Five-Minute Writing Tip:
One of the good things about sheltering at home is that I'm writing a lot-a whole lot. At the rate I'm going, I will have the draft of my current mystery finished by the end of May, three months earlier than I thought. Since I have few distractions, I'm able to work on it every day and quadruple my normal daily word count. And since I'm staying with the story, it's fresh in my mind, and I don't have to spend time rereading and going back and checking on what happened when. I always make side notes to organize what I've written. This can take time and cause me to lose track of my train of thought. A few weeks ago, I tried something new that allows me to continue writing. I started color-coding-adding specific colors to text-so I don't have to rely on side notes:
Blue means what really happened.
Green means something might have to be deleted or moved.
Red means I might need to elaborate later or reword something that doesn't quite work or question the direction I'm going.
Purple is used whenever I mention time.
Yellow is used when the protagonist summarizes what's happened thus far within a conversion with others, or one going on in her head.
The black font in bold means I need to remember this clue, red herring, or fact that will come into play later.
Blue text example:
"I have no idea where George took off to," Jenny said. "I haven't seen him since the last break-in." (Jenny is lying. She knows George is hiding out in his lake house. She brings him food and updates every day.)
Green text example:
"Speaking of that. We should phone the office to find out how Billy is doing with the Lawrence Nash case."
"If there is a Lawrence Nash case," Dixon said.
I might decide to delete the mention of the Nash case altogether.
Red text example:
"Don't worry. They won't find her. She'll be in the Gulf by now."
I might have to elaborate on this later and add more details.
Purple text any mention of time:
Or, he left town on Tuesday, or I arrived in New Orleans at 8:00 this morning.
Yellow text recapping events:
Flora Threadgill came to see Rip two days ago about the disturbances of her husband's grave. He wasn't interested in the case, but she insisted. All it took was a few quick visits to the cemetery to earn Rip threatening phone calls. When the caller threatened to harm Betsy, Rip took off for a couple of days, leaving Betsy behind to tend to the office. Not too smart in my book. I made a note to ask Rip.
Bold text of important facts:
He said Frank started coming in a few weeks ago, almost every day, but not lately. He'd also noticed Flora in the neighborhood, but she never came in. He said she went into Marie LaVeau's a few times for voodoo supplies.
When you're on a writing roll, you don't want to slow down and take notes until you're finished for the day. Then you go back and check your color codes and make notes. The next day, all you have to do is review your notes, and the writing begins again-quickly.
Cissy and I have been kicking around the idea of writing a humorous television script for a series. Something on the line of "Modern Family," "The Marvelous Miss Maisel," and
'Schitt's Creek." Big task since we know very
little about this form of writing. The first thing I did was to take an online class on how to do this, you know, like one of those advertised on Facebook. I purchased Shonda Rhimes's course, Writing for Television." Rhimes is the creator of the TV program's "Grey's Anatomy" and "Scandal." Even though these shows are dramas, the same information applies. Here's are a few highlights about what I learned:
1. TV writers have more control than scriptwriters.
Writing a TV script differs from a movie screenplay in that viewers see the movie from the director's eyes. In other words, the director dictates how the story will be told. While a TV script is seen through the eyes of the writer, giving the writer more control.
2. Your Characters are on Two Journeys
In each episode, the hero begins and ends a journey. There is a beginning, middle, and end to the situation. But the series also takes the hero on an endless adventure. Think of this as a subplot; your hero's ultimate goal. This can change as the series progresses.
3. Develop Memorable Characters
Characters have to be real, no matter how quirky you make them. They have to be believable. Before you start writing the story, write your characters' bios, their vital statistic: age, race, family background, education, personality. Their likes, dislikes, desires, dream, strengths, weaknesses, passions, and especially their secrets. Build their world. Your viewers need to know and connect with your characters. Every character, no matter how contemptible, has to have a good side. There has to be a reason for their bad behavior.
4. Watch TV
If you plan to write novels, read novels. If you plan to write for TV, watch TV. Watch successful shows and those that have not been. If you can get ahold of a TV script, read it, especially the pilot. Dissect it. Pay attention to how one act ends, and the next begins. Pay attention to the dialog that makes you gasp, and the cliff hangers at the end of every episode.
5. Find a Unique Idea
Ideas are everywhere. Open your eyes and ears to what is out there. Eavesdrop on conversations and watch people in public. You can take bits and pieces of what you hear and see and let your imagination run free. Keep a notebook with you and write down ideas as they come. Let it percolate, allow it to roll around in your mind. If the idea doesn't go away, and you find your characters talking to you and each other, you know you're on the right track.
6. What If
Develop your idea by asking what-if questions. What if we wrote a story about a small press in a small town? Build on it. What if we wrote a story about a small press, in a small town, that is not making any money. Keep going? What if we wrote a story about a small press, in a small town, that's not making any more, and the characters are dysfunctional and extremely competitive?
7. Research Your Idea.
Talk to people who are involved in the idea you created. Find out what life is really like in your idea scenario. What is it really like to work for a publishing company? Interview a publisher of a small press. What really goes on in the day-to-day life of owning a small town? Interview the mayor. Everyone has known dysfunctional their people, but interview a family psychologist and find out what causes the dysfunctional relationships.
8. Start Working on the Pilot Script
Locate pilot scripts that have become successful. Read them and take notes. What happens in the opening scene? Why is it effective in capturing your attention? Pay attention to how the characters interact, what they say, how they say it? What is the hero trying to accomplish? What is helping and preventing her from doing that? How did the pilot end? Does it make you anticipate the next episode?
9. Write your pitch.
Polish it. Rehearse it. Have it critiqued and analyzed.
And here's a secret. You can started pitching your idea before you even write the pilot.