It's all subjective

Every writer will tell you that criticism and rejection comes with the territory and you have to suck it up and get on with it. Good advice.

But they are missing out the stage before sucking it up which is usualy along the lines of thinking 'What the fuck is this no -nothing twat on about'

But you say it to yourself, and then you suck it up.

Because unless you are talking to God's gift to screenwriting that should be your reaction. They are talking about a piece of work your heart and soul has gone into. Of course you're going to be pissed off if they don't like it. But it has to be a quiet pissed off that quickly passes and doesn't dent your confidence.

The important thing to remember is that much the same as two different writers will have different takes on the same scenario, so too will two different producers on the same piece of work.

Is it bad or good? It's subjective.

I have a script that I wrote years ago and pretty much not only got me started in the business but got me a lot of ongoing work over the years as more people read it. Recently some new bod at a major prodco read my latest spec. Okay without too much blowing of trumpets they fucking loved it. Couldn't do it because they actually had a programme airing with a very different but still too close concept. But if I had something else get it to them ASAP! [okay I know that's only one rung up from ''enjoyable read but not for us'', but bear with me]

My agents then sent them the killer script. The old faithful. The sure thing. The work getter.

Didn't like it.

Wasn't as pacey, or witty or dramatic as the one they had just read. Fucking twats!

Except they are absolutely right.

I haven't even looked at that script in 3 or 4 years. I still haven't. I'd probably be embarrassed to. If I wrote it now it would maybe be 30% different. But if I were a new writer trying to break in it would maybe be much the same. And would maybe still work on that basis. That's a lot of maybe's. But maybe that's what writing's about.

Anyhoo, I kept the wolf from the door off that script, but the old writer's adage says 'love nothing' That has to mean after you've sent it out, not while you're writing it obviously.

Some people will love it, some people won't. Suck it up, it's all subjective. Except when they are right. Always leave enough room in your ego to recognise it when it happens.

Fade Out. What now?

So I've just finished a spec. I mean literally, just finished. Or to be more precise, I've just finished the first draft.

Any excuse for a celebration so I'm going to........oh wait, I'm on the waggon at the mo. Dammit. I'll blog instead.

I tend to revise as I write, so I don't expect huge changes to the draft when I revisit it. Which I'll do in a day or two. Because I like a bit of distance before I dive into rewriting. Or polishing. Because assuming I haven't screwed up the concept [not always safe to assume] that polishing can make all the difference.

Here's one thing it is safe to assume, execs will look for reasons to NOT do a spec rather than find ways to make it work. That isn't a complaint. That is the nature of the business when faced with shelves full of spec scripts.

So my polish will be a 'reader' polish. Specifically geared to make it shine off the page as an interesting and exciting READ.

Heresy! I hear some say. Show don't tell. You can't film adjectives. And the rest of those ''rules''

Bollocks.

The name of the game in a spec is getting the idea, story and characters across to the reader in the clearest, fastest, and most interesting way possible.

I've read a few scripts recently that were technically perfect. Format was spot on. Very professional looking in every regard.

And the dullest read imaginable. You could feel the writers looking at their 'How To Write A Blockbuster ' self help tome on every page.
There is economical writing and there is stark to the point of anal. Stark to the point of anal is not what you want in a spec script. Help the reader out. Don't sacrifice clarity on the alter of format. Most of which seems to be propogated by people who don't actually make a living as professional writers.

If it is capable of being acted you can write it.

''Josh smiles, but in his heart of hearts knows it's bullshit.

Josh
Yeah. Sounds good.''

or


Josh
[falsely]
Yeah. Sounds good.

Ignore the literary merits of my dashed-off example. If I were a reader or an actor or a director I know which one I'd prefer to see. Obviously, assuming the spade work has been done previously then you can do the [falsely] example. But , what if it is at the start of the script? Why risk the meaning of the scene in a paranthetical that may or may not be the best use of the 3 words you can fit in? Why not tell what you are going for in clear concise terms? Again, if it can be filmed or acted, you can write it.

A lot of the best moments you seen on screen are implied in the script. Not written as such. But definitely implied.
The first example allows the actor and director to get exactly what they are supposed to be doing at this point. With a confident actor and director, magic might happen.

But most importantly of all for a spec. The reader gets exactly what is going on.