It’s done! And you’ve experienced moments somewhere between euphoria and inner turmoil. The personal battle with words, ideas, organization, themes, and all the stuff of storytelling has played out. And, after several revisions, you’re satisfied with the final screenplay or manuscript that emerges. With a little luck and a lot of perseverance, your project lands in front of the right pair of eyes. It gets further notice up and down the chain of command and an option agreement or contract is in the works. That’s just the beginning! You’re at the starting gate, and the long race to the finish line hasn’t even started.
Now comes the real work! We all know that movies and television are highly collaborative industries. Sometimes that collaboration involves several creative types, and, in most instances, an initial audience of one. Yes, the one that’s giving you notes on what, at times, are ideas you didn’t imagine for your story. Yet, I’ve had a script, “Catherine of Siena,” optioned twice with no changes to my submission. The producer attempted to kindle interest with RAI in Rome, Italy. But a development deal never materialized, and the project fizzled when the options expired. No hard feelings.
Otherwise, I’ve had notes from producers, editors, directors, and writing friends for my scripts and novels. I listen to all the comments and suggestions to sift through what works and what doesn’t work. But here’s the bottom line: If the notes are from your book publisher or film producer, the changes aren’t optional! Your core of artistry and innovation must go into overdrive to accomplish and maybe even improve upon whatever they envision. You just hope and pray you share the vision without too much compromising. The only exception for wiggle room is if you’ve hired a book editor or script coach. I paid a book editor to finalize a draft of my second novel. Did I accept all of the changes? The short answer is no. The key is to approach any reworking with humility. Abandon your ego and objectively view the story and characters. I’ve also hired a proofreader, and I obeyed her like a puppy waiting for a treat. The suggestions went way beyond mere grammar corrections. She brought the manuscript to a high polish, the best it could be unless I started with a page one rewrite.
So what’s the optimal approach to revising with notes? It’s a topic that been broached by many bloggers no doubt! But here’s my advice. First, take a deep breath. Read through the notes and try not to react. And if you do feel a rant coming on, get through it to the other side! I’ve done that too, privately. Unless you’re meeting directly about the suggested changes, you have time to process. But I’ve had an occasion when the notes weren’t revealed until the actual meeting took place. It was regarding my second novel in a series of five. And believe me, that’s as tough as it gets! It’s a real verbal tap dance. You don’t want to be defensive, but you don’t want to be impervious, like a brick wall that a ball keeps bouncing against! In the instance of a direct conversation about the notes, without foresight, listen carefully and, if appropriate, make suggestions on the spot!! It’s not easy, but, essentially, creates a dialogue and not simply hearing a one-sided dictation. Talk it through. My publisher and I spent nearly one hour dissecting the first six pages of my second novel. That’s intense underscored, but I got through it. I remained open-minded and kept it as a conversation. I came up with ideas because I wanted to make sure I got the drift! If you’re merely a receptacle for advice, it doesn’t stick. You have to engage if there’s room for it.
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Lately, I’ve adopted the Pomodoro Method of timing out my day to accomplish goals, including writing and/or rewriting. It helps curb the procrastinator that waits for the tomorrow that never comes. Basically, the Pomodoro Method involves setting a timer for 25 minutes and working without interruption. Then, I take a five-minute break and set a tomato in a bowl. The goals is to get four tomatoes in the bowl which equates to four twenty-five minute stints without interruption and five minute breaks in between. Somehow it works for me because I have to force myself to put aside social media and other distractions.
However many revisions it takes to get to the finish line on your project—book, blog, or script—enjoy the journey. You’re only competition, really, is time. Spend it wisely! Happy writing!!