Fueling the Fires

So, now you’re writing. Good. It may have been a slow, arduous process to get started, but you’re putting words on paper (or on an electromagnetic memory bubble) and that’s the important thing. You’ve got forward motion and momentum.

The question now is, how can you make sure you don’t lose that momentum? How do you make sure that you keep writing, and this doesn’t become a scattered, every- third-weekend activity? Well, this problem was covered in your driver’s ed class. The simplest way to keep moving is to make sure you have fuel.

Now, hold on, before we go any farther, let’s pause for a moment so I can explain my one, single, simple rule. What works for me may not work for you and it almost definitely won’t work for that guy over there. That’s one of the most important things about writing-- finding out what methods and habits will work best for you. My girlfriend requires near-silence to work, but I usually put some music or a classic movie on in the background (the first draft of this little essay was written during The Day The Earth Stood Still). I also dislike too much input once I’ve got the idea in my head, while my friend Eric writes best working with his wife, Trish. I’ve read that Stephen King works mostly in the morning, while Neil Gaiman writes almost exclusively at night (but I’ve never met either gentleman, so that could all be a pack of lies I just made up to round out this paragraph).

In the end, if anyone (including me) gives you a rule for how you have to write, take it with a grain of salt. If they tell you this is absolutely the one and only way the process of writing can take place, have a whole spoonful of salt. Writing is a very personal, individual process, and all any of us can do is suggest what works in our own day to day lives to keep us at it. One of your jobs as a writer is to sift through all the hints, tips, and suggestions you hear and figure out which ones work for you.

Which brings us back to momentum and fuel. The simplest law to follow is the basic input-output rule we’ve all heard since our school days. What goes in influences what comes out. In order to write, you must read. And if you want screenplays to come out, you have to put movies in. Good movies and bad movies, screenplays and scripts, movies in your favorite genre by your favorite director, and movies you’d never watch by people you’ve never heard of.

Now some of you may be like my downstairs neighbor, the Vamp. She wants to write a book, but she’s not really into reading. She’s still pretty sure she can write a best-seller, though. If this also describes you, ask yourself this-- if you don’t love watching movies, or if you hate reading scripts, how can you possibly hope to write one?

So, that’s what you need to be doing. Read scripts, watch movies, and study them with a passion. Where you can, read the screenplay and watch the film. Find the best movie you can think of in your chosen genre, examine it, and figure out what it does right. Why is he or she your favorite character? What makes this your favorite scene? Why do people like this film?

Now, once you’ve done that, watch the worst movies you can find and pin down what they do wrong. Yes, anyone can say “it just sucks,” but can you identify specifically what needs to change with the story? Watch the whole movie (not just a random scene or two) and track problems that plague the script. If you got hired for the remake, what would you change?

This is one of the hallmark skills of a good writer. Most of us can tell that a scene works, but being able to tell why things work in a scene is a separate skill altogether. How often have you seen a screenplay copy a scene from another film without really understanding why it worked originally?

Oh, and before you start downloading or running to the Writer’s Guild Foundation to read scripts, here’s one more additional tip. Don’t read screenplays from thirty or forty years ago and use these as your golden standard. Styles change; formats change, and while Chinatown is still an amazing movie, odds are no one would touch that script today. On a similar note, don’t read screenplays by Quentin Tarrantino, Robert Rodriguez, or Christopher Nolan. They may be some of your favorites, but these gentlemen are usually in the extremely lucky position of writing scripts they know they are going to direct, which gives them a little more leeway and freedom in their work. They weren’t necessarily doing anything wrong, but if you or I tried it, we would definitely not be doing it right.

So, now that you know what fuel to use, go forth and stoke your fire. Give yourself the energy to keep moving forward on your projects. And keep writing. Above all, you must write.