Author Topic: Pre-writes, re-writes, and de-writes aka playing with other people's stuff  (Read 318 times)

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I am such a parrot, I can remember when House was on TV, I would be stuck in his cadence for about half an hour after the show ended.  I've always been impressed by people who can do impressions and while I can only do a couple, I've gotten real good at capturing voices on paper.  When I really get into it, I've got the mannerisms and so on going on, I match their physicality and I'd like to think that physicality translates onto the page.

This is why I tend to "cast" my ideas when I'm creating them, not just so I can picture them in my head but also so when I come up with a scene, the characters can just start talking.  It's such a great feeling when the scene just starts taking off on its own and you're just sitting there transcribing.  It CAN cause the scene to go off into side paths if you're not careful... this is why I like to improv in the conceptual stage where anything can happen, not on the final page.

The casting thing is a double-edged sword, my "stripper" project (which unintentionally became my "sacrifice" since I'm re-learning how to re-write), I was never able to cast the right part for the lead's nemesis, and that's really keeping the whole thing from gelling together.


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