How to have fun writing your first draft...

I'm a big believer that the writing of your first draft can for the most part be an enjoyable adventure. I know I mention this quite often, but I'm convinced it all depends on what kind of planning and prep work you've done before leaving on the journey.  It's no different than any kind of extensive trip you intend to head out on.

Primary among the items you want to have with you before embarking are a detailed working knowledge of your characters' personal and shared backstories, an ear for their distinct voices, and, of course, a plot outline road map that takes you on one possible basic route through your tale from beginning to end.  Armed with these key elements, you should be able to take off on your first draft trip relatively confident that you'll somehow find your way through to your predetermined destination or some other landing place that the writing of the draft itself has led you to.  And having this pre-draft work in hand can in fact liberate you as the writer, freeing you to try things and explore those interesting side roads along the way.

So it ultimately comes down to preparation for the journey.  I constantly stress this with the writers I work with.  And if that preparation is done thoroughly and you believe you have everything you might need with you as you venture forth, then the chances are that the writing of your first draft can indeed be a fun and creative experience.

On the other hand, if you prematurely plunge into your draft expecting that most if not all the answers to the questions your story raises will somehow magically be handed to you in the actual writing of pages, you are most likely headed for frustration and will find yourself staring at a mountain of exploratory scenes that lead you nowhere.  It'd be like heading out on a trip through unknown and uncharted territory with no road map or guideposts on the seat next to you when you inevitably take that wrong turn and end up totally and hopelessly lost.

It's been proven to me countless times that making the effort to do the necessary pre-draft exploratory work, including working your way through at least one rather detailed version of your entire story in outline form, will actually greatly increase the chances of allowing the writing of your first draft to be a relatively frustration-free and even a liberating experience.  Writing a first draft is always a tremendous effort regardless, but with your prep work beside you, you can now take those interesting and unexpected side trips when they materialize without worry of losing your way.  And if those side roads and detours uncover entirely new ideas and possibilities, you're still in a vastly superior position to digest them intelligently and make the necessary adjustments to your story.  Or you'll be able to find a way to somehow hook these new discoveries back into your central character's arc, thereby enriching the overall journey.

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I'm the Program Director of the low-residency MFA in Writing for Stage and Screen being offered by the New Hampshire Institute of Art.  Our last residency ran July 21-31, 2016 and we are now considering applications for starting the program with our January 2017 residency that runs January 6-15.  I'm also a playwright and screenwriter, producing partner in my production company Either/Or Films (The Sensation of Sight and Only Daughter) a professional script consultant, and the author of The Playwright's Process.

A classic problem in scriptwriting...

I've been working with several writers in the past few weeks as they work on plot invention and laying in the necessary information for a story to make sense and to move forward at a good clip.
And in the process the old classic issue of how to deal with exposition always rears its head and one way or another has to be dealt with.

What I've been finding myself explaining multiple times is that often the one sure-fire way--maybe the only sure-fire way--to plant critical information in your developing story is to find a way to weave it into an argument between your characters.  The simple truth is that an audience will be interested first and foremost in the dynamics of the disagreement or conflict they're witnessing--how the characters are reacting to each other emotionally and how each is responding personally.  And in the midst of the argument and heated exchange, the characters will be compelled to throw out the information you need the audience to hear for the story to make sense and move forward.

The interesting aspect of this is that your audience won't even realize that they've just absorbed key facts that have to be a part of your unfolding story.  They hear the exposition--the actual words describing the info that has to somehow get into your script--but it's delivered to them under the table so to speak.  What your audience is caught up by is the argument and the accompanying emotional colors that couch it.

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I'm the Program Director of the low-residency MFA in Writing for Stage and Screen being offered by the New Hampshire Institute of Art.  Our last residency ran July 21-31, 2016 and we are now considering applications for starting the program with our January 2017 residency that runs January 6-15.  I'm also a playwright and screenwriter, producing partner in my production company Either/Or Films (The Sensation of Sight and Only Daughter) a professional script consultant, and the author of The Playwright's Process.                                 

Contaminating the writing process...

A lot of my students and clients are currently in the middle of writing their first working drafts of new work.  Something about the fall season and the urge to hunker down that writers pick up on, not to mention my MFA program's requirement for every student to turn in a working draft of a new full-length script by mid-December.  

So I feel compelled to once again remind all writers out there that it's so important to keep your developing draft to yourself as you work your way through it for the first time.  In my view, it's imperative that you protect this private process from all outside influence.  Other than sharing with a professional and experienced mentor or script consultant, you should embrace as a hard and fast rule to always keep your journey through that first draft a private experience. Otherwise you risk seriously contaminating your writing and your own artistic vision of the story you're creating.

Nothing can destroy a first draft faster than to show pages to your close friends and other well-meaning people in your life.  They'll want to and even feel obligated to give you feedback.  But the moment you allow people to give you input, you won't be able to get it out of your head, whether it's positive or negative.  It's contamination either way.  You've let others into a place where they should never be allowed to enter. 

Resisting this urge to share your first draft discoveries helps build an increasingly stronger and more intimate connection between you and your material.  It's as if your relationship with your characters were taking on the deeper sense of trust and mutual confidence that you would have with real people.  What's happening as you pile up pages is that your script becomes increasingly yours and your characters' own secret and your unique source of strength.  This, in turn, produces an energy which helps propel you through to the end.  Even when you're stuck on something and go through a few or many days of feeling lost, the experience remains a private one, shared only with the people inside the developing story.

The time will come soon enough when it's necessary and useful to share your script with others and hear what they have to say.  In the writing of your first draft, however, it's just as critical that you don't.  

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I'm the Program Director of the low-residency MFA in Writing for Stage and Screen being offered by the New Hampshire Institute of Art.  Our last residency ran July 21-31, 2016 and we are now considering applications for starting the program with our January 2017 residency that runs January 6-15.  I'm also a playwright and screenwriter, producing partner in my production company Either/Or Films (The Sensation of Sight and Only Daughter) a professional script consultant, and the author of The Playwright's Process.

My encounter with Edward Albee...

Last month the news swept through the theatre and entertainment world that Edward Albee passed away.  Unarguably one of America's greatest playwrights, Albee left a mark on American dramatic literature that has only been equaled by the likes of O'Neill, Miller, and Williams.  He was a towering figure and his work will live on after him as his plays continually come alive on the stages of the world.

During his professional life Albee also had a reputation of being a prickly and oftentimes difficult man whose arrogance could turn people off and that could make him a handful to work with.  I thought my own encounter with him several years ago might be interesting to relate in this regard.