open road

Just peeking in to say 'hello pumpkins!' Nothing much to report at all - but that's the whole point of blogging sometimes isn't it? Good.
So notes on notes on notes. The rewrite is proving a real pain and I'm at the stage where I feel like stepping off completely ('No-oo' I hear some cry. 'Do it!' others murmur.)
The main problem: 'moving goal posts'. Yes that old chestnut. I take aim to find everything's now in a different place. Plus the latest strategy is to get me to incorporate elements of previous scripts into this one. Stuff that! No. Way. However I can be very reasonable if it is worth my while. Cough.

Let's see.
Friday now. Holidays here next week. Time for a glass of PG. Cheers! And what are you doing?

sizzle

Update: I've been letting both scripts simmer on the front burner. So it's been more about absorbing and responding to feedback and having discussions towards the next draft and thinking and drinking lots of tea. There's a great post from Danny here 'writing wrongs' which deals with the writer's role in rewriting. (Yeah I know you've all read it but maybe there's someone out there who hasn't)

There's now the possibility of an absolutely sizzling film project which I'm very excited about and definitely want to be involved in. Ok powers that be - make it happen!

On other fronts - attended a Film Finance seminar the other evening - organised by WIFT and the Cape Film Commission. This provided a case study for financing a low budget R6mil local feature film (not a co-prod) under the revised film and television production incentive.

Speakers Nadia Surjee and Karin Liebenberg from the DTI provided an overview of how they process projects of this budget and how the new tax rebate works.
Basil Ford from the IDC then gave a detailed overview of the IDC's equity funding and the instruments he is currently developing to accommodate the changes that the new incentive is bringing about with regard to cash-flowing the rebate. With the incentive likely generating a greater spread of risk and therefore more lower budget local films being financed, there will also be a requirement for 'shepherding' newer and inexperienced companies.
Kethiwe Ngcobo from SABC drama then outlined the broadcaster's plans for a new film fund which is now in the 'implementation cycle' with a potential spend of between R20-40mil by 09. She mentioned plans to accommodate films with a range of budgets. She also pointed out the challenges facing the SABC (being a government backed, commissioner of content) as it establishes ways of working with other local financiers.
Next up producer Paul Raleigh from Film Finances together with colleague attorney Guy MacLeod presented an overview of their new initiative 'PAL' established to employ their experience to shepherd young, new and HDI companies through film financing. PAL will look at projects at script stage.

Well that turned into a long one.
Laters

Please send page 30

Ha! Delivered the script on Friday and that's what their email said today. I kind of half hoped they might not notice that I'd left out this smallish chunk. Instead, I'd inserted a note. Now they want the missing page. Hmm - better hand it over.

Other than that, there's tightening up to be done, but they seem pleased. Result.

Mood: smiley. Page count: Finished (- 1)

catch up

OK the blog has gone a bit slow. I blame scribomatic - I mean the idea that up to 300 beady-eyed scribes all over the globe might be reading your hasty prose - within seconds of posting it - is a little intimidating don't you think?

So about the script - it's starting to go out. At this stage I always like to get feedback from 'punters' - people who aren't in any way connected to the industry but who may like to go and see the film. This can be very useful.

Now I didn't set out to do this - but I seem to have written a story which men get excited about but which doesn't exactly get women dancing in the aisles. Hmmm. Women seem to want more of the 'family relationships' aspect of it - which is not really what the story is about. This is odd since, as a writer, I'm not really drawn to 'man films'. I'm not going to queue to see There Will be blood no matter how many plaudits it receives. Oil? - Sorry but no. Well not that kind of oil. Cooking oil possibly. Sun tan oil maybe. But drilled oil - agggghh .

Anyway have you ever found a particular script you've written appeals to certain folks more than others?

What else? - there isn't too much else that I can say right now about script progress* except that things continue to move forward and I've learned not to say 'no' straight away to suggestions (even when I want to - ha!) and that it is better not to have too many encumbrances too early on. Hmm.

Ok for anyone who might be in a writerly quandary right now - there's always the runes. Type in any question you need the answer to.
I was just piffing about and asked about my script and got wunjo (in the critical position). 'Wunjo is a rune of the gods and of perfection, carrying with it the elation that blazes from the creation of a perfect work - perhaps this is the true joy of the gods, that they can create perfection. That aside, this rune does not focus on the struggle for perfection or on our inevitable imperfections, but rather on a job well done and the satisfaction that comes from it.'

Yee haaa!

Laters

merits of feedback

I've blogged briefly about feedback but I think it might be useful to go into more depth especially since feedback on my latest script has varied so much in quality and usefulness.

I think there are basically 6 types of feedback

1) The mum (best friend) feedback. Well we all know what this is like - usually over the top, complimentary, uncritical and non-analytical, always delivered verbally and ends with "well I know you're a good story teller anyway." The best thing about the mum/best friend feedback is that it is quick - they read it usually before anyone else. The worse thing is the lack of impartiality.
However, I have been wondering lately whether it is possible to combine the mum /best friend feedback with the Michael Arndt feedback sheet.
If you hand your mum/best friend a printed sheet where they have to rate particular categories of your script from 1- 10 and also rate the weakest elements - then perhaps it could be more helpful....hmmmm?

2) The spot on feedback - usually comes from someone older and wiser than the writer. This feedback is from someone who knows you, knows your writing, your narrative leanings, your weak spots, your inspirations, your motivators. This is the most valuable feedback you can get - because not only does it hone in on exactly what is wrong with a particular script but it presents that information to you in a wholly acceptable manner and thus propels you towards writing greatness.. ahem. The 'spot-on' feedback is always correct. It can say when the idea is completely off the boil and should be abandoned.
The downside to such feedback - is that it is rarely available 'on demand' so there's a tendency for the writer to over-rely on it. Remember the feedback favours must be returned with as much wisdom as can be mustered.

3) The mish-mash feedback. The mish-mash feedback is your average, everyday run-of-the-mill feedback containing some moments of brilliance yet little to surprise the writer. It is quite likely that the mish-mash feedback person does not respond particularly well to your story or was not excited by the writing.The mish-mash feedback is indecisive and contains mixed messages which tend to confuse the writer.

4) The slasher feedback. This is feedback from someone who either doesn't really 'get' the story at all or who only ever scanned the script - but nevertheless considers their opinion to be both important and useful. Slasher feedback is delivered with confidence and aplomb and holds little regard for the writer. Slasher feedback is characterised by negative phrases, snarky witticisms - and always demonstrates a lack of ability to see a way through any narrative difficulties. The slasher may even take it upon themselves to cut up your script for you and send you back a mutilated or completely re-arranged version of your text for your appraisal.
It is worth reading the slasher feedback with care, as on occasion, there can be the odd suggestion which may prove valuable ..

5) The late feedback. There's the feedback that always comes after you have sent your script off - usually from a busy person. Luckily it usually confirms all the strengths and weaknesses that you have acknowledged in your script and therefore rarely creates much agitation.

6) The executive feedback is frequently paradoxical or confusing. Never wanting to appear mistaken, it tends to be short and convoluted. This type of feedback usually accompanies a 'no'. The 'no' can arrive quickly or slowly. However if the 'no' comes from someone high up, who has obviously read the entire script - within a week of it being sent, then don't be disheartened - because that's really not too bad at all.....

good, bad and the ugly

Just received another helping of feedback on my script - which this time was apposite, thorough, practical and constructive. It articulated issues which I hadn't been able to put my finger on as well as confirmed that I'm on the right track and was right to follow my instincts. So for now I'm going to do another print off, work out the 'through story' properly and then tackle the last revision.

Getting a critique is a bit like taking a child to the doctor when you don't really know what's wrong with them. Amputation is unlikely to be the best answer.

Laters

19 pages

Well I suppose you could call it feedback - but hacking nineteen pages out of a script and then sending it back - feels more like amputation...

Hmm. But it has sparked some intriguing solutions - so here I am - back at the drawing board. But after this, it's finished and going off no matter what...

Update: have now decided to await feedback from long-standing 'friend-in-scripts' (whose feedback is always spot on.) Have to follow your instincts sometimes - and mine was telling me to put those pages back in!

feeding back

I quite like the idea of Michael Arndt's script feedback 'form' that Jurgen Wolff mentioned on his blog recently. To read JW's post click here.

'He gives his friends a form to fill out. On it, they are asked to rate from 1 to 10 how well each of the major characters comes across, and how effective they felt each of the major scenes is. He also gives them a list of ten things he thinks might be wrong with the script and asks them to rate to what extent (again, 1 to 10)'

I like the fact that this type of feedback is writer-led - so could be more useful in the early drafts. The questionnaire could be adapted to suit a particular script. It could also help eliminate vague or conflicting PO3 feedback - (for those that go that route)

Hmmm. Might try it.

notes

The long awaited notes arrived today - 4 pages of feedback on an 8 page treatment - which is exceptional value for money in my book - especially since they were free (thanks to the UKFC's script development submission feedback scheme)

So while I have a good think, I'll finish grouting.