Courage.

Dear writers.

We're on the precipice of an adventure. We stand outside a dark cave of uncertainty. We wait for the trumpet that rallies us to the call.

We wait on the eve of NaNoWriMo.

We are a small band of devoted storytellers, impassioned voices, slightly unbalanced characters. We feel the urge to do what few would find even rational -- 50,000 words in 30 days? During a month of a major family holiday as well? Would a normal person attempt such a thing?

The answer is no -- but we are no normal beings.

If any of you fellow NaNo-ers out there are like me, you have the mere inklings of a plot, the foggiest visions of a character, and nary an idea what to do after chapter three. But NaNo-ers depart from weather outlines and other conventional wisdom. We believe in the compulsion of artificial deadlines, the longevity of caffeine, and the power of a story. And we will sacrifice our sleep, our fun, and our sanity in order to run the race set out before us.

For those waiting for the gunshot of midnight, best of luck. God speed you through your caffeine-tripping and sleep-deprived haze to the 50,000 word finish line. It's time to sparkle, little dreamers.

Here's to your literary abandon.

Christmas and Comedy

1. The She & Him Christmas album is wonderful. Does this mean that I've already begun listening to Christmas music? Unconfirmed.

2. While Deadline Hollywood is proclaiming that "the spec market is as dead as disco," Scott Myers just reported the 84th spec sale of the year. Spec sales are up 84% from last year. So, um, yeah. Drop down the disco ball, 'cause I guess disco is coming back too.

3. I have three major projects rolling right now. My assignment for V., NaNoWriMo, and rewriting The Exit Strategy. My goal for this draft of The Exit Strategy is to make it funny. REAL funny. As close to Bridesmaids funny as I can get. I'm reading "Show Me the Funny!" from Peter Desberg & Jeffrey Davis to help. I've already found some nuggets of wisdom, and I'm only in chapter two.

Something I'm definitely going to keep with me while rewriting is something that came out of an interview with Walter Bennett (The Bill Cosby Show, The Steve Harvey Show, In the House, etc. and more). When asked what he does to make a story funnier, he said, "If it's not funny, it's usually because it's not the worst thing that can happen."

I've employed this strategy already, subconsciously. I bumped character relationships up to the next "awful-ness" level. I picked out dialog that could be more inflammatory. I tried to utilize the setting to get the most embarrassment out of situations that i could. I really want to push this next draft so that the worse things that can happen to my main character, do happen. Because, like Bennett says, it works. If you're working with a scene that's moderately funny and you want to know how to kick it up a notch, ask yourself -- is this truly the worst thing that could happen to my character?

This is also so helpful when writing any kind of story and figuring out the main conflict/problem. Figure out what your characters fears or faults are, and play your problem into them. If your character is a coward, require them to show courage. If they are shy, make them step out of their comfort zone. If they are proud, humble them. Find the opposites in your story and use them to create conflict.

And when you need a little serenity from all the craziness that you're instigating, listen to a little Christmas music. It soothes the soul.

Bad News.

Kurt Kuenne gives advice on what to do when you get news of a sale that's similar to a script you're working on. I'm looking at you, Young Adult.

Coffee shops, my second home.

We're 17 pages into the script I'm writing for V, and I'm feeling pretty good. I'm hoping to have Act I finished in a week for next week's meeting with V. He thinks we'll have a first draft done by mid/late November. I'll be happy if it's before Christmas.

And then we're sending it out for notes.

This is where I get concerned. V and I meet (nearly) every week, and I'm sure if he had any huge concerns he would bring them up. But most of my changes so far have been cosmetic. Maybe that's because we're still pushing through Act I, where the drama is more situational instead of character driven. But I'm a little worried that we're going to drive through the first draft, and I'm going to be oblivious to any big problems, and then we're going to show it to other people (like other of my former professors) and they're going to think it's awful.

But I know I've only gotten better in the last two years. Sometimes it's just hard to remember that when you're sitting alone in a coffee shop, your tea getting cold and your page count barely inching along.

I am excited about NaNoWriMo, though. I'm trying to put some thought and planning into my novel this year. I'm hoping this year I'll come through with something more than just a self published paperback I only let blood relatives and the occasional Hockey Player read.

Want to read it? Sometime in February? Yeah? Well, we'll see.

I thought I had finished my zombie story. I'm trying to prune the list of short stories I have in their various states of disarray. The zombie story had been through two drafts and I thought only need a polish. And then I had a better idea for it. Work is never finished. You can always be improving...

It's so cold everywhere.

Seasonal Fun.

I've never considered myself a horror writer, but since I'm writing a zombie story I found this apt and timely -- 25 Things You Should Know About Writing Horror.

Ready? GO.

So, I just had to read my own blog to figure out where I left off. LAME. I think I'm figuring something out. I think I can either have fun in my life, football games and wedding planning (my best friend's) and concerts and hosting wine tasting dinner parties -- or I can be a writer.

Guess it's time to stop having so much fun.

I'm not even able to properly analyze the new fall shows because I can barely keep up with them [except I'm totally going to plug the ones I HAVE been keeping up with -- The New Girl and Community! I'm kinda feeling Pan Am too].

I have been making steady progress on my writing assignment for V. We've moved past prewriting and I've started writing actual pages. The only problem is that I boasted I could write 8 pages an hour if I was focused. I totally can, it's just finding that hour. I ran into another former professor while working with V. last week. He told V., "Amy Butler is fantastic." Yep, been feeling pretty stellar since then.

But I had best utilize October, because I'm doing National Novel Writing Month this year! I haven't participated in NaNo since I was a living in England, 5 years ago. But I've been feeling the siren call of fiction for the past several months, and I think NaNo's just the thing.

I've been working on other fiction projects, though. Speaking of steps I haven't taken in a while, I just submitted a short story to Glimmer Train, the first submission I've made to a market in a very long time. Glimmer Train is pretty prestigious, and the tone of my story is a bit excessively tongue in cheek, so we'll see how it goes. I'm going to pull out the other piece I wrote over the summer and clean it up too. And lastly, I've started writing a short zombie story. It's called "One Sad Zombie." I have a lot of time to think at work.

I am also ready to update the layout of this blog. Totally not a fan. However, the domain I wanted is already taken on both Blogger AND Wordpress, so I think we're stuck with the same old format for a while.

I also want to buy a leather jacket. Non writing related goal.

Get me the Laughs.

Sometimes life gets busy. Super busy. And, well, when you're having this much fun and sleeping this little, sometimes it's tricky to maintain a blog.

Luckily, today we have a guest post from Peter Desberg and Jeffrey Davis, authors of Show Me the Funny! I'm excited to delve into this book as I revamp the comedy in The Exit Strategy, but first, here's a snippet of what their book is like.

Dialing Up The Darkness

By Peter Desberg and Jeffrey Davis

In our book, Show Me The Funny!: At the Writers Table With Hollywood's Top Comedy Writers we asked twenty-seven comedy writers to take a generic premise we created and develop it. We told them there were no limits, no rules and no boundaries. We worried that they would duplicate each other…it’d be like the famous episode where Ethel and Lucy show up to a party wearing the same dress. We worried needlessly. We were excited to discover that every writer, whether a team or an individual, attacked the premise in his or her own unique way. That’s one important definition of a professional. Show Runner for Roseanne, Bob Myer made the story into an episode of a situation comedy. He effortlessly created a network-style story. He began by casting the story in his mind so he could picture who he was writing dialogue for, and to make sure that it would be acceptable to a network…That’s another definition of a professional…he expects to be paid for his work.

Then we asked: “If you didn’t have to worry about networks and executives, how would you darken it?”

Bob gave us a choir boy’s smile. We pictured him with his hand on a dial about to turn it as he asked, “How dark do you want it?” We told him he could make it as dark as he wanted. He went to work with glee turning an average, mid-twenties corporate woman into a drug-addicted private detective. The treat for the reader is watching as he goes back-and-forth between developing the story and explaining his rationale as he builds and deepens it.

When we asked how he planned to get the audience to root for a drug addict, he said: “I think her dependency makes her likeable and she’s funny. And we like funny people…she’s pretty. You like pretty people. But she’s also got a struggle and you’re rooting for her. You want her to survive…you want her to pull out of this. And she’s good enough at what she does and entertaining enough in how she behaves…she can keep her friends strung along, her friends haven’t given up on her yet, and you don’t either. And because of her habit, she’s an underdog…and we root for underdogs.”

With great skill, Bob created a pilot episode in which his troubled detective is headed to meet her “deep throat,” a guy with information that will break her case wide open. She runs home to pick up a few things… a file…a hat…a quick fix, and as she opens her apartment door, everyone she knows is there for an intervention.

As soon as he said the word “INTERVENTION” Bob sat up straight and said, “I’m thinking of pitching it now.”

You can find out more about Show Me the Funny! at www.showmethefunnyonline.com or www.smtfo.com. And, hey while you’re at it ‘Like’ us at www.Facebook.com/SMTFfans.

# # #

Author Bios:

One out of every 150 people in America bought a copy of a joke book that Peter Desberg has written. Unfortunately, Scholastic sold the most popular one for $1 each, so he still has to work. Counting his five joke books, he has had twenty books published. In addition to this lucrative writing career, he is a licensed clinical psychologist who specializes in the area of stage fright. He has worked with many top stand-up comedians, who are regularly confronted with massive cases of flop sweat. He also has been moonlighting as a full professor at California State University Dominguez Hills for over thirty years.

Jeffrey Davis's earliest memories are of sitting around the writers' table at Nate & Al's Delicatessen, where his father and his comedy writer cronies gathered over corn beef and Doctor Brown's Cream Soda, told war stories, and tried to fix third acts. He began his own career writing jokes for Thicke of the Night. Among his situation comedy credits are Love Boat, House Calls with Lynn Redgrave, Give Me a Break, Diff'rent Strokes, and Night Court. He has also written for such shows as America's Funniest People, America's Funniest Home Videos, and Small Wonder, and has had film projects developed by Bette Midler's All Girl Productions, among others. His plays have been produced in New York and Los Angeles. His most recently published play is Speed Dating 101. He is the Screenwriting Department Chair and associate professor of film and TV writing at Loyola Marymount University. His one night of stand-up at the Comedy Store convinced him that he should stay permanently seated at his desk.

Hot Famer's Daughter.

Boy am I tried! [EDIT: That should be tired. But I left it up there just to support my statement.]

It's been a busy life. I saw the most amazing football game of my life on Saturday and had a complete excitement hangover the next day. Literally, my voice has just recovered from the cheering.

I previewed an early sneak of Fox's new show, The New Girl with Zooey Deschanel. Don't ask me how. I'm a paid writer you know. I've been so stoked every since hearing it had been picked up. Zooey Deschanel is a favourite actress of mine, and it's sweet that she and her sister get to share a network.

But I was worried. With all the hype and adorable-ness that is Zooey Deschanel, would the first pilot show of the season disappoint?

September 20th, at 9 pm, get thyself to a TV and flip on Fox. This show wins.

Jess, Deschanel's character, is so wonderfully awkward. Like, really awkward. She's that offbeat kinda-not-cool-but-it-works-for-her character that usually appears as your female protagonist's best friend. Maybe I just love it because she reminds me of me and my girl friends.

The guys are not quite as solid as Deschanel, but I can see their personalities develop. But, so sad, the strongest character of the three in the pilot, Damon Wayans Jr., will be replaced because he already has a commitment on Happy Endings. That makes me UN-happy.

It is funny. The Hockey Player almost missed his bus home because he was trying to stay as long as possible. My only cavaet is that there seems to be a lack of complexity, but pilots usually have to cram in so much they have a unique tone. I am so looking forward to the rest of this show -- and the rest of the fall season.

The Big News.

1. I still fit into my high school graduation dress, suckas!

But that's not it...

2. I am about to be a paid screenwriter.

Money. In my Pocket. For words. That I wrote. I am about to get paid. For words.

Here is the story -- I still keep in touch with my old screenwriting professors, and one of them floated an idea by me and asked if I would help develop it with him. Yes and yes. I expected we would meet a few times, spit ball ideas around, and just sort of break the monotony of writing alone by developing the idea together. I was a little nervous about having to be brilliant on the spot with a former professor, but I was excited to work with someone for a change.

It was like a small town Hollywood courtship meeting.

He bought me my drink (lemonade, but I kept it medium, no need to be flashy), and we small talked. We hadn't seen each other since he had given me notes on my TV pilot. And then it got down to business. We would develop the idea together through weekly meetings, and once we had nailed down a treatment, we'd register with the Writers' Guild with joint story credit. Then I'd take our treatment, outline, and beat sheet (yeah, way more prewriting than I ever do) and work out the screenplay. I'd register my first draft with the Guild and get sole writing credit. He'd shoot the script low budget next summer and edit it in the fall.

I was set to go, by this point. The prospect of having my words filmed was motivation enough for me. But then he flattered me even more -- he offered me money. It wasn't an extravagant amount (he's a professor, guys) and at first I waved my hand -- unnecessary, Professor -- but he was insistent. He said, he thought about what he would want in this situation and that the money was an investment in the project that he wanted to do. We reached an agreement.

Guys, I'm going to write a script, and then I'm going to stand in front of a video feed and watch those words. There's going to be a script, and then there's going to be a creative team, and then there's going to be a cast, and then there's going to be locations and sets and a shooting schedule and footage and hours and hours in the editing room.

And then there's going to be a movie.

That I wrote.

And sometime after that, there'll be another. And another. And another and another and another...

In Deep.

The Hockey Player wasn't wrong when he said writing takes a long time. I started writing The Exit Strategy last late summer/early fall, just finished draft three, and am hoping to get through a couple more drafts before the Nicholl rolls around in May. That's nearly two years, and I have little idea if the draft I send to the Nicholl will be the final draft.

This is why I try to be careful when picking projects. If you're going to dedicate years of your life to a project, you've got to be convinced that 1. this is a project you like enough to get you through those years and 2. this is a project that will help your career. [I fully believe that faith in #2 is more difficult and uncertain than faith in #1.]

There are a lot of stories I could write. But I feel like there are a few kinds of stories I am meant to write. One kind of story that I like to explore is the redemption story. The redemption of people, the redemption of situations, how the bad becomes good. But when it comes to writing the bad before the good, I'm a little squeamish. When I write about the gray areas of life, how do I show understanding without sanction? Shouldn't I raise the stakes? How "bad" am I willing to go? Or am I afraid of the judgment on me if I write something deemed inappropriate?

The problem is, if I gloss over hard situations, if I keep things just partly cloudy, how powerful will redemption be? Isn't it the greater the fall, the greater the grace? If someone is saved from just a slightly harrowing situation, how much faith will I inspire in redemption? Isn't it true that the greater the debt forgiven, the greater love inspired?

Too bad I didn't want to become an accountant instead of a writer.