“That’s not the path this story should take.”
So this should be an interesting article to say the least. I’m up for a Story Editing gig. Nothing new about that. I had a chat with the producer last night about a few things, the location available, the probable budget, the lack of prep time and finally the script or script idea in question. Which is where I of course come in. Now for those of you who know me, it’s no shocker that I can come on a bit strong. It has in the past gotten me in trouble as I’m a big guy and some people (smaller guys) find this intimidating. Not that I use my size to scare you (unless you owe me money or a fucking with me or being an idiot - okay, maybe I do use my size to scare you). But by coming on strong, for the most part, I’ll beat you down with what lives between my ears and that people is a lot of stuff and what I don’t know I will research until I do know.
So the possible story in question sounds? Well let’s just say, the pitch doesn’t sell in the room. Which is par for the course with the writer in question, we can’t all be champs at everything. Meh, same old same old. Me? I’m very strong on story and I’m aware enough to be able to write to a deadline (a very short deadline) where the concern is here is my somewhat strong personality.
Yes, I can be an asshole. Why? Life is too short for me to wait for you to grow up. Why there is a problem isn’t important to me, how we’re going to fix it is. How the fix will effect the rest of the script is also foremost in my mind. Words are not precious, there’s plenty of them out there. The real skill is putting them together in a meaningful order, again and again and again.
So the bulk of the conversation last night was, “Go easy on this guy.”
“No worries,” I replied. You see the writer in question will also be the director of this project. They could hire me on to bash something out quick and dirty and that would be fine but this particular individual wants the hyphenate so my primary goal is to make sure he can fulfill his potential in that regard. It is not to force my will on the script yet to be written.
Now I don’t know if I’ve ever covered the three phrases. I could search the blog but I’m just too lazy. So I’ll go ever them and their power again. These are the words that can:
Get you laid.
Get you read.
Get you sold.
And most importantly make you not look like an asshole.
They play on the most basic premise of the human spirit. We are the heroes of our own story.
Phrase 1) Really? I hadn’t thought of it that way.
This makes you look like you have been thinking like this but you value your new friend’s opinion.
Phrase 2) How interesting, tell me more.
No, I really value your opinion, because I’m totally at a loss here.
Phrase 3) I’m not sure. What do you think.
See, you’re so smart.
All three are ego enforcing. The trick is to listen. If you do have an opinion, don’t trot it out there if its inflammatory. You piss off the mark and there’s no chance to use any of the phrases. So the trick is to get the conversation started and just keep rolling out the phrases in the order required. Switch them up so you don’t seem like a parrot and the world will be your oyster.
Now when I’m story editing, I also use phrases because really, you need the writer to solve his own problems. It ultimately has to be his idea or it won’t feel right and you’ll end up with a blocked writer, who will be crankier than a Wolverine in a sleeping bag. This is not a trick. You just need to keep asking the right questions until they figure it out.
Does that serve the story / character / budget?
How does that effect (insert Act or plot point number here).
That sort of thing. Be prepared to back up statements with facts that can be verified. It adds comfort to the Writer.
That sort of thing. It’s only when they won’t budge that you use the Jedi mind trick. How do you do that?
The answer here, you will not find.
