Now we’re cookin’ with gas… 7 pages down today!
We’ve had the truck break down on the road, had to take off into the woods on foot, gotten lost, been chased through a wide open meadow by beasties, come across an abandoned mill, and been trapped by a mountain lion!
Writing this action sequence has been really interesting… we can fly along, since our outline is pretty solid. We know the sequence of events, and the left-margin, to keep the pacing flowing, is by necessity very Hemingway-esque… no Literary flourish.
The lion advances.
She takes aim.
The cat sniffs the air, growls.
Her trigger finger tenses.
Like that. Very short and sweet.
Similarly, our dialogue through these passages goes quickly, since at this point there is no subtext — when people shout “Look out! Run!” that’s pretty much what they mean. We don’t have to struggle with finding their hidden meanings, with finding subtle ways to communicate unspoken intentions. So the pages are flying by.
Hours (chip): 75
Good day! 3 more pages!
We got our heroes into the crazy old lady’s house, learned her radio isn’t working, got her Daddy’s old 1940’s pickup running, and have escaped just as the creatures attack.
Now we’re on the road down off the mountain.
Interestingly, a point of contention has been whether or not one could even get an old 1940’s truck that’s been in storage for 60 years to start. I’m of the camp that says “weirder things have happened” — both in this script and in other stories. Seriously, the woods are full of strange semi-mythical beasties and we’re concerned over whether it’s realistic for an old truck to start up? Sean has long since become less critical of the idea. But in deference to Sean (and other similarly critical readers) we’ve long ago agreed that we’d infer the COL (Crazy Old Lady) has been keeping the truck running in hopes her Daddy might come home. We gave her a line (“I’m not allowed to drive, but Daddy lets me start his truck every morning.”) and we’ll dress out the garage with some oil cans and a gas can.
We keep thinking we’re past any real subtext, then finding ourselves in a scene where someone has a secret or a secret is revealed… takes lots longer to suss out those scenes, to keep that dialogue ringing true, and still keep the pacing up where it needs to be at this point. It’s essentially an action sequence, but every line still comes from a character whose backstory and emotional profile has been pretty well defined, so we can’t get away with any lazy writing.
Which is fine — we’d rather be writing a hard story about complex characters than spewing out something cardboard and easy.
Still, we’re looking forward to more action!
Hours (chip): 71
Two more days of story outline refinement. Didn’t make any huge changes in the outline, but just focused on some greater detail in the events, made sure we understood each character’s motivations and state-of-mind going into each scene.
In the process, discovered two HUGE plot holes (ashamed to admit) but plugged them.
Sometimes you read something over and over again and don’t see the typos… these holes have the same magical quality. Our heroes spend the whole third act in a desperate effort to get to safety and a radio. When they get to that place, they spend their time with a rube goldbergian experiment to help ward off the beasties… but never use the radio.
Similarly, they take off in the end headed for town, by way of a route we’ve earlier established has been compromised.
It wasn’t hard to fix… in our minds eyes we knew kind of why that was, but we realize that we’d never addressed it. So now we’ve addressed it. Both of ’em. Fixed. Phew!
Still, feeling kinda stoopid.
Did end up writing out the dialogue for one passage… probably the last scene in the film in which we’ll have an opportunity to reveal anything about the characters through any real subtext. Last chance for a “real conversation”, in other words, so wanted to be sure we hit any points that needed hitting, yet find an elegant way to do it that didn’t feel forced. It actually worked out quite nicely, and also reveals just a little more mythos around the creatures at the same time. We’re pretty proud of it.
Still on page 61.
Hours (chip): 68
So we’ve got one or two scripts up on InkTip.com… have had many prodcos read the synopses, one or two read the script. No earth shattering leads from the service so far.
BUT we do subscribe to the InkTip newsletter, in which we get leads on prodcos who are looking for specific kinds of writers or scripts. This week’s newsletter came through, and there’s a surprisingly good fit for this current project we’re working on…
We can’t give away the details of our creature, but I think it’s safe to say this: our story follows two young couples who buy a cabin in the Northern California woods, only to find the woods are teeming with strange mythological beasties.
Today’s InkTip lead is from a prodco looking for a horror film that takes place in Northern California, and features beasties of a mythological type.
So we ask ourselves — how many people are there with scripts that specifically suited to this prodco’s request? We’re hoping, “few”.
Problem is, we can’t respond to the InkTip posting without having the script completed and WGA registered (InkTip rules). So we’ve made a renewed commitment to complete the script in one week. We’ve got 61 pages done, so if we can average 4-5 pages a day, we can be at our 90 goal inside 7 days. Hopefully in time to contact said prodco.
And if we don’t get in with them, we’ll still be done – which is always a good thing.
So afterburners on…
Thanks to my good friend Jeff Palmer for this link:
WGA’s Angle On series features a video interview of several screenwriters at Sundance, discussing the constraints and advantages of writing for indie film, and some of the best advice they’ve gotten in their careers.