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Don't Tell, Don't Ask
Every now and again I will buy a book on screenwriting. Even though most of the info is familiar, and I often don't need most of the content, just reading about other writer's processes can often get the creativity flowing and inspire me to get back to work. Plus I usually am able to glean a good technique or two worth trying.
So I picked up Alex Epstein's Crafty Screenwriting.
I tend to be pretty careful about whose books I pick up. F'rinstance, I won't read Syd Field. Nary a screenwriting credit to his name. On the other hand, Epstein, Tom Lazarus, David Trottier, Paul Joseph Gulino, Robin Russin--produced screenwriters all.
So I'm reading the book. It's entertaining, if not completely enlightening, but it contains some good refresher material.
But then I come to one of his big suggestions that he really pushes. He says that once you get an idea and work out a story, you need to tell it to everyone you meet, get their reaction, their input, see what works and what doesn't work as you tell the story, etc. Once you can get through the whole story and have your friends say, "Hey, that's great!" then you're ready to write.
My first reaction was "Bullcrap." I have never believed in telling your story out loud before you've ground it out on paper. Some of the writers I most admire have expressed the same in print here and there. I think Stephen King even devotes a few pages to the concept in his book "On Writing."
You see, my perception of this is kind of like sex. Let's say you and the missus are busy, one of the kids is sick, you're out of town for a couple of days, working late, whatever, and you two just can't seem to get into the sack at the same time. Now, you really want to do it, you guys are pretty hot for each other, but a week, then two weeks goes by without release. Finally you get the kids down early, the bills are paid, the work is done and there the two of you are. Watch for falling rocks, baby! You guys have built up all that pressure for all that time and go at it like you're playing naked rugby.
However, let's say all that is going on, but you're frustrated, so you go wank off every day, or worse, cheat on her, spending yourself all over the place... what are you going to have left when you finally get together? The passion will be gone, used up, wasted.
I feel storytelling is the same way. I have a pattern whatever I write. I let the story build up inside. I tell no one. I write a scene down here and there, a character idea, an incident, whatever. I mull it over in the shower, where I do some of my most creative thinking. It builds up and my mind forces me through the twists and turns to find a resolution. At some point, not when it's all worked out, but when it starts moving well, I start writing, and I follow where my heart and mind go. There's passion from all the pent up creative energy finally finding its way to the script page.
However, I'm game, you know? When someone has been more successful than I at something, I'm willing to give their way a try.
I recently finished one screenplay that I have a couple people reading, and which I'll start rewriting in a few weeks. In the meantime I'm well into another one. Not the writing phase, but the mulling phase. I've got character lists, the majority of the plot, the major conflicts, though I'm still working on the resolution. Well, I figured, here's a chance to try Mr. Epstein's idea.
I told my story twice in the last two days.
I will never do that again.
I feel so dirty. Really, it's weird, but I feel like I betrayed my story. It wasn't ready to be told. The energy wasn't there yet. The pressure hadn't built up to the steaming point. I examined my own heart on it and I found my reluctance wasn't born from fear, as Alex would surmise. Rather I felt... felt, I still feel mildly ashamed, like I exposed myself in public, showed something to others I had no business showing, and I can't take it back. There's a time to get naked, you know? But most of the time, you ought to keep yourself modestly covered and go about your business.
I'm not silly enough to think I've lost the story or screwed it up somehow. But I have learned something. I may not be getting half-a-million against a million for my screenplays, but there are parts of the process I've come to trust and understand, and sometimes you just have to do what you know works.
Epstein just wants to save writers the trouble of writing it down first then finding out it kinda sucks. For some of us though, it's the process of writing it down that makes us discover the real story we're telling.
Sometimes there are simply no shortcuts.
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EVOC Me, Baby
So, there I am at the Barnes & Noble in Ventura.
I travel to SoCal nearly every week this time of year, getting my deals lined up for the coming season. I don't care to do so much traveling because I'm a bit of a homebody. I'd rather be home with my wife and kids, even if we're just vegging and watching something horribly inane, like the Andy Milonakis Show (I put baloney in my left pocket...)
Anyway, so I'm wandering my way through the music/DVD section when my ears perk up at the music piped through the store. It sounds familiar, and yet not so. A few moments later I found myself singing along... in Italian. Yet I can hear drums, electric guitars... what's going on here?
I recognize the song. La Donna e Mobile, probably the one opera aria everyone in America would recognize. Yeah, I sang it when I was training as a young tenor, that and several other operatic mainstays. But this was beautiful, an amazing, modern arrangement.
La Donna e Mobile
So I dash up to the clerk (literally) and ask, "Who IS that?" She points to the little "Now Playing" display 17.4 inches from her elbow with kind of a "Duh" look on her face.
East Village Opera Company
Unless you are an uptight traditionalist with no sense of adventure, you must go out now and buy this CD. Gorgeous, so many familiar tunes given a very bold, modern, beautiful twist.
Now I know this sort of fusion has been done before, notably in the Disco era (long may she stay DEAD.) It's been done pretty well at times, such as Walter Murphy's work, notably a Fifth of Beethoven, or even David Shire's Night on Disco Mountain (from Mussorgsky's Night on Bare Mountain) which is a bit on the campy side, but fun nonetheless.
It's also been done poorly. Very poorly. Anybody remember Hooked on Classics? How lazy can you be? "Hey, let's just stick all this classical music to a rigid, uninteresting beat, hammer all expression out of the music, and sell it to millions of uneducated morons who wish they 'got' classical music!" Unfortunately, that probably set the classical fusion genre back twenty years, which may be why we're just hearing from the East Village Opera Company.
These guys bring a fresh, expressive, creative approach to beautiful songs and make new beautiful songs that remind you of the original genius, yet make you feel like you're hearing it for the first time. I really cannot recommend this recording highly enough. You must buy it. Now.
Thank you for your support.
Posted by Looney @ 9:13 AM