#BeFabFriday – Why it’s important to be crap (at first…)

Be Fabulous Friday

 

The first hurdle every writer has to overcome- whether it’s you, William Goldman, Aaron Sorkin, or someone working on their first ever script- is to actually write something. Anything. Inevitably, it will be awful- but that’s the point. Some writers, such as Judd Apatow, call it “the vomit draft”. You throw the kitchen sink at that first draft, and then the really hard work begins. So the trick is not to think about it. In

The trick is not to think about it. In fact, if your first draft isn’t crap, and full of ideas that will be cut and changed, you should be worried. Embrace those awful ideas at the start, because it might lead to something incredible later on. Get ready for that first draft to be crap- don’t get disheartened, it’s incredibly important you get the bad stuff out the way as early on as possible. It’s so important that I’ve got 2 quotes to share with you. The first of this week’s advice comes from the writer Laura Simms:

If you’re on Pinterest, why not follow my Pinterest board for these weekly motivational posts? It will be updated weekly, so you can keep track if you ever need quotes and inspiration curated by me.

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#BeFabFriday – Be Bold. Be Brave. Be You.

BE FABULOUS FRIDAY

What better way to wrap up the week than with some inspiration, motivation, or encouragement?

Whether you’re just starting out, or have written Oscar-worthy screenplays, all of us are striving to fill that blank page with emotion and meaning.

It’s important to remember that the only thing that makes your writing compelling or commercial is your point of view.  All the stories that can be told have been told.  There are no “new” stories.  The only thing really new is your original vision or interpretation.  Don’t self-conscious and shrink back, worried what others will think or how they will judge you.  Be bold.  Be brave. Be you. Write your best self.

This week’s advice from Andre Dubus III:

 

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#BeFabFriday – CineStory Competition

Self4Here is a guest post from a good friend and wonderful writer, Lisanne Sartor.  She is also on the Board of Directors of CineStory, an organization that runs one of the most worthwhile writing competitions in the industry.  Here is her post:

I’m a UCLA MFA Screenwriting alumna and screenwriter and I’ve been involved with the screenwriting non-profit organization CineStory for the past ten years.  I went to my first CineStory retreat after I was a semi-finalist in the CineStory Screenwriting Competition.  I’d entered the competition because its prize sounded amazing – an all expenses-paid, four day retreat during which all retreat attendees get three hour and a half meetings with industry professionals and the competition winner gets a year-long-mentorship with two industry professionals.  Though I didn’t win that year, I was invited to the retreat, an experience that was worth its weight in gold.  I got great notes and met industry professionals who I’m still in contact with today.  Most importantly, the notes I received helped me develop my screenplay into a viable project that eventually became a Lifetime movie of the week – my first produced credit!  I loved that retreat so much that I went to a second and eventually got involved in CineStory as a staffer.  I’m now the CineStory Board Vice President.  I encourage all writers, from novices who’ve just written their first scripts, to screenwriters who may have a produced credit or two under their belts, to enter the competition.  You won’t regret it.

#BeFabFriday – Joyce Carol Oates: Why We Write

Joyce-carol-oates-etbscreenwritingThe excerpt below, from the Preface: The Nature of Short Fiction; or, The Nature of My Short Fiction by Joyce Carol Oates, sums up why we tell stories. There is no “reality” without a coherent story.

Life has no meaning without the narrative we construct around it. How we experience reality, politics, country, ourselves and others has to do with the STORIES we tell ourselves (and others). Different Character Types have very different narratives, world views, and ascribe very different meaning to the same events.

Here is how the very prolific Ms. Oates (whom I once had the pleasure of meeting at Princeton University) puts it:

“We write for the same reason we dream- because we cannot not dream, because it is in the nature of the human imagination to dream. Those of us who “write,” who consciously arrange and re-arrange reality for the purpose of exploring its hidden meanings, are more serious dreamers, perhaps we are addicted to dreaming, but never because we fear or despise reality.

As Flannery O’Connor said (in the excellent book of her posthumously-collected essays Mystery and Manners) writing is not an escape from reality, ‘it is a plunge into reality and it’s very shocking to the system.’ She insists that the writer is a person who has hope in the world; people without hope do not write.

We write in order to give a more coherent, abbreviated form to the world, which is often confusing and terrifying and stupid as it unfolds about us. How to manage this blizzard of days, of moments, of years? The world has no meaning; I am sadly resigned to this fact.

But the world has meanings, many individual and alarming and graspable meanings, and the adventure of being human consists in seeking out these meanings. We want to figure out as much of life as we can. We are not very different from scientists, our notorious enemies, who want also to figure things out, to make life more coherent, to set something in order to single out meanings from the great confusion of the time, or of our lives: we write because we are convinced that meaning exists and we want to fix it in place.”