A STACKED CREATIVE DECK

a published article by Craig Kellem

Did you know that the only writers who get the chance to write without grueling preparation are those who are not getting paid.

Good, you say. “I hate preparation--I just love the writing part.”

I understand.

There are many writers out there who think that NOT having to prepare intensely is one of the benefits of the freedom that comes with doing your own thing. But in truth, I think, it's more of a hindrance than a help because, in most cases, thorough preparation is the name of the game and will often make the difference between a project that has potential and one that's doomed to fail.

The typical Hollywood writer has to jump through preparatory hoops before she/he will get the chance to initiate the actual writing ofthe script.

First there’s the pitch.

Whether it's a feature, sitcom, drama episode or TV movie, if you want to get paid, you've got to tell somebody your idea. Inevitably, at this point, you will find yourself in a creative negotiation. In other words, the buyer will have questions and opinions which will inspire discourse and debate that will result in all probability in a somewhat altered premise.

From there, if there’s enough interest, you will hopefully be asked to come back with a revised pitch. But even if the revised pitch works, there will undoubtedly be additional creative adjustments. Whether you know it or not, you’re already into intensive creative preparation.

If you're lucky, you’ll eventually get the job.

But, guess what-- the job is not to write the script. It's to write the story.

Huh?!

That's right, you still have to SHOW THEM. So now you're back pitching but this time it's the specifics of the story. And, that's right, you're back to the inevitable creative negotiation and more prep.

Once the story is accepted on a verbal level, you are then engaged to write it out in narrative. I have seen feature film narratives reach forty-five or fifty full pages. Even sit-com narratives can run a dozen pages or so. Every aspect of what is forthcoming is covered which means that you need to really know your stuff.

So you finish the story. What happens next?

Inevitably, a laborious meeting where every inch of every scene of every act is discussed and scrutinized. Better bring your lunch (and maybe even your dinner) --you’re going to be there for a while. And then when you finally get to go home, it’s to implement the latest revisions of the story.

If the story doesn't work you get paid but cut off. The story is either ditched or revised by another writer.

If the story is okay, you finally get the job to write the script. And of course each draft of that script will be thoroughly discussed and dissected.

Most writers hate this process, but, truth be told, this creative collaboration, this exercise in checks and balances is usually of great benefit to all since the kinks get worked out, creative ammunition has been cultivated and, at this point, your script is truly ready to be written. You have done your homework-and then some.

So what's my point?

It’s that those of us who do not have to go through this process would be wise to create a similar process for ourselves because it takes all the kings horses and all the kings men to get one of these puppies right.

Copyrighted 2000