The Art of Rewriting?

Writing is rewriting. According to Ernest Hemingway, it’s the only kind of writing. I’ve been doing a lot of rewriting recently but it’s come in different guises, which has been interesting (to me), so I’m going to break it down.

let me eat cake

First, rewriting my own feature specs. In general, rewriting one’s own work that hasn’t been commissioned (and essentially, no-one cares about except you) is a tricky task. We can easily convince ourselves that our first drafts don’t need further attention. Or perhaps all they need is some very light dusting of dialogue and description. Would we be wrong to assume such casual self-appraisal? Let’s say yes. A first draft may well indeed be ‘very good’ (thanks mum) but it hasn’t been pushed, prodded and explored further. This is why you need notes, from people you trust, and then you roll up your sleeves and rewrite.

In my spec romcom script, I got notes from one person whose opinion I rate highly. Their feedback was complimentary but ultimately echoed my own reservations about the first draft. Some of the notes were scene or dialogue specific. But be wary of doing those notes and ticking them off. What you really want is to think about the wider problem or issues, and how you can change what’s already there, or introduce new elements. In this instance, my friend’s feedback inspired me to add two new characters (note: the feedback didn’t say ‘you need two new characters’), work out a subplot for each, and then structure them into the existing script, whilst removing or trimming any scenes to help smooth out the rewrite, and make everything connect (one rewrite session was staring at the screen for two hours working out kinks and ripples). The addition of two characters helped, um, twofold: to increase the emotional and external stakes of the protagonists, and also have the storylines and characters more causally linked to my overall theme. I have now sent this new draft to two other people, whose opinion I rate highly, to see what their fresh read will highlight…

Second, rewriting commissioned work. I’ve got two new gigs on the go, both of which are exciting and challenging. One is in early stage of development (so we’re trying to figure out the whole world of the story). The other is already well-developed so I’m slotting into existing characters, world, tone and approach. In the early development project, I pitched a storyline that addressed the core concept, characters, story and theme. Well received. Then came notes. So I revised a more streamlined version: fewer characters and a slightly alternate take on the plot. This felt much stronger for the protagonist, their journey and the overall impact of the story. Am awaiting feedback on this new version but ready and willing to make more changes so we can nail down a treatment before I start thinking about the script.

In the well-developed project, I wrote a script based on an existing outline. The first draft was lovely, doing everything what was in the outline. Job done? Not yet. First draft notes. Intelligent, thought-provoking, curious; all with the intent of prodding and poking and exploring. Adding fun, visual and interesting elements. But all to heighten the drama, and the emotional POV of the characters. Second draft script done. Felt great! I had a call today about this draft. This brought up extra smaller ideas as well as focusing in on two or three key scenes to dramatize them more carefully and vividly. Cool! Although more work, and some of it delicate, am excited to see how the next draft shapes up.

Third, rewriting dialogue. I’m working on an Italian animation series. I helped develop the show (which is an adaptation of fun books) and have written a few scripts. But as part of my deal, they send me their Italian scripts, which have been translated into English. My job is to punch-up the dialogue only. To make it more grammatically correct, or to liven it up if too flat (or nonsensical). This is good fun, as I get a ‘pass’ on some plainer or confusing dialogue, all because of how it’s been translated. It’s important for the English-version of the show, to help gain better transaction in international sales.

My ultimate ongoing learn about rewriting is that everything can always be improved. But I’ve had experiences where you get endless notes, and do endless versions of a story. This is frustrating and demoralising. So you don’t want to go down that depressing spiral of feedback. If a spec, just get the script to the best possible version it can be, and send it out. If a commissioned piece of work, dutifully try to embrace the notes and deliver the goods, get sign off and you’re done. Rewriting is the only kind of writing. Good old Ernest is probably on to something there.