Archive for the 'Psych 101' Category

• e  28 The only one who has seen the movie

  At a screenwriting panel last week, Robin Swicord said something that reframed the issue in a very helpful way.

• e  36 Same script, different day

  Do you ever get sick of working with the same script that you are loathe to even look at it anymore? Yes.

• e  18 When do you move on?

  I can’t reduce it to some simple “He’s Just Not That Into You” formula, but two months is far beyond the limit.

• e  49 When writing partners disagree

  While it’s great to have an extra brain helping to write a script, you’re unlikely to always agree, and compromises may not always make sense.

• e  46 Inspiration, creativity and showing up

  Writer Elizabeth Gilbert discussing healthier ways to look at the creative process.

• e  34 Why do LA people suck?

  Is one reader’s frustration indicative of the Hollywood culture, or specific to him? Likely both.

• e  15 Are writing groups a good idea?

  They’re not a terrible idea, as long as they’re approached with the right expectations.

• e  13 When writing teams break up

  Don’t just think about who “owns” what. There are more practical considerations.

• e  26 Which project should I write?

  I’d recommend writing the one that has the best ending.

• e  24 Nice to meet you. Again. Maybe.

  The Kevin Williamson Problem, explained.

• e  13 Do I need a caveat?

  Hollywood folk are savvy enough to realize that the guys who wrote Saw aren’t any sicker than most screenwriters.

• e  14 Rewriting the rewriter

  Sometimes there’s good reasons why original writers leave and return to their projects.

• e  29 Your first time

  Your first script is like the first time you have sex. It’s not the best sex you’re ever going to have. In fact, it would be sad if it were.

• e  16 Shouldn’t I get credit for the outline?

  Explorations of ownership in a corporate environment.

• e  5 What do you do when the buzz fades?

  You made a movie. Get the most you can out of it, then get cracking on doing the next project.

• e  40 Aquaman is a Pescepublican

  Superhero politics should remain abstract.

• e  20 Making unnecessary and possibly horrible changes

  Making your movie. Keeping your soul.

• e  8 Short questions, short answers

  Why did Edward Bloom leave Ashland? Does beginners luck exist? Shocking answers revealed, inside!

• e  18 Question sprint

  Killing backstories, writing out lyrics and why you will always want to be writing something else (amongst other topics), explored.

• e  26 Advice for terrible writers

  Confronted with a bad script, step back and ask the right questions.

• e  20 They love it and they’re passing

  Capitalize on people’s affection for your script to find something that pays money.

• e  58 Quitting, and the age question

  A tough question. Here are some signs that you should quit or stick with it.

• e  4 September 11th

  How to write when it suddenly seems to become a trivial pursuit.

• e  12 An intern with a script

  Every intern has a script. So tread lightly.

• e  50 Inconvenient brilliance

  Obey the muse, whatever the timing, or risk her departure.

• e  10 Lost Rooms and American Zombies

  When other people have the same ideas and act on them, it helps me clear my slate.

• e  11 When should I panic?

  How to deal with the waiting cycle. The good/bad news: no screenwriter, at any level, is immune.

• e  20 Workshops: An invitiation to idea theft?

  Get over it. No one wants to steal your crappy idea.

• e  28 Depression on film

  You rarely see clinical depression in movies and TV, despite being much more common in real life than, say, retrograde amnesia.

• e  20 Rejection

  Eventually, you learn that you can’t depend on strangers for validation.

• e  32 What if the movie I wrote turns out god-awful?

  This is one of the worst things about being a screenwriter: you ultimately have very little control over the movie that gets made. Here’s how to deal.

• e  46 I am Hillary Clinton’s clavicle

  A political quiz helps understand characters whose beliefs are different from my own.

• e  51 On friends, colleagues and jealousy

  The process of adding and dropping friends and colleagues isn’t unique to this business. It sucks for them. It sucks for you. Accept that and move on.

• e  28 Read lots of bad scripts

  It’s just as important to read bad writing as good.

• e  12 Writing when the movie could get ruined

  Embracing the chaos and letting go.

• e  48 Does bad work spoil mine?

  Rejoice and learn from the suckiness. Their low standards make your great script all the more unusual.

• e  9 Getting sidetracked by other movies

  Tricks to get you back in the mood of your screenplay.

• e  1 Regaining confidence when nothing is working

  Methods for breaking through the self doubt and general madness when you’ve lost your way to the end of your story.

• e  3 The fine line between talented and bonkers

  I don’t think you have to be nuts to be a good writer. Nor do I you should use writing as an excuse for not getting help when you need it.

• e  4 Working, but what’s the next step?

  Important steps for the beginner who’s ready for the next level.

• e  1 Does lack of confidence lead to great writing?

  Pretend you’re confident. Eventually, you will be.

• e  2 Finding confidence

  The flip side of Insecurity tends to be Arrogance. I highly recommend the former over the latter.

• e  Comments Off Past mistakes

  When you don’t think you deserve to be in the room, no one else will, either.

• e  3 Writing is hard

  Don’t wait for flow. It might come; it might not. But it’s your job to keep writing anyway.

• e  8 How old is too old?

  Starting a career in film is difficult at any age, so if it’s 15% more difficult at 35 than 25, I can’t imagine that would deter you.