A buddy and I took a writing class - and while he just kind of plowed through his first draft I got kind of side-lined fixing stuff. Is this wrong?

Writing really is one of the strangest undertakings. We are seduced by a story idea in our head and practically driven crazy until we succumb and begin the process of putting it on the page.

And then, the real torture begins. We manage to write a scene or two, or even a whole first act; and then, inevitably we begin to second guess ourselves. As we soldier through the next tough scene sequence a little voice begins to speak over the one in our head telling us the story. 'The main characters name isn't strong enough - you should FIX that. The villain isn't evil enough; the opening scene isn't FRESH enough. The scene transitions'.... well, you get the idea!

Some of this self-commentary may actually be quite accurate. Your main character does have a putzy name, at the moment. And maybe those scene transitions do really suck. But guess what, we don't care - NOT RIGHT NOW. Your only job in the FIRST DRAFT IS TO FINISH! Repeat this to yourself, over and over and over again when your inner critic dares to speak. Resist the temptation to go back and just KEEP MOVING FORWARD; that's the only way to finish your first draft.

On the other hand, don't lock up that inner critic and throw away the key. Just throw him/or her a bone to keep her quiet. One of the best gimmicks that I've discovered is keeping a notebook and pen next to your computer and every time that critic SPEAKS - write it down!` Voila, your inner critic feels 'heard' and so deigns to leave you alone so you can write. AND, bonus time, by the time you have a first draft done you also have a dandy blueprint for your first REwrite waiting for you as soon as you type THE END.

I hope this helps. And I wish you lots of luck on your screenplay. Let me know when you've finished. I'd love to see your work!

Writing and especially SCREENWRITING is all about making choices.

CHAPTER ONE of the Screenwriting Essentials online tutorial & workbook discuss STORY CONCEPT and idea.

From the very first IMAGE you see on the screen you are telling your audience what to expect in this visual journey they are about to embark upon. I always say that writing is about choices and your choices for telling your movie start with that very first image.

Every artist faces this decision making process, whether it's an oil painter, a photographer or YOU, the screenwriter. Visually speaking, you compose each scene - you choose the location (what does IT say to your viewer). You choose the apparel (to some extent) of your characters - ie are they goth, business, glam or a slouch? You choose ALL the words they speak. What is going on beneath the words they actually say? Are they saying "I love you" while they batter each other with trash from a garbage can?

Now that doesn't mean that you become a 'control freak' as a writer. You leave many, many choice to the director and the actors and the set designer and the locations manager. BUT, when it's IMPORTANT to our understanding of the story or the emotional landscape of the heroine/hero you put the DETAILS in your script. You CHOOSE the words that make it clear.

There is a power and a responsibility in every story choice you make as a writer. With proper planning - you can learn to revel in the choosing - not be frozen in place - unable to act or stymied with indecision.

I hope this helps. And I do wish you luck with your new screenplay. Let me know when you've completed your script. I'd love to read your work!

I often see movies that have more than one writer. How does this work?

This is a really good question and like most things in the movie business, the answer is really situational; dependent on WHY those extra writers were brought in to work on a script. These are only some of the examples.

1) A producer (the money person) has a story idea - but he/she is not a writer. So one writer, or several, are approached to create the screenplay. In the film credits this is usually phrased by STORY BY: xyz person SCREENPLAY BY: abc person/s.

2) A writer (you or me) creates a 'spec' or 'indie' script... one that has no actor or directors attached (the talent); but is created merely because the writer thought it was a good idea and thought the screenplay might sell. A producer (the money guy) or name director reads the script and really likes it EXCEPT for xyz... whatever reason. So they contract with the writer (through an agent and or lawyer) to buy, or at least option, the script. The initial writer agrees to the changes and the deal is a 'go'.

But in the process of trying to find the perfect director or name actor to sign onto the script - more changes are suggested to the writer. This time the writer decides the changes will really compromise her initial concept/theme/idea. For whatever reason, she refuses to make the changes the producer suggests. Let's be clear, once you sign a contract - the producer owns your script. He is legally able to find another writer to MAKE the story changes no matter what you think. Hence the 2nd name in the credits.

3) Or, on the road to finding the perfect blend of story/producer/director and actor - the script goes through many, many rewrites; ideally these are done by the original writer. But sometimes another writer, who has an established expertise, (dialogue for instance) will be called in to FRESHEN the script or give it a skew to a particular actor's talents. (think Schwartzeneger's 'Ill be BACK' line). Often these collaborations between writers are quite amiable... most writers are fully aware of the limits to the skills they bring to the table.

There are many, many other situations where a whole stable of writers take turns polishing a script for various complex reasons. Film making is a collaborative art, and your original screenplay is often only a springboard for other creative talents that will combine to bring your script to the big screen. You really need to be able to stand back and let that happen. AND never sign a deal or contract without the advice of a really good agent or film lawyer who will protect your rights in the eventuality of any of the above creative writing situations.

I hope this helps. And good luck in your writing. I'd love to read your work!