Monday, May 10, 2010

Monday, May 10, 2010
Waning Moon
Pluto Retrograde
Mercury Retrograde

My post-Derby article is up on FemmeFan here. My editor loved it, even though I felt it lacked sparkle. Motivates me to make the Preakness article this week twice as good!

Exceptionally cold all weekend, frost on the ground this morning, and the scumbag landlords had the heat off until 6 AM today. Typical.

The alarm didn’t go off this morning, but Elsa is better than any alarm clock, so I went out for my run by 5:15. It’s quite light out, with just a sliver of waning moon, singing birds, corporate types scurrying to the train station . . .

So, where do I start? Didn’t write on Saturday at all — on purpose. Needed to refill creative well. Did my errands, sorted, purged a bunch of junk, took stuff to storage. Read. Cooked.

Got some good ideas for the next section of the urban fantasy.

Was about to order a great futon couch. It looks good, the price is good, and it will fit through the doorway — since they put in the new doors, I can’t bring in my sofabed. the doorway is now too narrow. Not to mention the doors suck. Anyway, I was trying to figure out the shipping costs, and, when I read the fine print, it clearly states that they don’t deliver the couch to the house. They deliver it TO THE CURB. If you want it taken into the house (or, in my case, the third floor apartment), you negotiate with the delivery guy when he arrives and you pay him cash on the spot. Sounds like extortion to me — no price quotes, no regulations. So I’m not ordering the futon. Bite me, assholes. You think I’m really that stupid? I wonder how many people were stuck with furniture left on the curb and wound up paying a couple of times more than they paid for the pieces themselves just to get them inside the house?

Elsa was up and down on Saturday — much better than she was on Friday, but still not doing as well as last week. I got up early on Sunday to give her the medicine, went back to bed, and had a weird dream.

In the dream, I was brought in to script doctor some piece or other rehearsing in Greenwich Village. I’m assuming it was a film, but maybe it was a play. That was unclear. It starred an actor who tops the list of people I still want to work with. He looked completely dazed at the disorganized chaos. No one seemed to be in charge. There were far too many producers floating around (as usual), saying, “I’ll take care of it” when something was brought to their attention and then doing nothing (as usual). We had to fill out huge packets of information we were told were “for tax purposes” but read like psych evaluations. I told the actor I was excited to work with him, just not sure it should be on this. He laughed. Some other guy asked me to watch his stuff because “You’re the amateur.” I said, “No, I’m the writer” and he replied, “Same thing.” I did NOT watch his stuff. I knew a lot of the actors in the project in the dream and had worked with them before, although in life, I’d only worked with one actress in a big musical. She kept trying to match-make me with this one and that one, whether I was interested or not (which she tried when we worked together). I was about to pitch a fit and either take over or walk out (in spite of the actor I really, really wanted to work with) when Elsa sneezed in my face and woke me up.

Obviously, I’ve been thinking about production a lot lately, since POWER OF WORDS takes place behind-the-scenes on one. This dream is a warning, the the specific actor representing not just himself, but everyone that’s still on that list of people I hope to work with (poor guy). Knowing how my dreams work, it may also be a caution– an opportunity may present itself and it may not be what it initially seems. I shouldn’t accept simply because there’s someone involved who’s on my list. So I stand warned. The nasty comment from the guy who wanted me to do PA duties represents the way writers are often treated in this business.

Made some cuts in SETTLING THE SCORE on Sunday, wrote twenty more pages, made more cuts, wrote eight more pages. Printed it all out (now that I have ink and paper again) and saw a huge, huge, HUGE logistics gap. There’s no way that character could have that piece of information vital to the plot machinations at that point in time the way I’ve got it laid out. I wrote some notes — I want to complete the draft before making any more fixes and running any more copies — and will move forward. Also, in the final draft, I’ll have to fix some formatting things. When I write scripts, I triple space between dialogue bits instead of double space. And the default font on this machine is Helvetica, which is fabulous to work in, but for script purposes, I have to change it to Courier (I loathe Courier). That will also drop the page count, which is good, because I’m up there now, and there’s still another good third of the movie to go. My goal is to have it run just over 2 hours, but feel like about 85 minutes.

On today’s agenda: pack more stuff for storage, work on SETTLING THE SCORE, maybe work on the adaptation of BEHIND THE MAN. I need to get my scripts sorted and synopsised and loglined over the next few weeks for some upcoming meetings. I may take WOMEN WITH AN EDGE out of retirement briefly just for the meetings, even. I should also take a look at my spec TV scripts — I don’t even know what one is “supposed” to have in one’s portfolio this season. I don’t know if I can still even use the BUFFY sample or the STARGATE ATLANTIS sample. If I need to come up with new ones, it would make sense to do one for HUMAN TARGET, since I spent so much time dissecting the show, but I don’t think that’s on “the list.” Of course, I might do one anyway, just to prove to myself that I can.

I’ll check with some acquaintances and find out what this season’s “list” is, and then figure out if I should even do a set of specs, or just stick to the plays for the moment, and this next round of meetings. I’m not angling for a series slot anyway — there are, literally, thousands of scriptwriters more qualified, in line ahead of me, and in LA so to do. But sometimes, even if you’re not up for the job, that’s the kind of sample someone wants to see in a meeting.

I’ll pack extra Excedrin, too. The meetings aren’t for a few months, but it takes time to put everything together, write any new material necessary, and have it be good, so I’m looking ahead. That way, instead of scrambling, everything is ready, I can just pull what i need for that meeting out of the file, and it’s much less stressful.

I’d like to get back to the urban fantasy this week, since I figured out how to overcome it’s obstacle, and, of course, ANGEL HUNT. My worry with ANGEL HUNT is that, once I go down the rabbit hole with that, I won’t come out for weeks, because of the intensity of the project. With the Preakness AND a pottery workshop this week, AND paperwork to complete for next year’s teaching schedule (yes, I’ve already got some major bookings for 2011), I don’t know if I can go down that rabbit hole right now. However, I want to get the book out on submission by the end of the month, so I need to get cracking.

Hard to sort out when so much has equal value and equal importance. But, I’ll figure it out. And I have to talk to the vet. Elsa is steadying again, but it doesn’t look like we can wean her off the steroid just yet. So we need to discuss next steps.

Back to the page.

Devon