Script prep: Laying out the cards...

I'm currently in the middle of developing a script up in my second story home office and I thought it might be informative to share a bit of the plot outlining phase of my pre-draft process.

What you see here is my day bed taken over by my project.  What's obviously apparent is that I still like to use the old index card method of laying out the scenes--playing with how to structure the telling of my tale. 

I've laid out the three acts, with the white cards the A plot and the blue cards the B plot.  I find working with actual cards like this allows me to get a tactile feel for the developing story and I can add, remove, and shuffle scenes with ease.  When I'm working on Act 3 for example, I have acts 1 and 2 instantly available at a glance and I can actually see and feel the emerging structure of the whole script right there in front of me and make adjustments as needed.  There are digital software versions for doing this of course, but this simple visual method still works best for me.

The only drawback is that for the duration of my plot outlining, I have to find somewhere else to take my short afternoon naps.

                                         *                    *                   *                   *

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 from June 22 to July 1 and we're current considering applications for starting the program next January at our residency scheduled for January 5-14, 2018.  If you're interested in finding out more about our program, email me at buzzmclaughlin@gmail.com and we can start a dialogue.

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.  You can follow me on Twitter @eitherorfilms or @mfastagescreen.  I’m also on Facebook at buzzmclaughlinscriptconsulting.  

Why most scripts are toss-aways

It may sound harsh, but most new scripts that are out there making the rounds will end up before long in the proverbial circular file.  As much as 90 percent or more is my estimate.

The reason?  Because most writers are are in much too big of a hurry to get into draft and let their accumulating pages dictate where their story goes.  And doing so makes them feel like they're making lovely progress when in fact in most cases they are blindly heading into the weeds.

What so often happens is that 30, 50, or 70 pages in it begins to be clear that something isn't right--the story needs another character to bolster a major element in the story, or a character who has taken up a lot of space in the story no longer has a structural reason for being in such a prominent position, or a new major exciting plot element suddenly surfaces that hasn't been even whispered about in the preceding pages.... It's inevitable that new discoveries like this will always be made as more and more pages materialize.

The problem--and I have run into this countless times as a script consultant and teacher--is that when gut instincts tell writers that major adjustments should be made usually involving reworking significant portions of a script-in-the making, they have so fallen in love with all those pages already in the stack that it becomes almost impossible to consider throwing them out.  They remember vividly the pain and struggle it took to produce them and in their judgement it's all very well written. So there's an attempt to "fix" around and in between those already written precious pages, with the rationalization that these patch ups are doing the trick.

Sadly, these fixes rarely work because what's really required is a major rewrite and finding the guts to throw out sometimes large portions of what's been already written and sometimes starting over from page one.  So the "finished" draft ends up a crippled patchwork of what could have been.  Those "darlings" are all still intact, but the story unfolds in fits and starts at best.

So what do I suggest?  Don't start your draft until you're ready.  Not until after you've done extensive character exploratory backstory work and worked out a detailed plot outline that has steady forward momentum and that has your central character landing where you want that character to land.  Many past posts on this blog deal with various aspects of this pre-draft work and a good portion of my book deals with this as well.

The message here is not to rush into draft before you're ready.  And always remember that you already are writing your script as you work through your pre-draft explorations.

                                        *                    *                   *                   *

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 from June 22 to July 1 and we're current considering applications for starting the program next January at our residency scheduled for January 5-14, 2018.  If you're interested, email me at buzzmclaughlin@gmail.com and we can start a dialogue.

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.  You can follow me on Twitter @eitherorfilms or @mfastagescreen.  I’m also on Facebook at buzzmclaughlinscriptconsulting.

Giving your characters rope...

As you plunge into your first draft on any project it's imperative that you allow your characters free rein to wander where they want to wander.  To let them surprise you as they find their rhythm and start wanting to go places you haven't charted for them to go in your pre-draft work.  In other words, give them some rope...

This is an essential requirement if you ever hope to write a script with a sense of spontaneity and that comes fully to life.  And it's what keeps the writing of that draft a true adventure.

However, there is one caveat.

To keep your characters from getting hopelessly lost and turning back to you for guidance (which they most certainly will), it's equally imperative that you have a well crafted plot outline worked out beforehand that supplies a basic road map to get you from the starting gate of your story to your final destination.  It can never be written in stone, but it should definitely supply a charted path from beginning to end if and when you need it.  Because this is what frees you up and liberates you--by allowing those wonderful characters you've fallen in love with to take as much rope as they feel they need as they journey through the wilderness of your first draft.

And then when they do get lost, you have the means to pull them back on track.

                                           *                    *                   *                   *

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 just ended, running from January 6-15, and we are currently accepting applications for starting the program with our June 2017 residency running from June 23-July 2.  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.

You can follow me on Twitter @eitherorfilms or @mfastagescreen.  I’m also on Facebook at buzzmclaughlinscriptconsulting. 

At the first draft starting gate: the spontaneity factor

If you've faithfully done your due diligence with your pre-draft exploratory work on character backstories, discovering their voices, and working out an initial plot outline for your whole story, there comes a point when you find yourself as prepared as you'll ever be to make the initial plunge into draft.

When that's where you find yourself in the process, there are a number of things to keep in mind as you face page one.  And one of the most important is what I call "the spontaneity factor."

The benefit of having done thorough pre-draft work, including a rather detailed plot outline or treatment of your story, is that you have gotten to know your traveling companions quite well and you'll be departing with them on your journey with a road map beside you that guarantees a route to the final destination.  And this gives you the freedom--the permission--to let your characters talk you into getting off the pre-planned route and explore any number of side roads that may materialize.

There's no law that says you have to adhere to the route you've charted out.  If and when your characters prompt a change in your course, let them have their way.  Welcome the unexpected and explore every impulse.  You want things to happen that are total surprises.  Your people may do things that will shock you.  And you should always be encouraged when they seemingly take over, leading the story in a new direction.  This shows that they have life and vitality in the world you've placed them in.

The beauty is that your road map is still there on the seat beside you when and if you do get lost.  It's   still available when your traveling companions agree with you that it's time to push on toward your final destination.  It'll help show you how to get your party back to the main road or figure out an alternate route that will still get the group where it eventually needs to go.  The point is that writing the first draft should be an adventure and spontaneity is a key factor in allowing it to come fully to life.

                                 *                    *                   *                   *

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 just ended, running from January 6-15, and we are currently accepting applications for starting the program with our June 2017 residency running from June 23-July 2.  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.

You can follow me on Twitter @eitherorfilms or @mfastagescreen.  I’m also on Facebook at buzzmclaughlinscriptconsulting. 

Your Act 3 determines your Act 1...

One of the danger areas I've come across with the writers I work with is the understandable urge to get into draft as quickly as possible.  As storytellers this is a natural inclination--"let's get on with it already; enough backstory prep work and plot outlining; I want to start turning out pages."

Unfortunately what often happens when this urge is embraced is that an extraordinary amount of time is spent working and reworking Act 1 without having a clear and consistent focus on the overall structure of the story being told.  And what happens is that there is not the full awareness of what needs to be established in Act 1 that must later pay off in Act 2 and especially in Act 3. In other words, what I often see happening is that the entire story is not kept front and center as the writer immerses him/herself in those opening 25-30 pages, getting lost in trying to perfect the beginning of a script while losing sight of the whole.

Developing organic story structure...

As you're working on developing a new story idea it's fun to get totally consumed in your research and pre-draft character backstory work.  This is as it should be of course.  You find yourself accumulating a mountain of information that you think somehow, one way or another, could be directly or indirectly related to the story you want to end up telling in your finished script.  For many writers this is one of the most enjoyable phases of creating a new work.  And the amount of material gathered can often be extensive.

However, if you work this way (and I hope you do if your endgame is to write a script that pops off the page with characters that have a genuine life of their own operating in a world that has depth and rings authentic) then here's a little tip that will help you process all that pre-draft work and have it pay generous dividends.

Simply put, from the very early stages of developing your idea, begin setting out your plot structure for your story--as simple and basic as it might be at first--and periodically go back to it as you explore your characters backstories, their voices, and research the world your story is set in.

What makes a good dramaturg...?

In one way or another I've worked as a dramaturg or script consultant for over three decades.  I love partnering with writers on developing their stories and getting their scripts to really lift off the page. And throughout the many years I've worked in this capacity there has been one rule that I've always honored and tried to put into practice.

Simply put, I consider my primary responsibility in working with a writer is to make sure I understand what he or she is trying to accomplish with a project in terms of premise or what they hope to leave in the collective heart and mind of the audience--and then help the writer achieve that goal.  In other words, my job is always to aid the writer in arriving at the end result they envision.

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.

                                  *                    *                   *                   *

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.                                 

Can the plot of your script carry the load...?

One of my favorite script clients recently sent me a first draft of a new play.  It was the first time I'd seen or even heard of this particular project.  So I read it with great anticipation.  However, before I got to the third act, I knew that the plot was on increasingly thin ice, that the story was getting top heavy and that the script's structural engineering insufficient and faculty.  To put it bluntly, the whole thing came crashing down like a house of cards.

What happened here was that this writer likes to work out his plot structure as he writes his draft and doesn't want to create the framework for his plot before plunging into the actual script.  As a result, what inevitably happens time and again is that everything--all those many, many first draft pages--have to be put aside and the structure of the story has to be developed and planned out from the ground up.

It's like building a three story building and realizing when you get up to building the third floor that the load has become so great that this final floor can't be supported by what you've built underneath--the foundation and first and second floor can't hold the third.

It might look something like this underneath the surface...

So everything has to be dismantled stick by stick (or scene by scene, page by page) until you're back to square one and you're looking at your original hole in the ground.  And you have no choice--painful as it may be--but to figure out and create viable working drawings before you can attempt reconstructing your edifice.

The problem here is that many writers work this way--plunging into draft way too soon--and most of them have a huge problem with letting go of the pages and scenes they've already written in acts one and two.  I run into this time and again.  The reality is that, to do it right and have a fighting chance to eventually write a script that works, everything in that first draft effort needs to be dismantled and put aside and the story carefully reworked and designed from the ground up.  You have to be willing to let those original pages go. And instead, the story needs to be outlined carefully--engineered in fact--so that when it's reconstructed as a script it's able to carry the full load of the story--a critical part of which is your third act that sits on top of the other two.

                                   *                    *                   *                   *

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 January 3-11, 2016 and we are now considering applications for starting the program with our July 2016 residency that runs July 21-31.  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 Playwrights Process.

Entering the scriptwriting wilderness...

There comes a point in the development of a project when your research, pre-draft exploratory backstory and character work, and your plot outlining reaches a point that you know it's time to plunge into draft.

When you reach this threshold, it's like you're standing on the edge of a vast wilderness, an unknown domain that you somehow have to cross to reach the other side--your distant and often somewhat hazy destination at the far end.

On your back is a pack you've carefully prepared filled with supplies and other necessities for the journey.  And in your hand is your road map that you've carefully developed that hopefully will see you through to the other side.  So, being as prepared as you can be, you take a deep breath and set forth.

A scriptwriting secret: taking it one step at a time...

I'm currently working with a script client who is agonizing over his strong sense that he's missing something critical in his plot outline for a screenplay--something that will be a key to his story lifting off and really hitting the bull's-eye.  In fact, it's been stalling progress on his project and has pretty much left him walking in circles around his writing room with little forward movement at all.  He wants to have as complete a road map as possible before plunging into draft (and rightly so), but is stuck as to how to make that happen.

A scriptwriting tool for plot invention

My last blog post centered on the process of plot invention and a practical approach to accomplishing that end--namely using index cards (or the equivalent) and building your story one heart beat at a time.

To add to this, I recommend you take a look at a very interesting and well-written book by Daniel J. Levitin called The Organized Mind: Thinking Straight in the Age of Information Overload.  Among many other things, Levitin breaks down the index card technique and advances the reasons that successful creative people use this method of organizing their lives or, for our purposes, how writers come up with their stories.  What he presents reads like a textbook for how to invent the plot for your story idea.

Plot outlining--a scriptwriting key

The other day I walked back into the modest guest wing of our home that serves double-duty as my wife Kris's writing office.  Kris was not there and a part of me felt like I was intruding on her private world.  But I couldn't help but notice that on the quilt covering one of the single beds was an impressive array of 3 x 5 index cards with hand written notes on them.  The cards were arranged in three columns, each of which was identified with its own card at the top that read Act 1, Act 2, and Act 3.  What I was looking at, of course, was the beginnings of the plot invention for the novel she's working on.