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Stone Soup

If you’re not familiar with the folk tale, here’s a quick thumbnail synopsis.

Basically some itinerate beggar/soldiers/travelers who are starving – walk into town to try and get some food. Everyone denies them. So they say, “Okay fine, we’ll just make ‘stone soup’ (or nail soup, button soup, axe soup, or horse-shoe soup in some versions).  They proceed to boil up a pot of water, drop in the stone, and sit around sipping the ‘soup’ admiring the taste, smacking their lips, singing its praise,  and waiting for it to be ‘done’.

Finally one curious villager comes out to try it –   “I don’t taste anything.”

”Well, it’s not done yet. And it COULD do with an onion or two…”

“OH! I’ve got an old onion…” And he hurries to get it.

You see where this is going.

One villager chunks in a wild onion. Another some old carrots. Someone can spare a single potato and a pinch of salt.  And slowly, it takes on the flavor of a soup or stew. “A bit of beef or mutton will finish it off…”  Someone comes out with cuts or an old bone left over from yesterday – and sure enough – everyone sits around enjoying a lovely soup or stew at the end of the day. It’s a tiny bit of a flim flam – not really a ‘scam’ – because in the end everyone DOES get to enjoy a nice stew. One might even suggest that it is a parable on the strength of community and the value of sharing.

The development process for making a movie is very much a “Stone Soup” process.  I think there are even a couple of production companies called “Stone Soup Productions” or “Stone Soup Films”.

But the whole key to the operation is to ‘sell the idea’ – and get someone to INVEST something into the project.

Someone has to go first.

That’s the tricky part.

In film making, the ‘stone’ is the IDEA of the story.  Ideas are free. They’re everywhere. Everyone has them. And frankly – they’re not really worth much. Not until someone INVESTS their time and energy into shaping it into a STORY. As the copyright office is quick to explain, it’s the EXPRESSION OF THE IDEA FIXED IN A TANGIBLE MEDIUM that has value, not the idea.   You cannot copyright an idea.

So the writer is the first to invest in the soup. It might be his stone, or it might be someone else’s stone. But if he doesn’t do a good job of crafting the pot, making sure it will hold the stone and everything else – ensuring that it won’t crack or break in the fire, that it doesn’t leak, and will hold plenty of water, and oh yes, he’s got to be able to sell the soup recipe to the other folks – then it’s just going to be a pot of hot water with a stone in it, bubbling away in an empty field.  It is something the writer put some serious time and energy into preparing – but it won’t cook to completion.

In the folk tale, the order of the ingredients is not really specific – except that it tends to start small – and easy – then gets more involved, with the meat coming last.  And I suppose the person who brings the meat, might get the largest portion of the share – if the story metaphor holds true.

I’ve been making stone soup for quite a while now.  I’ve gotten people to bring out some onions and carrots, even a bit of salt and pepper.

This happens in the form of an option.  Producers will read the script, and get excited about the prospect of creating a big pot of soup, rich with ingredients and flavor.  So they’ll option the script. Put a little money down, and take it off the market. Why do this? Well – it allows them to go to the rest of the villagers and say “See – it’s starting to happen. There’s some onions, and carrots in there, and all we need, is some meat and potatoes …”   They’re looking for more financing, and maybe some ‘attachments’ of talent in the form of Directors or Actors.

This is the ‘development’ phase.  A lot will depend on the quality of the ‘stone’ and how well crafted the pot is – but even more will depend on how well they can smack their lips and gather a crowd. Yup, that’s part of the writer’s job too. But the producers are typically the ones reaching out to investors, directors, actors, studios – to get them involved. THAT’S what they bring to the soup – their connections and marketing skills. (We’re skipping over the obvious notion of self-production here. If you’ve got the skills, money, talent and equipment to make the soup all on your own – this metaphor is not for you.  Let’s hope you can sell enough of your soup to make up for the cost of creating it.)

The thing is – what you don’t often see with the Folk Tale – is that you’ll gather a bunch of villagers, all standing there with their respective contributions; carrots, potatoes, onions, soup bones and meat, and they’re all WAITING for someone ELSE to go first. Maybe they love the shape of the pot. Maybe they’ve had ‘stone soup’ before, and liked it. But they’re just a little hesitant to make that next step. “I’ll put this in – as soon as you get THEM to put THAT in.”

It’s a serious case of “You go first”.

Commitment. Everyone is afraid to make one.  And it really only comes in two forms. Time, and money. Though if we’re honest – time IS money.  So that only counts as one. Though time is a slippery value hard to monetize. Money is easier to see and measure objectively.

The writer has invested lots of their time. We call this ‘sweat equity’.   The option isn’t designed to pay the writer for the script – it’s no where near enough. No, the option does two things – it compensates the writer for removing the script from the market for a specific length of time, “Stay here – in this village – don’t go down the road to THAT village… I promise, THIS is the place to make the soup.”  And it also convinces the other villagers to bring out their ingredients. “See, We’ve built a fire – we’ve put in some of OUR ingredients – you put in YOURS.”

It’s why I’m loath to ever do a ‘free’ option. It doesn’t add value to the stock –and in fact, it’s more likely to end with nothing happening. This is because the producers have nothing invested in the project. Maybe a bit of time, a couple of phone calls (maybe valuable, maybe not)– but they’re not financially invested – not like they’ve put money into it. They haven’t built a fire under it.  The more time and money they have put into it – the more ‘fuel’ –  the more likely they’re going to really try to sell it. If they don’t value the script – it will show in their own pitching, and no one else will value it either.

Don’t get me wrong, it’s POSSIBLE it could happen.  I mean, if Steven Spielberg wanted a free option for a year on one of my scripts – I’d roll the dice because, hell – the value of saying “I’ve got a script under option to Steven Spielberg” is money in the bank in terms of reputation and credibility. (Something else of value to put in the pot.)

All of this to say – at some point – eventually, the fire under the pot is going to burn out.  The option is going to expire. If no one else brings anything to the campfire, no more fuel, no food, no garnish, no ‘meat’ – then it’s time to simply kick the embers, and move on to the next village.

How do you know if the stone is working? How can you tell if the pot is well crafted?

You’ve gotten to the onions and carrots phase with it?

Right stone, wrong town.

Another short story listed

I cut my teeth on Sci-Fi as a kid, starting with the old “Tom Swift” series of books and following those with the “Rick Brandt” series. (The Rick Brandt series served as the ‘inspiration’ for the Johnny Quest TV show.) By the time I was in third grade, I was reading Heinlein’s juveniles.  I read “Starship Troopers” the summer between third and fourth grade, which would have made me nine years old.  I missed all the not-so-subtle militaristic, pseudo-fascist politics of course, but the notion that you could fight in “Space Armor” was simply awesome.  It was an image that stuck with me throughout my life.

When I first saw Imperial Storm troopers burst through the bulkhead in the opening sequence of “Star Wars” I believe I shouted “Starship Troopers!” out-loud in delight and surprise.  I’m not very impressed with the modern riffs on Heinlein’s book though. Not enough ‘armor’ for my taste.  Storm trooper armor came close to what I imagined Heinlein’s troopers were wearing. Though in my story, they’re polished like mirrors.


Shortly after reading “Starship Troopers” – I saw the episode of “Outer Limits” called “The Soldier” (1964). Written by Harlan Ellison, it was the germ of the idea utilized by James Cameron for his movie “The Terminator”.  Of course, it was a little too similar, and Harlan carved out a nice check for infringement from Cameron’s profits.

My on set copy of “Soldier”. It’s made of ‘mimeographed’ pages – and is slowly fading away.

Everything influences everything else of course. So it was with decades of exposure to sci-fi space opera that I tackled “Trenches”, back in the mid-nineties.  I’d been jousting for a while, and studying up on medieval weaponry and tactics. I was also catching up on the history of WWI at the time.  As it happens, my own grandfather was a veteran of the “Great War” – though he served in Russia, not the European theater.

Here then, is my attempt at the “Space Opera” genre of sci-fi . It’s heavily influenced by my WWI research, by Heinlein of course, and the great Harlan Ellison’s  – “The Soldier”.  I fancied having one of my artist friends work up an “Amazing Stories” type of cover, with a retro feel to illustrate it. But unfortunately, all my talented artist friends are too busy making real money to take on a small one-off project.   So I’ll make do with some suggestive images of the theme.

I hope you enjoy “Trenches”.
http://richard-alvarez.dreamhosters.com/?page_id=938

One Step Closer

After two weeks of waiting for notes from the investors, I finally heard from my director saying they had agreed the script was good to go. (I have no idea what the investors concerns were, or how the producers overcame them.) They have a casting director on board, and are now moving toward a sales agreement.  As one producer said, “I feel like we have some good momentum going forward.”

This is generally good news.

As the option was due to expire at the end of May, the producers asked to extend it while they proceed. Not an unusual request. My last two options needed to be extended because things started happening just as it was coming down to the wire.

I’m feeling encouraged.  It’s ‘found money’ in my pocket. But the champagne is still on ice.

I’m cautiously optimistic, because this has been my experience with the option and development phase in the past. It’s a heady moment to have someone say, “We LOVE it, and want to BUY/OPTION it!” Because, hey – a money offer is a great validation. It sits heavier in your hand than the trophies, accolades and plaques from contest wins.  And when the option check clears the bank, I DO allow a bit of a celebration. “One step closer.”

But I’ve been here before. “Just… This… Close…” to  a BIG deal, with a BIG name… only to have it slip away.

I’m not complaining. As an actor, I know how great it feels to get a callback to an audition. And then a second callback with maybe a screen test read with the lead. You can ‘smell it’, the role is real. Then, for whatever reason – they go another direction. Maybe the funding fell through. Maybe they’ve decided on a different take. It’s not ‘personal’, as hard as it is to understand that. You pat yourself on the back for making it that far. You learn from the process. What did you do right? What might you have done differently? What can you use the NEXT time you’re in this position?

It’s the same thing basically, with the option process. You have to let go of what you can’t control. My most difficult lesson to learn, always.  Work on what I CAN control; the next script, how I pitch, my daily writing routine.

I have to rest in the assurance one of the producers gave me.

“Thanks for your patience with us, we’re busy working behind the scenes and want this project to be the strongest it can be while staying true to the world you created.”

True to the world ‘I created.’

That’s heady stuff.

Another dark day.

 

Another shooting, this one close to home, literally. Santa Fe, Texas is about twenty five miles from where I used to live in Seabrook, Tx. I would buy round bales from a hay farmer there. I have friends who live nearby to this town. The town were I live now, is about three hours south on the coast.

When I saw the story pop up online, I immediately thought of my friend. She has two high-school aged daughters. Did they attend that school? I sent her a quick email, and a text.

I found myself missing Facebook – for the first time.

It’s sad to say, but over the past couple of years, Facebook had become a good way to quickly assess who was safe when a disaster occurred. “So and so marked themselves safe in the mass-shooting at (fill in the blank). Or – “Anyone hear from ‘Susan’?” – “Yes, I talked to her, she’s fine…”  Like the old ‘phone trees’ of yore – but almost instantaneous.

After a tense hour, my friend texted back. “Yes we’re safe. They go to a different school, but how awful!”

So yeah, I missed that.

But I’m not missing the inevitable diatribe on gun rights that is sure to follow. No one is going to change anyone’s mind on Facebook.  And the fact that it’s likely a great many memes and ‘meetups’ were generated by Russian bots in the past – in order to foment dissension and division in the country – just makes me glad not to be seeing it scroll across my feed.

In other news – movement on the screenplay front. I’ll post more next week when I’ve got more to say.

So far, so good.

It’s been two weeks since my hiatus from Facebook began. I thought I’d post an update on how it’s going.

Fine. Just fine.

The world didn’t crash. I’m not ‘jonesing for a fix’.  But I have noticed a few things since I left.

First, I hadn’t realized how often I hit “F Enter” in my browsing habits. I have a set of websites I visit whenever I log in. My email addys first of course, then some ‘news’ sites. I use several different news aggregators – including some foreign sources so I get a different objective. My ‘business’ sources – meaning my script listings, and some filmmaking/screenwriting pages – and then, I hit ‘F Enter’ to open my face book page.

I kept on doing that, without even meaning to. Of course, what it brings up, is my Facebook LOGIN page, with the name and password already filled in. I’d have to LOGIN again, and everything would be just as if I’d never left.

My muscle memory, my ‘browsing routine’ had integrated the Facebook search pattern into my habit. Slowly, I’ve been dropping it. Two weeks now, and it only happens maybe once a day, usually when I’m distracted. It takes three weeks to make/break a habit, so I think it’s working.

I really noticed it a lot, in the middle of the night.

Like most humans, I tend to sleep in two ‘shifts’. A first, and second “sleep” of approximately 3 to 4 hours each. It’s a good night to log a total of 7 hours of sleep. If my fitbit is to be believed, I’m doing better than average “For a man my age”.  But instead of reading a book, I’d usually pick up my phone, and do a quick scan of the usual suspects. Again, the search pattern was routine.  Emails, News sights, Business, and FB….

Very occasionally there is an email worth reading in the night. But here’s the thing. News sights are RARELY updated in the middle of the night. I mean, if I read a headline at nine pm – it’s likely going to be the same headline at two-thirty in the morning. So… there’s really no NEW news to read.  Whereas if I had been on FACEBOOK at three in the morning, there is no doubt that some friend somewhere in the world would be awake at that hour, and posting some ‘update’. Hell, even updates from local friends saying “Why am I awake? Is anyone else awake?” would stream across my screen.

FACE BOOK NEVER SLEEPS.

In the past, that led to lots of perusing threads, maybe even making comments or engaging in conversations. And that led to EXTENDED ‘wake times’ between sleeps. Not to mention the fact that you really should NOT be looking at the blue light from a phone or computer screen anyway – it disrupts the sleep cycle.

So – now that it’s no longer in my search pattern, my ‘midnight rambling’ really only lasts a few minutes, instead of a half hour to an hour.

And this improves my sleep cycle.

More and better sleep – is a good thing.

I’m missing some of the social engagement. I find myself wondering ‘what’s so-and-so up to?’  But you know what? I just sent so-and-so an email. If they don’t respond, it’s on them. I also received emails from a few friends, asking some insight into business or personal issues. So – I’m still ‘connected’ to people I want to be connected to.

I also find that I seem to have less stress, overall, in my daily routine. I AM writing more. And hell, just doing things around the house. More and better chores. Getting things done.

So at this point in time, I’d say it’s a net gain.

Noteworthy

 

When it comes to notes, I always think about something Neil Gaiman is alleged to have said. “When someone tells you it’s not working, they’re almost always right. When they tell you how to fix it, they’re almost always wrong.”   I think that’s an excellent way to approach notes.

If there is something “not working” for a reader, well then it’s not working for them. You can’t argue with them about it. The question then becomes “why”?  And that develops into “Is this a UNIVERSAL problem or a personal one?”  If it’s personal, then what “need” of theirs is going unmet, and what is my “strategy” for meeting that need?

Back when I was hosting screenwriting salons of six to ten writers, we would workshop one script a meeting. As we went around the room getting notes, I limited the participants to discussing a maximum of three or four notes each, in two separate categories. “Housekeeping Notes” and “Story Notes”. The housekeeping notes were easy to give. Typos, faulty headings, missed transitions, bad punctuation. Everyone screws up and it’s great to have a fresh set of eyes to spot something you’ve looked at a thousand times. There’s rarely any ‘ego’ involved in finding or fixing these. Practical housekeeping notes are a blessing to get, and easy to fix. It was interesting too, to see which typos were picked up by some readers, and which were missed by others.

The “story notes” were where the rubber met the road. These were notes about the structure, the dialog, the plot, the action. These were things that each reader had a ‘problem’ with. For one reason or another, something wasn’t working for them. As we worked our way around the circle, it was important to recognize when a note seemed ‘common’ and when it seemed ‘personal’.

”I got lost here in this scene, did he know that she had the gun before?”  ”I had the same problem, I got lost…” someone else chimes in.  Okay, it’s a problem; people are not seeing something clearly.  Listen for the echoes of ‘me too’ with the other readers. This is a solid note.

The ‘lone note’ – may or may not be valid.  “I just didn’t find Susan’s motivations to be strong enough.” If someone else chimes in with, “Oh I thought she was PERFECTLY clear…”   You’re likely looking at something personal at work in either of these note givers. Maybe they ‘know’ a Susan. Maybe they’re married to one, were raised by one, or WORK with one.  Something about their complaint strikes a very personal chord. It’s not working FOR THEM.  But is it working for everyone else? Is it working for YOU? Is it a singular problem or a universal one? I once got a note, “Families don’t act like that after the death of a loved one…”  Well, I assume this person’s family wouldn’t, but I know for a fact, that MY family did. So yeah – it worked FOR ME. And it served the needs of the plot.   Now… multiply that note by potential hundreds of thousands of viewers. Is it something that needs to be addressed?

Maybe the note giver has a real, valid inside track to the problem.   Maybe it’s some inside baseball note.  “They don’t use that model anymore, they use a Mark 7”  or “That’s not a Sergeant’s job – that’s the lieutenant’s.”  Okay great. That’s an easy fix, akin to housekeeping. No problem. These are valuable. Perhaps it’s something you missed in your research. Well great. The pros out there in the audience are going to have an issue with this element. Usually it’s some technical issue. What percentage of your audience, is a professional in this area? Do you change it?

CAN you change it?

If it’s a simple thing like the type of gun, or military rank or a technical term – then sure. Easy peasy.  But maybe its – “I’m a Doctor, you don’t get those tests back in four hours, that’s going to take a week, at least.”

Okay, realistically it takes an entire week to get these results back, but the bomb goes off in twenty four hours, so… No. You can’t. You need this plot point to work EXACTLY the way you need it to work. The professional might tell you “Make the bomb go off in a week, stretch the story out. That will fix it.”  Well… that fits in with their world view of medical tests. It meets THEIR need for reality and veracity.  But it won’t serve the dramatics of the story.  “Is there ANY way this test can be fast tracked?”  you ask.

“Well…. Maybe, if you had a ZEMO machine on premises… but no one keeps those…”

FINE, we’ve got one on premises. Next problem?  You just finesse it. Usually it can be passed off with a one line mention. “Good thing we have a Zemo machine next door!  Good thing my uncle manufactures Zemo machines!” Be creative, INVENT a “New ZEMO MARK II processor that does the test in twenty minutes!” (It’s fiction, remember. A liberal application of handwavium is useful.)  Or even hand it off to the tech and simply say, “Expedite this, STAT!”

No one wants to spend precious screen time watching the hero look for a parking space. Of course there is one right in front of the building. This is screenwriting shorthand. (Hell, do we need to see him park at all?)

Then there are notes that really strike close to home.  “I didn’t like the ending…”  Well again, is this personal? Is it a one-off? She didn’t like it, because in her world, they did NOT wind up happily married? Or – HE has an issue because he wanted the hero to miss the meeting, and the best friend to wind up with the girl… because he’s the best friend in his own life.  Yeah, again – it’s a real problem with these people. Their idea on how to ‘fix’ the script – is to make it end correctly with their world view.  Is the ending working for OTHER people? Is it working for you, in terms of answering the main question of the theme? Yes? Don’t change it. Or keep your strategy, and ADD a girlfriend for the best friend. Find a strategy that meets their need, but keeps your own vision intact. (Especially if that need comes from a producer.)

These are just notes you get from group meetings, good friends, people you might pay to read your script and give you feedback. All good stuff to know, hear and decide to deal with.  This is how you hammer out a script that gets to the point of submitting to the gate keepers.

Once the script has caught the attention of producers, we’re at a whole new level of notes.

I’m speaking as someone who has optioned several screenplays, and done numerous rewrites as part of those options. I’m not currently a WGA writer, so I’m not protected by the number of rewrites, or even PAID for doing them. As a low-mid level writer, usually I’m doing the rewrites as part of the option. On occasion, I’ve had an incentive to do the rewrites, in the form of a higher pay-out if no one else is called in.

Once there is money on the table, ‘Shit gets real’.   You’re STILL going to get notes. And they’re STILL going to come in two flavors, more or less.

“Budgetary” notes.  Hopefully at this point, the script has been gone over with a fine toothed comb, and there are no actual housekeeping typos or mis-slugged scene headings. If they crop up – change them without comment or explanation. What you’re more likely to get are budgetary type notes. These are notes to make alterations to the script, usually for some practical budgetary reason.  “Cut three pages, I don’t care where.” – No, don’t cut them by altering the margins. Cut them by CUTTING them. Come in later, leave earlier in each scene – will usually do the trick. This is the least painful alteration. None of your “perfect” scenes are removed; you’re simply tightening them up.  Or maybe it’s practical, “We can’t shoot this goodbye scene in the airport, can we have it happen in the car, outside?”  Well, that’s how they would fix it, but maybe you can get what you wanted back at the restaurant, before they leave. Save on one whole location. “Do we need another cop? Or can this all be done by one?”  Sure, cut and trim dialog, combine characters. You’re saving a day-player rate or maybe another location. None of this should be dinging your ego. It might even be challenging your creativity to RISE up to the limitations. Recently, I dealt with a “Rating Change” note. It’s currently an R rated thriller; can we get it down to PG-13?  Take out the “fucks” – dial back on the sex.

Some seemingly major changes will be easier than others. “Can the hero’s gender be switched?”  Unless their gender is germane to the story line as in “A woman in a man’s profession, or a man in a woman’s place at home,” – the fish-out-of-water trope – then sure why not change the gender?  And for this reason, I seldom signify the RACE of my characters anymore. Unless it’s central to the story line, then it really doesn’t matter. These are battles not worth fighting and in fact, might possibly raise the stakes. Be open to them. This is the sausage making, nuts and bolts part of working with the team. Roll up your sleeves, and make the fix.

Then, there are story notes…

“I really am fascinated by the villain. Can he come in earlier? Can we START on him?”  Well…. Maybe.  But then again, maybe not. I once did numerous re-writes on my thriller, “Scars of the Mind”. The producers kept asking for different takes on the villain. Originally, he was a banal street thug. For me – it was a comment on the banality of evil. And he didn’t show up on scene until the third act.  He was pursuing the heroine, who was on the run, and rescued by our hero.  The STORY was about the impact this heroine, and her preteen daughter, had on our hero’s life. They were three lost souls, looking for help. The villain showed up late, like a force of nature, and created the final confrontation that led to the solution for our new ‘family’ of characters – binding them together. In helping one another, they found their individual salvation.

But over the course of not one, but TWO options of this script – no less than five different producers saw the story as a vehicle to examine different types of villains. He was alternately, a banal street thug, an evil street prophet, and a super-villain Drug Lord who runs an International Pedophile Ring. In each case, the villain got bigger, and meaner, and entered earlier, and earlier, until the story morphed into a different vision than I had intended. Instead of SAM rescuing KRYSTAL and her daughter MIA from a terrible life on the road… It became about KRYSTAL running from a VILLAIN, who was after the package (Mia, the McGuffin) and just happened to be rescued by a generic Hero named Sam.  In short, it morphed from a thriller about a middle-aged vet with PTSD, into a “Woman in Peril” film.

Was it good?

Was it better?

It was the best version of a “Woman in Peril” film I could write.  But it also inspired me, in my frustration of being sidetracked into meeting their need for their vision of my story – into writing yet another take on the film.  The evil villain -“Daddy” as he was called – Never. Shows. Up.  He never makes an appearance, AT ALL, in the script. In fact, he exists as a figment of Krystal’s imagination. This strategy, MY strategy,  altered the final sequence, and the ending – but it remained true to my original vision of the story, and supported the original theme.  When I ran this version past the investors, they were blown away. “It has never been about ‘Daddy’” I said. “It’s always been about Sam, Krystal and Mia.”

And sometimes, you have to hold your ground.

I once explained the rewrite process to my father, as the same process you enter into with the architect of your home.  The screenwriter is the architect. The Producer is the buyer of the plans.  “Can we have brick, instead of siding?” they ask.  Sure –but that will cost more. “Can we have the back door by the fireplace?”  Sure, I can do that; just put it where the window was. “Can we KNOCK OUT THIS WALL?” – No. That’s a load bearing wall. Knock it out, and the entire house falls down.

As the architect of the film, you have to know what walls are load-bearing in your script.

In the same script above, the character Mia – is described as being lost in the ‘preteen years’ – somewhere between six and ten. Her age is never stated. But part of the horror, is that her worldview has been warped by living in a sexualized lifestyle driven by her mother’s choices.  Several producers asked, “Can we push her age to maybe 13 or 16? We can cast an 18 year old actress, and save money on a tutor on the set.”  That SOUNDS like a budgetary note, but really – it’s not.  They were looking to lower the ‘ick factor’.  My response? “ That story was already done in “Taxi Driver”… so ‘no’ we can’t. And yes, it’s uncomfortable knowing a child has been living in this world. But raising her age, lowers the dramatic impact of the character’s actions and choices.” As one producer finally relented, “I get it. It’s the difference between shooting a dog, and shooting a puppy.”  They finally understood that keeping the character’s age as young as we could possibly cast it, was essential to the impact of the story line. That raising her age, lowered the stakes.

And now, I have FOUR versions of this script. Which is the ‘best’ version? The one the investors want. Personally? I like the simplest version. The  “All in Krystal’s Head” version.  But working with the notes I was given, doing my best to find a solution to ‘what wasn’t working’ for THEM – led me to employ different strategies for meeting their needs, which led me to new ways to see the script.

This week – I’m waiting on what should be final notes from the money people on “Working Title”.  I’ve already jumped through hoops on this script, working with notes from three producers and the director.  A recent email said, “We may have one or two notes coming your way based on feedback from the investors. They should be minimal; we’re fleshing that out with them now. They did agree the script was much stronger, as we all do!”

There’s that word, “Minimal”.  To me, that would be some small budgetary changes or additions. Perhaps cutting/combing some locations or scenes or trimming dialog to meet ratings restrictions.  If it involves a new ending, or a major thematic shift … then it will be all about meeting THEIR needs, by coming up with my OWN strategy.

Forward, through the fog.

The Man Who Walked Away From Facebook.

Starting later today, April 30th, I’ll be suspending my Facebook account.

My plan is to do without the social media app for the duration of the month of May.  My reasons, are many.

For one, I’m tired of the petty back-biting and political sniping that passes as ‘discussion’ on the platform. Try as I may – and I DO try – about once a week, I’ll be sucked into some discussion based on a seemingly logical statement I’ll make in the course of the thread. The “debate” – and I use that term loosely, that follows is usually painful and pointless. And the fact that it transpires in “slow motion” only exacerbates it.  Checking back, to see if there is a response – over and over – during the course of a day – is simply too time consuming.

A time suck, that’s what bother’s me most. It is a carnivore of attention. Time I COULD be spending doing something productive.

And it’s not just the acrimonious debates, it’s the ‘need’ for affirmation. Sure, I’m a performer, and a writer, and a middle child. I’ll freely admit I LOVE attention and affirmation that comes from an audience. Hell, most of the time, it’s all one gets from one’s efforts, the pay being so meager in the performing world.  But again, the time it takes, could be better used to CREATE. In particular, stories and screenplays.

This month, the script I currently have under option, “WORKING TITLE” will pass through one more checkpoint towards production. Either it will receive the funding the producers are asking for, or it won’t. If it does, it will likely go into production this summer, and I’ll likely be doing more rewrites.  If it doesn’t, I MIGHT need to tweak it a bit more – to get it. The option expires at the end of this month. Either they’ll RENEW the option – likely because they think they can get funding elsewhere ,  or they’ll allow it to lapse. In which case, I’ll need to rededicate myself to marketing the script, which will take more of my attention.

The fact that Facebook’s privacy policy is… laughable, at best, also plays into my decision. I’m not so sure I WANT to give Corporate Big Brother any more of my magnetic ink than is absolutely necessary. I don’t trust Zuckenberg. One more reason to leave.

They say it takes 21 days, to form a habit. It’s my hope that in the course of the month while I suspend the account, that I will develop different habits in my daily routines. It will be one less thing , one less reason, to look at my phone. One less thing to occupy my attention. One less virtual online persona that will require maintenance and attention.

If, after a month of abstinence, I feel their is a net “gain” in the quality of my life and creative output, I’ll likely actually DELETE the account.  If I find that there is no marked difference, and in fact, if I find that I require access to the network of friends and acquaintances then I’ll re-activate it, and deal with it as best I can.

Meanwhile, I’ll post my professional updates, and my thoughts on “Breaking the leash” here on this blog, which virtually no one will read. My good friends and associates know how to reach me directly. And of course, there’s an email addy here under the ‘contact me’ page.

Wish me luck.

All things come, to those who wait.

I’m not particularly good at waiting.
I don’t ‘do’ waiting very well.

That’s not to say I don’t know how to kill time, or spend time, or waste time, or invest time. I can do that.

I’m just no good at waiting.

To my mind, there are two kinds of waiting. One, the type I’m good at, or at least have some facility for, is filling in the time between. Imagine you’re waiting for the train to arrive, or the test results to come in. There is an assigned “end point” for your waiting. Be it in two hours, or next Thursday. You know (as much as such things can be known) that the end of your wait will come at that point in time. In such cases, it’s easy to fill the time with other chores, busy work, idle amusements, and peaceful contemplation. Even if you’re awaiting possible dire news – it’s still some comfort to know that by “Next Friday” – you’ll have your answer. There will come a time when you will “know”.

This sort of waiting, I can handle.

It’s the waiting for the unknown that drives me bug nutty. Waiting for someone else to control your destiny by making a choice on their own time is maddening.

“We’ll get back to you…” “We’ll let you know…” “Things will happen, as soon as THEY make a decision…”

My life is full of the later point right now.

I’m waiting for someone to make a decision on funding the script I’ve optioned. “Hopefully we’ll know soon.”

I expect more rewrites will be needed. Someone once said the script isn’t finished until the movie premiers. And even then, the “Director’s cut” will be included on the DVD. (Unless the director IS the screenwriter, there’s never a ‘writers cut’.) Knowing that this particular script might require my complete and undivided attention – likely with a deadline attached, I am loath to invest any creativity into writing a new script. And yes, I do have ideas for new scripts.

When I was young and hitchhiking across America and Canada – I used to sit on the side of the road with my back pack and thumb out. I could only sit a short while, before I’d pick up my pack, and carry it down the road on my back. Sure, maybe I’d only get a mile or two closer to wherever I was going. But at least it’s movement.

And so I’m writing this little essay, while I wait. At least, I’m writing.

Returning to the Scene

I haven’t been very active on this, my personal blog and website, for… well hell, it looks like over a year.

As the last post indicated, it was simply easier to communicate with “The Internet” via FB, than post here, and have my insights and pearls of wisdom ignored and by-passed by the virtual Super Highway of comments that is Face Book.

The recent developments regarding Cambridge Analytica, Facebook, and the entire toxic political discourse, has given me pause regarding my FB presence. Is it really conducive to staying in touch with friends, family and business contacts? Hell yes. Is it really conducive to spending quality time in creative endeavors? Hell no.

So, I’m going to start paying more attention to this blog. I won’t be posting pictures of my dinner plate, or cat memes. I think this is more suitable to essays and musings on the creative process. In fact, I’ve got some professional developments going on, that ARE going to require more of my time and focus.  I will post more about those, as they develop.

Right now, if you’re a friend of mine from either the “Real” world or the virtual, why not leave a comment to this. Just a note saying “I’ll keep an eye out”.  Nothing too creepy.

I need to manage the comments section, cull the spam crap out.  One more thing to manage.

Peace out.

Back in the saddle again

Riding in New Jersey

Riding in New Jersey

It has been over a year since I’ve updated my website. I can only offer the usual excuse, “Life happens”.  Last year was very busy, full of major life changes. To top it off, most of it was spent on the road – directing and performing medieval jousts once again for Noble Cause Productions.

In the middle of all that – I turned sixty and optioned a screenplay.

I’d like to say I simply didn’t  have the time to write. Or that I wasn’t in a place where access to the internet was cheap and easy. (Though often that was the case.) Instead, what I’m forced to admit is that FACEBOOK is the great carnivore of my creativity.

I love it because it allows me to feel connected to lots of friends and family scattered across the globe. It’s great to get updates about  things both important and trivial that occur in the lives of my loved ones.

And it’s all too easy to post a quick photo – and dash off a clever paragraph or two about  something important or amusing that has just occurred in my own life. A quick hit of “ENTER” – and I’m likely to have a ‘Like” in a minute or two – sometimes a good long stream of comments and suggestions might follow. On the rare occasion – even an exchange of points of view, without name calling.  For someone who is a performer at heart – having a response of any kind from an invisible audience is all too addicting, I’m ashamed to admit.

But it has also become a place for long diatribes on political topics, and endless rants about cultural mores. It wearies me. Sure, I don’t always agree with the viewpoints espoused by some of my family members or friends – but I find myself pausing before responding. Asking myself, “Do I really want to engage in ‘slow motion’ dialog where nuance and subtlety of tone will be lost? Do I want to spend my day – checking back to see if my point has been made… to see if I’ve changed someone’s mind – or been misunderstood?” No. It is, as I say, a carnivore of time. Time I could spend creating something more lasting and creative. A new book. A new screenplay. Or even rewriting an old one.

Which brings me to the point of this post. I’m hoping to reboot this website. I plan on posting longer pieces here. I’ll soon be embarking on the creation of my first feature film. I hope to write updates while on the set and post them here. I’ll also blog a bit about the events of last year – the jousting and the festivals, the move from California to Texas and back.  It’s my hope that utilizing THIS space for my blogging – will force me to discipline myself, and be more thoughtful about my efforts. The same way shooting with film forces oneself to compose images more carefully than shooting digitally.

Plus, it’s a new year. So there’s that.

Watch this space.