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Writing Process

Better yet, don’t write anything at all

July 31, 2012 Words on the page, Writing Process

I quite like Colson Whitehead’s tongue-in-cheek [writing advice](http://www.nytimes.com/2012/07/29/books/review/colson-whiteheads-rules-for-writing.html?_r=3&src=me&ref=general&pagewanted=all):

> **Rule No. 6:** What isn’t said is as important as what is said. In many classic short stories, the real action occurs in the silences. Try to keep all the good stuff off the page.

> Some “real world” practice might help. The next time your partner comes home, ignore his or her existence for 30 minutes, and then blurt out “That’s it!” and drive the car onto the neighbor’s lawn. When your children approach at bedtime, squeeze their shoulders meaningfully and, if you’re a woman, smear your lipstick across your face with the back of your wrist, or, if you’re a man, weep violently until they say, “It’s O.K., Dad.”

> Drink out of a chipped mug, a souvenir from a family vacation or weekend getaway in better times, one that can trigger a two-paragraph compare/contrast description later on. It’s a bit like Method acting. Simply let this thought guide your every word and gesture: “Something is wrong — can you guess what it is?” If you’re going for something a little more postmodern, repeat the above, but with fish.

Writer’s block and other romantic myths

Episode - 36

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May 8, 2012 QandA, Scriptnotes, Transcribed, Writing Process

John and Craig open the 36th Scriptnotes with a brief discussion about contracts, and then face writer’s block head on.

“Writer’s block” is an overused term. When a writer claims to be suffering from it, he is usually wrestling with some combination of three common problems: procrastination, perfectionism, and fear. “Writer’s block” is a romanticized catch-all that distracts from these real issues.

Screenwriters can use a range of techniques to get over the hump, from setting a kitchen timer, to breaking work down into manageable chunks, to writing in an order that makes sense for the way you work.

They then take two quick listener questions before closing out the episode with this week’s One Cool Thing (TM).

It’s Tuesday! So head over to Panda Express and get yourself a celebratory meal to enjoy with episode 36 of Scriptnotes.

LINKS:

* [Jajangmyeon](http://en.wikipedia.org/wiki/Jajangmyeon), Craig’s Korean noodles
* George Lucas, Seven Spielberg, and Lawrence Kasdan’s [Raiders Story Conference](http://mysterymanonfilm.blogspot.com/2009/03/raiders-story-conference.html)
* [Old Jews Telling Jokes](http://oldjewstellingjokes.com/)
* Charlie Seibel, [Giving a Bull an Enema](http://oldjewstellingjokes.com/post/22190142833) on OJTJ
* [iScore](http://iscorecentral.com/baseball/)
* INTRO: [Simon & Simon](http://www.youtube.com/watch?v=IDhz_mVcVCQ) theme
* OUTRO: [Umbrellas](http://www.youtube.com/watch?v=q9qF1W5xX8Q) by Fredo Viola

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_36.m4a).

**UPDATE** 5-9-12: The transcript of this episode can be found [here](http://johnaugust.com/2012/scriptnotes-ep-36-writers-block-and-other-romantic-myths-transcript).

Kids, cards, whiteboards and outlines

September 12, 2011 Scriptnotes, Transcribed, Writing Process

This week, Craig and I follow up on our earlier comment about kids being the death of screenwriters, then dive into the process of outlining a script, from index cards to whiteboards to spreadsheets.

Along the way, we discuss Curious George, Torchwood and V.

Some links:

* [My Dad Lives in a Downtown Hotel](http://www.imdb.com/title/tt0247549/). Beau Bridges!
* [Curious George Goes to the Hospital](http://www.amazon.com/gp/product/0395070627/ref=as_li_ss_tl?ie=UTF8&tag=johnaugustcom-20&linkCode=as2&camp=217145&creative=399369&creativeASIN=0395070627)
* [Torchwood: Miracle Day](http://www.starz.com/originals/torchwood/Pages/title.aspx?src=starz_mktg&med=referral&cmp=torchwood&cid327)
* [Elizabeth Mitchell](http://en.wikipedia.org/wiki/Elizabeth_Mitchell) [boiling water](http://www.corbisimages.com/stock-photo/rights-managed/42-23347152/woman-boiling-water-on-camping-stove), perhaps.
* V theme cover by [Bottin](http://www.bottin.it/).

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_03.m4a).

**We’re now listed in iTunes.** You can [subscribe here](http://itunes.apple.com/us/podcast/scriptnotes-podcast/id462495496). Ratings and raves are welcome. Questions and feedback are much better posted below, since we can answer back.

We are also listed in Sticher and several other podcast directories. If you are using a third-party player, you can find the podcast feed [here](http://johnaugust.com/podcast/feed).

UPDATE 9-21-11: The transcript of this episode can be found [here](http://johnaugust.com/2011/scriptnotes-ep-3-kids-cards-whiteboards-and-outlines-transcript).

Writing Faster

August 10, 2011 Snake People, The Variant, Writing Process

Michael Agger looks at scientific studies on writing to figure out [why it’s so damn hard](http://www.slate.com/id/2301243/pagenum/all/):

> Kellogg terms the highest level of writing as “knowledge-crafting.” In that state, the writer’s brain is juggling three things: the actual text, what you plan to say next, and — most crucially — theories of how your imagined readership will interpret what’s being written. A highly skilled writer can simultaneously be a writer, editor, and audience.

All that mental shifting slows writers down.

> Since writing is such a cognitively intense task, the key to becoming faster is to develop strategies to make writing literally less mind-blowing. Growing up, we all become speedier writers when our penmanship becomes automatic and we no longer have to think consciously about subject-verb agreement.

I can attest to screenwriting getting easier and faster with practice. The form is so esoteric and strange, with special formatting and rules to follow, that the first few scripts you write are mostly about getting comfortable with the shape of screenplays.

Once you start to recognize the rhythm of the page — how action interrupts dialogue, how to change locations while staying in a story thread — a lot of the frustrating craft stuff melts away. Decisions you used to consciously agonize over get taken care of before you’re even aware of them.

(Or, more geekily, it’s like your brain develops a graphics card to ease the strain on your main processor.)

I really notice the difference when I write prose fiction. I’m happy with both [The Variant](http://johnaugust.com/variant) and [Snake People](http://johnaugust.com/2010/snake-people), but they were exhausting to write, because I found myself far too conscious of every choice.

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