Four More Hours
For those who have been following me you know I’m writing a screenplay that films in June. My self-imposed deadlines are not too far off base and now I’ve gotten my writing schedule down to a timeline— creative process included. Today was a productive six-hour writing session. I’ve identified what’s left to wrap up this second draft and by my calculations, four more hours will plug holes and remedy the typos. Does clocking my imaginative operandi work? Well…I’ll find that out when I read it again a few days from now to see if I’m still in love with my own words.
What did work? Sending my screenplay around to readers who hold the role of DP, actor, administrator, friend and screenwriter friend. The first draft was distributed to many more people, but as I have found in my own reading habits, only three or four people are really going to return with notes. And thankfully they did!
I received exactly what I needed: The same three major questions asked from a small cross-section of interested parties. Anyone who takes on an adaptation and then prepares for a second draft knows they have to be willing to toss the book aside and follow the detours provided by draft number one. Second draft means drifting father off into space — with no lifeline. I came armed, though. I had my three areas of concern to address — confirmed by my friends — and I have my lead actress as Muse to envision as the protagonist who in the narrative turns an ordinary day at work on its head.
Because I’m filming a microbudget, the drama has to happen around a central location. My characters are at the office, but I cannot fall into writing “The Office.” Turning the TV off goes a long way. In the constant pressure to move a story forward, is that when you go back and reference the book? The original story source? For me, that’s not an option. I am in too deep, or at least I think so.
When reviewing the end of the second act and the speeches (I must cut down) from a nemesis who shows up uninvited I have to re-examine my strong supporting character and what makes him tick. In the book, a reference to his sex life was a character description not fully drawn through scenarios and chapter titles. So maybe that’s where the cinematic storytelling lies. Something I felt I could not possibly include in this abridged version known as my adapted screenplay now makes it back in. It’s natural (or unnatural depending on how the audience responds to the sexual habits of this character) when these human traits lead the writer through nuance, interpersonal relationships, and the fulfillment of their declaration of intent. In fact, when that happens a writer has a chance for a strong second draft. We get to live in an organic space. And that’s nirvana.
Today is Wednesday. Of course when I read the draft again on Saturday, I run the risk of none of this making any sense. Stay with me.
