The sequel to Chasing Betty is done and ready to go to my editor. I have another novel done that my writers’ group is working on.
That has allowed to me pursue my other writing passion: screenplays. In particular, the one that made the Top 40 Scriptshadow Tournament a few years back.
While I didn’t make it past the first round (American Idol style voting), I got some great feedback. I decided, at the time, to set the script aside to focus on shorts and Chasing Betty.
Now, with the novel side good, I am busting it back out. My process starts with printing out the script and reading it. I make notes in the margins and create a plan of attacking the rewrite.
I did that, but I also decided I needed some input on the fight scenes – it’s an action film, after all – and I consulted with my friend, who has black belts in multiple disciplines. He also has experience with filmmaking, a hug plus. He gave me some great ideas, which I was keen to incorporate.
The only problem? I couldn’t figure out a way to make it work.
I decided to put down the laptop and go back to the way I drafted Chasing Betty and other stories: blue pen and yellow legal pad.
Studies show the color blue inspire creativity, and most of my creative work has been crafted by this old school method. There is something about moving my hand on the page, each stroke and movement building letters, then words and finally, a complete and (I hope!) entertaining tale.
The computer can certainly do it faster, and, if you know me, neater. But the act of doing, of using your hands, brings out the story inside, aching to be told.
It’s tried and true, having worked for two millennia. Because of this method, I’ve got the basic outline of what I hope is my final draft of Brick House, one I plan on sending out later this year.
Sometimes, like Bond in Skyfall, you need a reminder from Kincade of the old ways to complete your mission. Whether it’s taking out Silva or completing a draft, once in a while, you gotta go back to the tried and true.