Live To Write Another Day by Dean Orion (books to read in your 20s female .txt) 📗

you’ll discover that on a high level, the structure is similar and the core message remains unchanged, but since some of the content is different, the story is expressed in a whole new way. Again, this is because the story exists separately from you. You have merely taken another run at tuning in the radio and brought the signal through a little clearer this time.

The key is to be just as patient as you were with the first draft. You don’t want to jump back in too soon and start formally composing the scenes until you feel absolutely confident with the new structure.

 Make Your Battle Plan

Now it’s time to apply this new structure. I approach this part of the process by opening the script document in Final Draft and making notes within each scene using a different color font (leaving the text of the original scene intact for the moment). This is similar to the process of creating the original outline, only now I frame my descriptions of each scene a little differently. Instead of describing the content, I explain to myself what has to be done with each scene as I move forward with the rewrite. Basically, I’m writing myself an instruction manual—or as I like to think of it, a battle plan.

Here’s a hypothetical example:

INT. DINER (page 10)

This scene stays the same as the previous draft. Dan still meets Lucy at the diner.

 

INT. LUCY’S APARTMENT (page 30)

This scene is essentially the same as the previous draft, except instead of blurting out: “Will you marry me?” and then having second thoughts about it, the moment the words leave Dan’s lips, he hesitates—which makes it obvious to Lucy that he’s having second thoughts and ruins the entire evening. Lucy leaves, pissed.

 

INT. LUCY’S APT. BLDG. – HALLWAY (page 35)

Insert a new scene here where Dan leaves a yellow rose at the foot of Lucy’s door.

 

EXT. AMUSEMENT PARK (page 50)

Adjust this scene per the earlier notes. Instead of making this the scene where Lucy loses the ring, this is now the “make-up” scene. Put it on the street in front of Lucy’s apartment instead of at the amusement park. Or maybe put it in the diner where she and Dan first met?

You see how I asked myself a question there in that last note? You don’t have to have all the answers at this point. You just have to give yourself a pretty clear idea of what needs to be done so you have something to lean on later when you come back to write the scene in earnest. You also don’t need to worry quite as much about the details of scenes that come later, because those scenes will inevitably be affected by how the earlier ones turn out. Not that you shouldn’t have a solid plan for them. Just keep in mind that those later scenes are the ones that will most likely deviate from the plan, so remain flexible.

If you’re getting paid to write the script or if your note giver is highly invested in your development of it, you may also want to consider giving them the battle plan before you actually execute the rewrite. What this does is show them the scene-by-scene detail of what they will see in the revised draft. This can be a very valuable way to avoid miscommunication with an employer, because if they sign off on the battle plan, chances are pretty good they’ll like the rewrite. On the other hand, if they have more notes after they see the battle plan, then you have just saved yourself an enormous amount of time, because it’s a hell of a lot easier to revise the plan than it is to revise the rewritten script.

Remember, the goal here is to raise the level of the work with each successive note session, to tune that radio signal in clearer and clearer so that your story eventually comes as close as it possibly can to that pure, perfect form in your mind. That doesn’t mean you can’t make a successful sharp, ninety-degree turn at any point along the way. Just be sure to always fall back on your process, create that sound battle plan, and always be mindful to keep the main thrust of the effort consistent with your core message.

SURVIVAL GUIDE SUMMARY

9. The Art of Executing Notes

Things to Remember:

•Once you’re ready to start your rewrite, it’s time to tune out your note giver. The note giver has left the building.

•A major revision means there are significant changes that need to be made to the structure of the story.

•A minor revision may involve adding or removing selected scenes, but mostly entails revising action and dialogue within the existing structure.

•Don’t be afraid to go back to the white board or the index cards to execute your rewrite.

•Be prepared to let go of every scene.

•Use a double-yellow-pad approach, writing down the current structure on one pad, and the new one on another.

•Be patient. Don’t start composing the new scenes until you’re absolutely confident with the new structure.

•Once you have your new structure, make a battle plan, describing within the body of your script how you are going to modify each scene.

•Consider giving your note giver the battle plan for more notes before executing the rewrite.

Questions to Ask Yourself:

•What is the scope of your rewrite? Is it a major or a minor one?

•How long do you think your rewrite is going to take? Make an estimate and see how accurate you are.

•Are there components (individual scenes or sequences) of your old structure you can use as templates for parts of your new structure?

•Is each modification you’re making consistent with your core message?

10. Writing Partners

Being in a writing partnership is kind of like being in a marriage. It’s an intimate relationship that needs to be based on trust, mutual respect, and commitment. You have to really like this other person with whom you’ll be spending a great deal of time and sharing your ideas and your dreams. So