You. Put down those fish crackers, I’m talking to you. Serious – this is a serious talk. No goofing around about anything. Just drop the crackers.
So, what do you do? Me? I’m a writer. It’s what I do. Technical writing, a little marketing, a little blogging, a couple of novels, a couple of short stories. It’s what I do. Working on a screenplay right now.
In fact, thank you for asking, it’s a screenplay based on my own novel, Droppington Place. It’s a funny story… well, okay. You’re right. We’re being serious here.
Have you seen Kubo and the Two Strings? Lovely picture, although a tad sad. It was made by LAIKA, a film studio in Oregon that makes handcrafted, stunningly animated movies. What could be a better fit? What better film company to make a major motion picture out of Droppington Place?
As you know, I’m a proponent of Gorilla Marketing – do little, expect lots. In this mode, we ask ourselves why we must go through all the hassle of selling millions of books. Why could we not simply approach LAIKA directly, make the motion picture, and then sell the millions of books? You know, it’s not really putting the cart before the horse: it’s more like they’re side-by-side. Boom. Anything could happen.
So I set myself out to write a screenplay from the novel. Piece of cake. I know the book forwards and backwards. What if I simply move these scenes around to make it more, you know, cinematographically friendly?
Well, three things happened. Three. You were expecting two, but, hey, it was three. Sorry to disappoint.
First, in reordering the book for cinematographic friendliness, I found a much better flow to the story. Rats. Now the book needs a rewrite.
Second, in retelling the story for the large screen, I found some motivations for characters I hadn’t seen before. Rats. See above.
Third, I had a revelation. A very sad, very tawdry little revelatory affair that hurts to write about, but you’re a writer. You know how it is.
Shakespeare is quoted as having written, “to thine own self be true.”
I was on an airplane, struggling with the screenplay, when the words came to me. Poop, I thought. I don’t want to hear these words.
The words came as clearly to me as if I had written them myself, but I’m not this good. It was simple poetry, and it hurt to read. It said, “write what you want and it’ll be great.”
Write what you want and it’ll be great.
Stop plotting and planning and pushing and prodding. Stop massaging and manipulating and maneuvering and marketing. What’s in here (taps on chest) is what’s important.
“Your lungs?” I asked.
I have written what I hope will sell, and hope you will buy. I haven’t written the Great American Novel. I’ve written something clever and fun and creative, and that I think you’ll like. I like it.
But the calling is to write what’s inside, and I don’t think it’s about my lungs.
What is the story I was created to tell? What can I give to you that will be great enough to make you think, wow, my life is now better? What epic saga lies inside here (taps on chest)?
So, compadre, we have to saddle up another horse. It’s a long ride ahead, and now there’s another wagon to pull. Please don’t put the saddle on the horse that’s supposed to pull the wagon – you’ll just confuse things.
Okay. You can go back to your fish crackers now.