by Marie Setiawan

While I was sitting at my laptop (falling apart from constant use), I was ready to tackle that feature film treatment I’ve been meaning to edit and refine for the past couple of months. But my fingers lingered over the keyboard unable to type anything that required an ounce of my willpower. Just what was going on? Everything felt great, maybe even perfect at the time. I was inspired to write and I had a vision, one that has plagued me since I concocted this feature film idea from the get-go. And then it hit me…

I had two Vices working against me – Sloth and Pride were getting in the way. How? I was too much of a perfectionist that it affected how committed I was to a simple rewrite.

I’ve come to realise that there are many things that can affect your ability to write effectively and creatively. I propose these “personal obstacles” as seven different categories in the guise of Vices. It’s a quirky way of looking at things (and a common trope in most things), but hey, when you’re trying to think creatively, you’ll be needing to exercise that creative engine in that head of yours, right? Be prepared for a long post (slash rant of sorts).

1. Sloth (A lack of inspiration/dedication/commitment)

“The question isn’t “what are we going to do,” the question is “what aren’t we going to do?””
~ Ferris Bueller from Ferris Bueller’s Day Off (1986)

Anyone ever get that feeling – that itch – to do something creative? To write something onto the page and make it, well, tangible? One of the most blamed of vices to all writers everywhere, a lack of inspiration can certainly stop you from making that first word count. The problem I’ve found is that no matter how long you hold your hands above that page (or keyboard), not an ounce of inspiration is going to leak out from those fingers. You sit there for a few minutes, which can turn into an hour or two, and probably punch out less than what you’ve expected. Sometimes I’ve nodded myself to sleep trying to pour every ounce of creative juice into my work. I’m no stranger to being a sloth. But it’s not only about being lazy, it’s about being counterproductive. Slothfulness can lead to distractions, which vary from doing all the house chores to the Internet, but everyone is different in that sense.

There are simple ways to combat slothfulness. It’s simply creating the right environment for your creativity to brew. Switching off Internet access, making yourself a hot cup of coffee with a jug ready to go (or a pot of tea in my preference), whatever it is that primes you ready to get into your work. Personally, I need the right music to play while I type away. It fills the silence that is most distracting to me and tends to lull me to sleep… surprise!

2. Gluttony (Writing too much rough to get to the diamond)

“This isn’t life. This is just stuff. And it’s become more important to you than living!”
~ Lester Burnham from American Beauty (1999)

Sometimes it’s good to get through a lot of junk before you find some gold, but writing too much into a story can swallow it whole. Gluttons amongst writers may feel the need to consistently write without considering the structure and plot – almost like flow-writing, but with much lesser intentions for finding the story. In a way, gluttons write about… stuff, and not about life. I call it word-vomit (as disgusting as that sounds). As a glutton myself, I love to flow-write whenever I can, even if it’s a simple yet outrageous story at the top of my head. Unfortunately, some of these sessions of word-vomit can turn into a number of tangents that would lead you down different paths, whether they’d be good or bad for your creative health.

Despite all of this, as a screenwriter, a glutton act every now and then isn’t a harmful thing. If you need to word-vomit all over the page, do so. You may find the path you’re story’s looking for. But it’s not just about filling the pages with words, or worse, words with no meaning. It’s about instilling life into a script. That is what’s most important.

3. Lust (Falling blindly in love)

“Enough sweet talk…”
~ Poison Ivy from Batman and Robin (1992)

It’s kind of silly to think that you would fall head over heels over your work, but I’ve been down that road before. You’ve thought of this great idea and immediately you take it under your wing and concoct the twists and turns, the events, the characters, the development is entirely yours. You feel as if you’re on Cloud Nine when you write the story – like a fever but not so life-threatening. There’s only one problem with this: You’re caught up in your own story you don’t see it in any other way. Probably along the same vein as being a little greedy, but we’ll get to that soon.

I’ve met myself in this state. I wouldn’t listen to anyone else about their opinions on my storytelling and just brushed them off to the side. My universe made sense to me, but unfortunately, what I’ve come to learn is that it doesn’t always make sense to everybody else. A writer’s fight against their own lustful ways over their work can be challenging. It’s good to step away from your script for a day, maybe even for half an hour if you’re strapped for time. Always read with a fresh pair of eyes and a clear head, away from your rose-tinted glasses to get a different perspective. You may find something off while you were up in the clouds.

4. Envy (Writer’s envy)

“Marcia, Marcia, Marcia!”
~ Jan Brady from The Brady Bunch (1969)

Do you hate it when you catch word about someone else’s story ideas and think to yourself: “why didn’t I think of that?” A bit of that jealousy bug brewing inside? It’s these types of feelings that can cause a massive block in your own storytelling processes. Writing a script should not be for the sake of bettering somebody else’s work, or the drive that pushes you to write in the first place. But, having a bit of green-eye shouldn’t be something that stops you from creating your own ideas. We writers are a part of a community – we help each other push our scripts to different places, for better or worse. It should never be the field for competition (it’s already drenched in one anyway). There’s one upside to creating your own work, the biggest factor of them all: nothing’s ever original anymore. It’s only ever perfected, remixed, or turned on its head. So utilise it, delve into some out-of-the-box thinking.

5. Greed (Keeping everything to yourself)

“It came to me, my own, my love… my… preciousssss.”
~ Gollum from The Lord of the Rings: Fellowship of the Ring (2001)

Similar to my last post, keeping your work away from others is a double-edged sword. Although the idea of keeping things to yourself and protecting them from thieves is legitimate, it unfortunately stops you from a constant stream of feedback and idea-juggling – things your work needs to thrive and flourish. There’s only one sure-fire way to combat this: collaboration. Collaboration with other writers not only helps you see your story in a different light, but it also creates community. This is probably the same remedy for Lust and Envy, by paving the way for communication to better understand where your stories are going. Think of it as a detox from your own little world and gaining insights from different other universes to see if your script is at its basic core, universal.

That is the best thing that can come out of your script, and personally, I find it as a challenge. If I find one person who could not understand my script, or probably debates greatly on the laws and physics that happen in its world, they become my audience member. If I could persuade them to suspend all belief and believe in this world I’ve created, then I have succeeded.

6. Wrath (A growing frustration when nothing works)

“Here’s Johnny!”
~ Jack Torrance from The Shining (1980)

Ever had those times when nothing quite sticks? Something’s off and you can’t quite you’re your finger on it? That would be writer’s block talking. Not only that, it brings about irritation, frustration, and maybe anxiety if that’s how you react. I’m not a fan of the infamous writer’s block, or any other type of block for that matter. It only fuels your frustration and irritability. You feel as if can’t get to your sweet spot or create your creative bubble to work.

Getting angry over your work wastes energy, fizzles you out, and is generally counterproductive when you try to think too hard past your blocks and dissatisfaction. It’s usually the telltale sign to step away from your script. Do something productive, instead of mulling over your work. Take a walk, read a book, watch television if you have to. Sometimes it’s good to get your brain to exercise in a different way, or do something completely mindless instead. Thinking creatively takes a lot of energy and it’s best to resupply your creativity and recharge for another shot at your script. Don’t ever turn into Mr. Jack Torrance.

7. Pride (Perfectionist, much?)

 “Who put this thing together? Me, that’s who! Who do I trust? Me!”
~ Tony Montana from Scarface (1983)

Every writer’s bane of writing is how much of a perfectionist we can be. We want every word to be precise, every piece of dialogue to be witty, amazing, and brilliant, and we want our plots to keep people on the edge of their seats. But, in all honesty, the idea of perfection is a dream we all hope to achieve but can never grasp. It’s a bit of a sickness at times when many writers (and I put my hand up for this one) want their very FIRST DRAFT to be perfect, but you get right down to it and realise the time and energy needed to be put into a script is astonishing. There will always be drafts of our work, and we may go through a countless number of them to get it right.

I know I wished my script to be perfect at the first get-go, but in the end, I’ve rewritten things numerous times, even brought on a completely different idea or concept to my script. But after going through speedy consults and sessions, I found it more satisfying to keep writing the rewrites. Every new version, every new piece of writing is a rewrite. Writing after all, at its core, is re-writing.

You can encounter any of these seven things, but don’t despair when you approach your script. I’ve experienced these aches and pains so far and I know I’ll be coming across them time and time again. The greatest thing to overcome is not only the pains of the job, but having to explain them to others. I’ve known people who thought writing was a simple task, and it was difficult to explain to them otherwise. Through perseverance, timing, collaboration, and maybe whimsical chance, your script can be the masterpiece you’ve envisioned.

Now, to get back to that feature film treatment I’ve been meaning to complete. I’ve already committed at least three of these Vices so far…

– Marie Setiawan

Marie Setiawan is a film graduate from the International Film School Sydney, as well as a UNSW Alumni with a BA degree in Media and Communications with Honours. Writing is her passion, but she also enjoys many things on the side such as reading, watching films, catching up on social media trends, and is an avid gamer of sorts. She also tweets for The Story Department with a small crew.

by Marie Setiawan

This week I was invited to the screening of a feature that I had the privilege of being a part of from its very foundations. Looking back at its long and arduous journey in the making, I thought back to when I started to walk in the footsteps of a screenwriter. It all began in a filmmaking workshop held by Information and Cultural Exchange in 2010 where I was introduced to Billy Marshall Stoneking – our mentor in screenwriting – and seven budding filmmakers (whether we were writers or directors). From the very get-go, we’ve established our little writer’s circle and collaboration began to create seven different short films, all from different points-of-view, different walks of life, and creative differences. This was my first collaborative experience, where building the foundations of your story, plot, and characters became both rewarding and difficult.

The Art of Collaborating and its Rewards (or Tribulations)

Many writers keep their babies close to their heart, but only few would keep it away from the feedback it deserves. Why deny the potential of your story? Following Billy’s thought on screenwriting, your story becomes a part of you – almost a treasure. And with that comes a subconscious thought (or an awareness) to protect it and shield it from the eyes of others. Personally, collaboration opens you up to a number of opportunities to see how your story fares from another point-of-view. Personally, a lack of collaboration can be seen as a fear that another’s eyes would tear it apart and shred what work you’ve already put into it. Stories that need layers to shed eventually get placed on the shelf to collect dust, for those who can’t continue on. But the beauty of shedding these layers is bringing the story back down to its very core – the truth behind all the junk that shrouds it.

Working and sharing ideas with other fellow writers is a wonderful yet trying experience. The past few years stepping into screenwriting has taught me that. And with that, there are three advantages I’ve found that outweigh the criticism of others when it comes to storytelling and scriptwriting within a collaboration.

1. Reacting to the Read
Waiting for a fellow writer while they read your script? Watch them every now and then to find any initial reactions they may have while they are reading. I’ve found it easier to discover (or roughly estimate) at what points of my story they had the urge to crack a smile, pull a frown, or even chuckle (whether for good or bad). At first, I felt self-conscious of what others thought of any of my creative choices. Now I embrace the thought that I was able to move them in one way or another.

2. Listening to the Initial Thought
When any collaborator/writer/editor/family member gives feedback, it can be a daunting thing. Did they understand your story? Or are they still unsure as to what is going on? Their first thoughts to your story are the most important pieces of feedback you’d get from them. The initial thought and their first impressions tell you, as the writer, what they got from your story, making them your first point of contact as the audience. By listening and processing the first things that come out of their mouths, it can help you understand what aspects of your story they’ve gotten the most of – whether that is on a visual perspective, or a storytelling aspect.

3. Creating a Dialogue
After the read and the first load of feedback, creating and sharing thoughts between yourself and your “audience” at this stage can help create an understanding about your story. It isn’t all about enforcing your vision, but creating the bridge that can help make them understand your point-of-view. I’ll admit there had been times where I would try to make others understand where my stories came from – not to the greatest extent either. It’s all about sharing your thoughts and being open to receive feedback and their point-of-views as well.

These are just small things I’ve made clear to myself when I share, but it has helped me take that next step into screenwriting when I can freely let my stories go into another’s hands and not be paranoid about finding and discovering the core of my story – to shed away layers to find something new.

The Product of Collaboration – The Fruits of Labour

Now, almost a year later in the works (two years after the shorts had premiered), a feature appears. Due to the writer’s circle and collaborating with six others, we’ve all discovered a common theme that strings all of our films together into a cohesive piece. With that, the prospects of a feature built on the very foundations of these short films was a possibility. It may not be everyone’s cup of tea, but working with others, whether it is in the writing stages, the production stages, and even through to post, collaboration is key.

So, why elephants?

– Marie Setiawan

Marie Setiawan is a film graduate from the International Film School Sydney, as well as a UNSW Alumni with a BA degree in Media and Communications with Honours. Writing is her passion, but she also enjoys many things on the side such as reading, watching films, and is an avid gamer of sorts.

She also tweets for The Story Department with a small crew.

by Marie Setiawan

Let me introduce myself – I am an aspiring writer wanting to make her way into the industry and make stories come to life, whether they are others’ or my own. There is something about creating life through the words you sculpt into a story – the characters, the plot, the journey they embark on, and the obstacles they must face. It’s an intricate craft – one that I need to hone my skills into before I can take a step through a producer’s door. If at any point in time such a thing turns into reality, you’ll be the first to know here. But for now, these are early times.

After graduating from film school, things have crawled to a slower pace over the past month or two. Perhaps maybe too slow for my liking. I had gotten used to the film school regimen that structure in my untimely schedule has been thrown out the window. It’s difficult to know what to do with myself nowadays. Frankly it’s been an extended holiday, but my mind needs constant stimulation or else creativity would grow stagnant and stale. I’m sure most writers have “one of those days” where nothing comes to you, where you stare at your computer screen (or your empty notebook page, whichever your method may be) for what feels like an eternity and nothing springs out at you. Call it a lack of inspiration, but I’ve learned that it’s also a lack of discipline.

I had initially set a goal (or a number of goals) to achieve within a six month period – which is now less than six months at this rate – but it’s given me an objective to strive towards, much like how one’s protagonist chases after their dreams relentlessly. I’ve felt unsure at times as to where I’m going to take myself from here. After all, I am fairly new to this strange world that is the film industry. So I’m caught at a crossroads of sorts – the inevitable next step after graduation: “What now?”

For any aspiring screenwriter, it all comes down to utilising time to your advantage (though I’m one to talk). We can easily come up with excuses to postpone any goals we want to achieve just for another day. It could be a lack of inspiration or the sense that all you’ll write would be meaningless trite at the end of the day. Honestly, I’ve caught myself doing other things to avoid writing in general – even washing the dishes was a productive substitute. My time has been spent reorganising all of my things – a few script ideas and a film treatment in the works – all of it a part of my plans to complete within six months (now less). Regardless, it’s good to get your mind away from it all once in a while, but only enough for another fresh start on your work. Procrastination is creativity’s double-edged sword – not the enemy.

Now it’s 2013… it’s all about starting from rock bottom after having a taste of what it’s like to be on top of things. Now that film school is over for me, I’m now trying the waters. I apologise for such a late post, (one that I’m writing in the wee hours of the morning), but I had been keeping it off for your average number of reasons: “I’ve been busy.” “I haven’t had time to sit down.” “I wasn’t inspired.” When really, all I needed was to jot down my initial thoughts. It’s all about completing one step at a time instead of having to constantly focus on the super objective, which for anyone would be a significant weight on their shoulders (much like how New Year Resolutions don’t always work out).

From here on, it’s one foot in front of the other. Let’s see what the next month will bring.

– Marie

Marie Setiawan is a film graduate from the International Film School Sydney, as well as a UNSW Alumni with a BA degree in Media and Communications with Honours. Writing is her passion, but she also enjoys many things on the side such as reading, watching films, and indulging herself in social media whenever she can. She is interested in the future of storytelling and how it is constantly changing in our tech-rich world, where narrative can be transformed into any medium.

Photo Credits: The Graduate (1967)