A Writer's Notebook, Day One-Hundred-Twenty
I started work this morning by completing the shift in tense for the script that I began last night. Once I had completed that, I printed the work out so I could read through and make edits. I started but took some time off during the afternoon and evening, then finished up tonight. In my read through, I also found the answer for working in the ending, and wound up drafting some notes for that as well.
So, I finished those edits and wrote in the new ending, and am rather pleased with the shape of the script at the moment. I still have a lot of cutting to do, as the play is half a page or more over the suggested length, and I am planning to work on that, but I wanted to get a new draft completed before the workshop tomorrow morning, and I was hoping it would be a somewhat significant revision. I feel that the changes I made and the new ending are a long way towards a polished draft, even if they still require work.
The cuts I have made so far are significant, but I think largely work. It is often true that the lines and moments that you cherish as lines and moments are often the things which need to go. Their were certain lines that I was attached to as the writer that didn't serve the play as a whole, and it would have been self-indulgent to keep them. I am sure that some still remain, and I expect I'll find those in the next round.
In all, it is strange how much more difficult and draining this work can be. It shouldn't be so hard to just read through and make a few deletions, compared with sitting down to compose, but composing rarely ever has me feeling the way editing does, and I find it can be quite draining. In part, this is a dislike for my own work, in a way. It is not that I don't like what I do, it is that I always feel as though it is not as good as it can be, and I believe that if I have done my job as a writer, it will always teach me something that improves my abilities at this craft. As such, invariably, I always return to my work with a slightly jaded view. Reviewing it can be difficult, and it requires setting aside much of my own prejudices about my work.
As well, and somewhat paradoxically, it can be painful to acknowledge the things that are not working so explicitly. It is, of course, a valuable process for learning, but that is largely a result of the same factors that make it so arduous. The self-exploration and the recognition of process are slow, and require a kind of reflection that is not usual when writing. While composing, the words move along, but when editing, it is necessary to remain in one place and consider it again and again. This can be dangerous, and can lead to removing the best pieces of a work, but it is also a necessity.
In the end, I feel that today was extremely successful. I had not expected, at all, to find that ending waiting for me, and I am very happy with it, as it ties in with a lot of what is already in the play, but does not require adding new material. I had been worried that it would be necessary to retrofit the ending by the addition of some minor pieces, and while they would have been minimal additions, the need to cut had me concerned. But the new ending is one that I think solves that issue and makes sense of the story as a whole.
I do worry a bit about whether I have muddled a few things in my cuts, but I think that will clear up when I hear the play read tomorrow. As well, I am sure that others will be able to pinpoint issues of that sort if I miss them. I've found that Matt is particularly keen and his suggestions have almost invariably proven valuable. In some cases, it has felt as though he were in my head pointing out ideas that were percolating but not yet fully formed. It is quite a boon to be able to work with him and I am quite certain that he'll be able to point out what is or is not going right in the new draft.
At this point, I probably want to aim at shortening the play by another page. That is going to take a lot more work, of course, but it is necessary. I will need to think about what can go carefully at this point, but I should still be able to find plenty that is not essential without removing the qualities that give the play voice and life. I am eager to see what others thing tomorrow. Right now, I feel a bit nervous about the script, really, as their were many cuts made, but I have found that the group is supportive and generous, and I expect that I will be given a lot of encouraging suggestions.
I am still in my head about the stuff from the agent, and I know that slowed down my work today, but I feel that doing the work has gotten me into a better mental space, and I have my meeting on Monday morning, so I should be able to get some new perspectives and advice on what steps to take. In all, things are in a good place, and I need to remember that. Their is much that is very positive happening right now, and even this rejection may mark a major step for me, depending on what I learn during my meeting. Anyhow, it is late and I have my workshop in the morning, so I am calling it a night for now.
So, I finished those edits and wrote in the new ending, and am rather pleased with the shape of the script at the moment. I still have a lot of cutting to do, as the play is half a page or more over the suggested length, and I am planning to work on that, but I wanted to get a new draft completed before the workshop tomorrow morning, and I was hoping it would be a somewhat significant revision. I feel that the changes I made and the new ending are a long way towards a polished draft, even if they still require work.
The cuts I have made so far are significant, but I think largely work. It is often true that the lines and moments that you cherish as lines and moments are often the things which need to go. Their were certain lines that I was attached to as the writer that didn't serve the play as a whole, and it would have been self-indulgent to keep them. I am sure that some still remain, and I expect I'll find those in the next round.
In all, it is strange how much more difficult and draining this work can be. It shouldn't be so hard to just read through and make a few deletions, compared with sitting down to compose, but composing rarely ever has me feeling the way editing does, and I find it can be quite draining. In part, this is a dislike for my own work, in a way. It is not that I don't like what I do, it is that I always feel as though it is not as good as it can be, and I believe that if I have done my job as a writer, it will always teach me something that improves my abilities at this craft. As such, invariably, I always return to my work with a slightly jaded view. Reviewing it can be difficult, and it requires setting aside much of my own prejudices about my work.
As well, and somewhat paradoxically, it can be painful to acknowledge the things that are not working so explicitly. It is, of course, a valuable process for learning, but that is largely a result of the same factors that make it so arduous. The self-exploration and the recognition of process are slow, and require a kind of reflection that is not usual when writing. While composing, the words move along, but when editing, it is necessary to remain in one place and consider it again and again. This can be dangerous, and can lead to removing the best pieces of a work, but it is also a necessity.
In the end, I feel that today was extremely successful. I had not expected, at all, to find that ending waiting for me, and I am very happy with it, as it ties in with a lot of what is already in the play, but does not require adding new material. I had been worried that it would be necessary to retrofit the ending by the addition of some minor pieces, and while they would have been minimal additions, the need to cut had me concerned. But the new ending is one that I think solves that issue and makes sense of the story as a whole.
I do worry a bit about whether I have muddled a few things in my cuts, but I think that will clear up when I hear the play read tomorrow. As well, I am sure that others will be able to pinpoint issues of that sort if I miss them. I've found that Matt is particularly keen and his suggestions have almost invariably proven valuable. In some cases, it has felt as though he were in my head pointing out ideas that were percolating but not yet fully formed. It is quite a boon to be able to work with him and I am quite certain that he'll be able to point out what is or is not going right in the new draft.
At this point, I probably want to aim at shortening the play by another page. That is going to take a lot more work, of course, but it is necessary. I will need to think about what can go carefully at this point, but I should still be able to find plenty that is not essential without removing the qualities that give the play voice and life. I am eager to see what others thing tomorrow. Right now, I feel a bit nervous about the script, really, as their were many cuts made, but I have found that the group is supportive and generous, and I expect that I will be given a lot of encouraging suggestions.
I am still in my head about the stuff from the agent, and I know that slowed down my work today, but I feel that doing the work has gotten me into a better mental space, and I have my meeting on Monday morning, so I should be able to get some new perspectives and advice on what steps to take. In all, things are in a good place, and I need to remember that. Their is much that is very positive happening right now, and even this rejection may mark a major step for me, depending on what I learn during my meeting. Anyhow, it is late and I have my workshop in the morning, so I am calling it a night for now.
Comments
Post a Comment