Thursday, August 08, 2013

Writer's Diary, Thursday

ICYMI, I've been blogarising my writing week as I juggle a couple of script deadlines, a quick rewrite and short film prep. Missed the previous exciting installments?

Day 1, here
Day 2, here
Day 3, here

On to Day 4!

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TL;DR? End of act two shenanigans, iChat feedback, VFX meeting and a bit of script reading.

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Today's 'early' start is 8.30am. I dither a bit online but get cracking on my outline (due next Wednesday) by around 9.30am and work on that for most of the morning. It's a step outline (AKA scene-by-scene breakdown), and I make it to the end of act two. A lot of the work in a step outline will break the back of what actually goes into the script so they're a vital part of the development process, especially in TV. My outline's still a bit rough around the edges but I should have a pre-first draft ready by Monday at the latest which gives me enough time to revise and polish for the deadline rather than frantically starting to write the blasted thing in a last minute rush.

Sam Morrison, my occasional co-writer and animator/director wunderkind, is back from holiday and gives me a nudge on iChat to say hello. I welcome the distraction, and I use the opportunity to show him the two-page pitch that's been killing me lately. I ask him for any 'huh? wuh?' reactions to the document. He duly replies with some insightful comments. I'm able to get the two-pager into a decent shape again (yesterday it spilled into a pesky three-pager; I could make it into a treatment but want to contain it for the moment). I send it off the producer for her comments. I've still got time before lunch so I start reading a script that I need to do some notes on.
During lunch, I go over my notes for the VFX meeting I have with the awesome dudes at VFX Hub who are helping me with my latest short. To do my bit for the planet, I decide to walk to the meeting (around 2.5 miles, today's exercise) and get some sun on my face. The guys at VFX Hub are really cool and enthusiastic about the practicalities of what I want to achieve, which helps ease my complete lack of knowledge of how to shoot VFX. It's well out of my comfort zone and occasionally my instincts will tell me: don't bother, it won't work out, you don't know what you're doing. They're tell-tale instincts, though, which push me to do the opposite: I will bother, it will work out, I don't know what I'm doing but there are people who will help me figure it out. If you find yourself with nagging doubts like these, remember that all it takes is a phone call or an email to get you started, and let the momentum/reaction build from there.

I return from my meeting, and there's an email from my agent asking me to sign contracts. *fake nonchalance* Oh well, if I must. *end fake nonchalance* I also get an email from Mike Garley, editor of VS Comics, who has some small but great suggestions before we sign off on my comic, Feeding Time. The Swedish artist Kristina Gavhed is doing the artwork (is that the right term?); it looks awesome, I'm VERY EXCITED.

Right, darlings, I've got those contracts to sign, and some more script reading to do. Tomorrow, I'm doing some casting for my short, and I'll reveal what the story's all about. Thanks for reading!

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