you know. Be brave. Welcome the
unknown.
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