Baby Steps --Pt. 2--The Real Work Begins

In Part 1, we covered the discussions we had concerning an approach to adapting GREEN DARKNESS. The novel is long and dense with outstanding historical research, but we learned that two previous attempts had been made to adapt this material. Third time’s the charm? We knew we had to get it right!

We also came to an agreement about who our protagonist would be in the present (not exactly straightforward, because there were at least three ways to go ) and started making a point-form listing of the beats we wanted to include. That became version 1.

As each of us approved/agreed/disagreed with the other's additions or changes, we entered our new additions in a contrasting color and changed approved points to black to eliminate any confusion.

The versions flew back and forth by email - we don't live in the same city - topped by several calls. By version 10 we both felt like we had a pretty solid base. Then it was time to let the outline settle for a few days. Never rush an outline - it needs to be sturdy and complete before you begin to flesh out the structure. Just like ensuring the framework for a house isn't missing a beam before you roof it or letting a driveway settle before you pave it—screenplays are built on solid structures.

True to form, Angela's strength, mentioned earlier, created several plot points that worked to enhance motivations and explain what drove one of our characters to the desperate actions we have planned for them. Thus versions 11 and 12 of the outline came into being.

Is the outline completed? At version 14, we're definitely closer than before.

What do you think step 5 is on our checklist?

Please keep following our process -
Marla

Baby Steps -- Part 1 -- Making a List

Read to the cadence of the woodchuck tongue twister: “How many outlines could two screenwriters write if two screenwriters could outline right?”

Alrightie then, we have accomplished step one on our path to adapting the novel GREEN DARKNESS - getting the option. We can mark that off our checklist.

Wait! We don't have a checklist. Let's start one -

Step 1 - option the rights. Check.

Step 2 - breathe as the realization of the accomplishment hits home. Check.

Step 3 - let the screenwriting and literary worlds online know about step 1. Check (otherwise you wouldn't be reading this blog).

Step 4 - outline our take on the novel.

We can't put a solid 'check' after that step. Not yet.

From the start, we agreed to modernize the setting for the novel's “present” happenings. That and keeping the time spent in the Tudor time period to a minimum, yet conveying all the passion of the star-crossed lovers would be a primary concern. This was just one way we wanted to eliminate any reasons a producer might come up with to say 'no' to considering our script adaptation. Both of us have been involved in screenwriting for a long enough to learn that producers can create roadblocks on a project to make it easier for them to 'pass' on the work.

We have also taken comprehensive courses online from ScreenwritingU and studied Blake Snyder's SAVE THE CAT books. So... we both speak the same language when it comes to outlining. However, our brains work in different, but complementary ways: I tend to be more logical, more detail-oriented; Angela adds the emotion and mood essential to the tone of this material.

End of pt 1--more to come--

Marla