Q: I don’t think I can write a script on my own. Should I collaborate with another writer?
A: First, ask yourself why you need a writing partner. Is it because you’re lazy and don’t want to do any of the work? Is it because you can’t come up with any ideas of your own? Is it because you’re good with dialogue but not good with story, or vice-versa? If you’re basically just lazy and don’t want to do any work, or if you can’t come up with any ideas...then why on earth do you want to write screenplays? If you’re good with dialogue and not story, or if you’re good with story and not dialogue, then finding a collaborator who compliments your lack of proficiency is a great idea. Problem is, finding an adequate writing partner is a very tricky thing. I’d say it’s akin to finding the perfect mate—and we all know what the divorce rate is, don’t we? Actually, I’d say it’s probably even higher for writing partners. I’ve had the misfortune—er, pleasure—of collaborating with a few writers over the years. (The term “writer” is used very loosely here.) For the most part, these collaborations boiled down to me tossing out all sorts of plot points and visual imagery while my partner sat there nodding and saying, “Yup, good, I really like that.” Then I’d come up with more plot points and visual imagery. Again, my partner would nod, “Love it, Jim, really cool!” Gee, pal, how ‘bout a little feedback, a little embellishment, a little discussion? I don’t need a “yes” man—I need a collaborator! Then, if you’re successful enough to actually get a story laid out, how do you divide the actual task of getting it down on paper? Does one do the typing while the other paces the room dictating? Do you take turns typing and pacing? Does one write the first ten pages, then the other writes the next ten? Who edits the pages? Believe me, it can get awfully complicated, if the two of you are not in perfect synch with each other. But some people do it—and they do it very successfully. I remember a conversation I had with one particular collaborator many years ago—and it went something like this:
ME: I think we need to pump up this scene...add some more tension.
HIM: So how much you think we’ll get for this script?
ME: Huh? Oh, I don’t know. Now, about this scene...
HIM: C’mon, you must have some idea.
ME: Nope. No idea. HIM: C’mon, ballpark it.
ME: Really, I have no idea.
HIM: A hundred grand? Two hundred grand?
ME: Sure, I suppose it’s possible. Now, about this scene...
HIM: More than 200 grand, ya think?
ME: Read my lips: I...don’t...know.
HIM: I’m gonna buy me a new car. A Porsche! What’re you gonna do with your half?
ME: Can we just write the script first?
HIM: I really think we can get upwards of 500 grand if we play our cards right.
ME: We ain’t gonna get nothin’ if we don’t write the script!!
Needless to say, this “collaboration” lasted for a very brief period of time.
Q: My writing partner wants to write a serial killer script, but I’m just not into that type of story. Should I keep my mouth shut and write it anyway?
A: Unless he’s going to pay you (which I highly doubt), then I’d pass on the collaboration. Do yourself a favor and write scripts you feel passionate about. No, you don’t necessarily have to think it’s the greatest idea that must be told at all costs—but it should be something that you’ll look forward to living with and working on for, most probably, several months. Another story: I was once hired to write a script. A comedic thriller. I thought the initial idea was decent, but it certainly wasn’t anything overly special. At least not to me. The story just didn’t feel like it had enough of a comic element. So I rolled it all around in my noggin for a couple days and came up with a new angle. I kept the basic idea, but tweaked in a new direction. Now it was a dark, sort of sexy thriller. I pitched it to the producer and she loved it. I had a story I could grab hold of and run with. I made it mine. If you can do that with your own work—whether a spec or an assignment—you’ll be a much happier person.
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