Writing is Hard

Believe me, the irony of writing about how hard it is to write does not escape me.
Seriously though, trying to write a television show and a blog while holding down two jobs is draining. And daunting. What ideas or stories do I think I could possibly write that could entertain and amuse, and that haven't already been written? No pressure, right? The worst part is that you're limited only by your own imagination. These characters that you've created can be anything, do anything and say anything, so long as it doesn't surpass the audience's suspension of reality and is somehow rooted in truth.

There's an internet's worth of forums, formats and formulas for writing: rules to follow or how to properly break them, strategies to get your creativity flowing, schedules to keep to deadlines, tips to get what you've written read. It's crazy how much writing I've read in order to write (say that five times fast)

The fact is people want to be entertained and they don't want that entertainment interrupted by reality. Anything from a continuity mistake to some wholly unbelievable plot twist is going to make people quit reading, change the channel or click another video. Luckily, I think this is where I have an edge.

For two years all I did was read scripts and poke holes in them. Some of my notes were taken to heart, others were completely ignored and usually to the detriment of the production *pats self of back. 
Side bar: For anyone looking to produce anything, this is the reason you hire script supervisors. I know we don't seem as important as the camera or sound or lighting, but we are an invaluable, sometimes intangible, asset to any production. Please don't ask me why I'm important, if you don't know you're production is already in trouble. And if any of my crew friends are on a shoot without a scripty, don't expect the production to go far. I'm not gloating, every production needs someone who has eyes on everything at all times to monitor the level of reality your creating. No script is a pretty evident indication that your production team is a) clueless, b) cutting corners, c) not worried about real quality. Just saying. (I am aware how self-promoting this sounds. Just remember I'm not actually in the biz anymore so this is not an attempt to pump myself up, more of a public service announcement).

Then I would get on set with this script I've poked holes in and would act as the Reality Police to guard against any crazy that could pull the audience out of the story. License plates that are from New York City when we're set in California. Clothes, cars, or technology that don't exist in the 1980s. Reflections of the crew in the main characters sunglasses. Making sure the actor actually looks like they're playing the cello when in fact they are not. Ensuring actors have taken out their earring before shooting because their character wouldn't wear one. (Apparently, six or seven times in this film they do because you're forgetful and stubborn.)


Now, when I'm writing I know where the pitfalls lie and I can (hopefully) avoid them before we even get to the production part of it. Granted when you're on a roll and the ideas are coming faster than you can type, sometimes it requires a second or third read-through or a second set of eyes (Thanks Kate) to find these minute errors.

Some times things are not in the script and inferences must be made by the script supervisor before shooting in order to make the product maintain the integrity of the story. Scripts are written for interpretation. Any script that comes right out and says everything is amateur. Actors and directors should be given leeway to add their talents to the end product. Scripts shouldn't give the characters intent, exact stage directions or camera angles. That's not the writer's job. If you're that much of a control freak and require your script to be an exact replica of what you've written, produce it yourself. And if you're a crazy perfectionist like myself, you can write, produce, script supervise, and act in it. Just make sure that each job is done individually and that you write as the writer and not as the actor.

Easy things to miss or get lost in:

•  time line: how much time passes within an episode, between scenes or between episodes
• props: where do they come from, where do they end up, do they follow into another scene
• entrances and exits: in order to show progress characters needs to travel across the screen in a single direction, so if they exit camera right, they have to enter camera left. Otherwise, the audience perceives them as lost and bouncing back and forth.
• costumes: do the scenes happen in the same day? if so, did they change outfits for some reason? Is there an accessory, like a watch, that the character wears in a particular scene that they should be wearing the whole time?
• dialogue: people need to look like they're talking to each other. Ever heard of 'crossing the 180' this is it. (see pictures)

See? Looks like they're talking to each other. But what if she was facing the other direction?


Not so much anymore. Who knows what they're looking at.

Granted, most of these things are going to come up on set, but they need to be considered beforehand. If you do not have an answers to these questions you will not fair well.

Anyway, back to writing. After much research and discussion, we've opted for 12 (used to be 13) episodes, approximately 10 minutes long. It's a comedy. And it's about us. So luckily not too much research or in-depth character analysis in needed. We'll leave that to the therapy I obviously need.
 I'm sure many people are aware, but comedy is harder to write and act, then tragedy. If you've done your job and the audience have connected to your characters, then killing them will be tragic and emotional, every time. On the other hand, not everyone is going to laugh. Like ever. Some people will laugh at everything, even things you didn't expect were funny. Some people are more discerning. And then there are the people that just will not laugh. You have to expect that. You will not please everyone. Some people like cheap, blue or dirty humor. Some people like educated, detail-oriented, subtle humor. The best you can hope for is that most people were at least mildly entertained and forget everyone else.

I have presented papers and projects in school. I have sang in recitals and at karaoke. I even had to choreograph and perform a solo dance in front of the football team for a college class. Nothing is more nerve-wracking to me then someone reading a script I've written. Especially, right in front of me. Anytime Kate reads something I'm in total panic mode. Luckily she gets my humor and likes most of my writing and she laughs. Out loud. It's a total rush. I never knew. And now I'm hooked. So read on, readers. I hope you're laughing.

Resurrection

I thought this chapter was over. I thought the door had been closed, locked and deadbolted behind me. I had had a good run but I couldn’t take it. It’s not that I wasn’t good at the work, it was that my life wasn’t my own. Every minute not working was spent looking for work or feeling guilty about not looking, because you never know when that next gig may pop up or that next connection may come through.

Two years ago, after working for three weeks on what should have been my most professional, highest paying script supervisor jobs, I got cheated. I was not paid for my three weeks of work on that project, nor has anyone else I understand. Despite court rulings and subpoenas, I’m still without the money due to me. (This is a whole other story in itself and a long one at that). So I walked away. How can I continue to work and devote my time and energy day after day with no money? That’s how dreams die. And I thought mine had.

Luckily, about that time a new dream was found, so I didn’t have time to mourn the loss of the old one. I’ve been working the last two years in the Visual Department at Macy’s. Or as I refer to it Art and Crafts for Adults, or Retail Production Design. Plus when you’re five months away from being kicked off your parent’s medical insurance, benefits sound like a dream, and a good one.

I now have work/life balance, stability, a social life (I know, crazy right?); I’m actually saving money and being a real life adult. Sure I live with my parents and work two jobs, but these days, who doesn’t? Bottom line: My life is mine and I’m happy. No kidding. I don’t miss family events, weddings or college reunions because I have to be on set. I don’t have to turn down plans because I can’t afford a night out. I get to go on vacation. Like real ones. And get PAID! Side bar: if you have never had vacations days you will never understand the glory of sitting poolside in the Dominican Republic drinking frozen margaritas and getting PAID. I hope everyone has a chance to experience this at least once in their life. Pure bliss.

And yet, something was missing. I didn’t realize it for awhile but no matter how many ninja stars from clothes hangers I made, or tissue paper flowers I created, there was a hole that couldn’t be filled.

Six months ago, Kate, my coworker from the Y where I teach, had an idea. We had realized that a vast majority of us were working at the Y because of it’s flexibility. It allows us to make good money when we need to and drop shifts for conflicts. That was because many of us were pursuing others dreams during our real lives but we needed this job to bankroll it. Actress, director, scientist, carpenter, architect. We’re a group of major over achievers who have picked seriously difficult industries to break into and somehow swinging drinks on weekends was just not going to cut it for us. So we teach kids life skills and we save lives. And this is just our side jobs. Like I said, over achievers.

The idea was that we combine our talents and make our own show. Even if nothing comes from it, it will be fun and we will gain experience and have something to show for it. The concept for this show? Us. And on a bigger scale, Millennials. A comedic portrayal of our experiences and how they either crush or reinforce all the stereotypes of generation Y.

I’m not going to lie. I wasn’t just hesitant at the prospect of such a project, I was against it. I felt like she was unknowingly opening a wound that had just scabbed over. I started by blowing her off. Then as she persisted I asked questions.

“So who do you plan to get to write this?”

“Us.”

“I don’t write” except for a blog a couple of years ago and a password protected journal that no one will ever read.

“Why not?” Damn, good question.

And who’s going to be in it?”

“All of us. Plus anyone else who wants to be involved. There have to be a ton of actors and crew members that are dying to be a part of something fun and well written.” Crap! Another good answer. My facebook is filled with old connections from the business who would relish a chance like this.

She had all the answers to shut me down and as a result, the wheels in my head that had begun to rust, started to turn again. Ideas, scenes, and characters started to form in my mind and soon more people showed interest and were involved. And I started to write. LIttle by little that  hole I hadn’t even recognized, was starting to be filled. I don’t know at what point I really signed on and started to fight for this like Kate had from the beginning, but it was probably the first time someone said “No”.

We wanted to be on the up-and-up with our place of employment, because we’re stand up employees and we didn’t want to guerrilla shoot a show about them, on their own property without their knowledge. Looking back, asking permission instead of forgiveness was not the best course of action, because they said, “No.” Yet, that just spurred me on.

So now it’s written. 10 out of 13 episodes are just about production ready and we’re casting. It’s real, but the best part is that it’s on my timeframe. I do this when I want to, when I need that creative outlet or the ideas won’t stay in my head anymore. And that door that I thought I had deadbolted two years ago is wide open and I’ve stepped through it.

If anyone would like more information about the show, including casting, or if you would like to be a part of the production, feel free to contact me or email thisiswhyproduction@gmail.com. And be sure to come back and read the blog for updates on the production.