So here I am about to approach three years in L.A. (June 10 to be exact) and I feel the need to share my journey once again despite completely falling off the radar for well over a year with this confronting piece of my Hollywood sojourn.

As I look back, it’s been an up and down rollercoaster ride full of trials, tribulations, emotion and adventure. But then what else was it ever going to be. While I have disappeared for months at a time (across social media, email and more), I am still alive, I’m still kicking, and I’m still flying the flag as best I can.

 To be honest, that’s not always been easy. In fact, it’s been bloody hard at times.

 There have been days where I have wanted to be anywhere else but this city. I’ve not left the country, let alone this state, in the three years I have been here, and if you know me you know how much I love travel. So it feels like I have been going stir crazy. 

 But I found some solace as I discovered but then subsequently lost a relationship – my first here in the U.S and my first in over three years. And while I look back on that year we had with mixed emotions, I can only smile and say thank you to one very special woman who took her own serious leap of faith, and embraced me and my journey and in the process turned me into an even greater version of myself than I could have ever imagined. I am forever changed as a result. 

 But she wasn’t the only woman I had to say goodbye to that year.

 I lost a grandmother and step sister all within six months of each other last year but I didn’t go back. I was super close to my gran and she used to take great delight in reading these articles. I miss her, and writing postcards from abroad just isn’t the same.

I left Australian shores knowing I may never ever see her alive again. But it was with her gentle words of encouragement that I was able to make peace with that cold, hard reality.

 When she died last Mother’s Day, not only did I cry as the news filtered through, but I also had a beautiful vision of her that morning. She appeared before me and whispered: “Keep writing.” It was a profoundly affecting vision.

While all this disquietude, chaos, and loss was going on around me, somehow the only thing keeping me sane was my writing. And thank fuck! Because I am not sure where I would have been without it.

 I found myself sinking into a slow depression-like state during July yet I kept writing. My relationship was breaking down all around me but still I wrote. My grandmother passed, I wrote. My step-sister slowly had her life taken away after battling a brain tumor for years, more writing.

In the space of that one year, while my entire world was collapsing around me (even now I can shed some tears if I allow myself to reflect), my writing was my saviour. I wrote more than I ever have, I became more professional than I’ve ever been, and I churned out four feature scripts over the course of that year. One of which I pitched and which subsequently beat out over 40 other submissions vying for the gig.

 After my relationship broke down I also found myself in the position of moving out of the only apartment I had ever known during my entire time here. I stepped up as a man and offered my ex-girlfriend the space. A space that no longer felt like home. A space that allowed her a better chance to survive in this town than me.

I then found myself in North Hollywood, and while that sounds glamourous, it really isn’t. There are two very distinct parts to North Hollywood. The cooler, funkier ‘Arts District’ and what is unaffectionately called, “the ghetto”. Somehow I went from the clean, green, central beauty of Studio City, to a dirty, dry backwater Mexican suburb (nothing against Mexico).

From a private, spacious, comfortable apartment for myself and my girlfriend, to a smaller, cramped two bedroom place with two other guys – one of which slept on a couch in the lounge room.

 At times I have felt embarrassed by my living situation but this town can be brutal and sometimes you are forced to go backwards to move forwards. But when you are freelance copywriter and the Australian dollar drops (and hard), you are forced to make some serious changes.

 I hated going to bed alone. I didn’t like where I now found myself. I was miserable.

While I never ever lived above my means, I had to go where I could afford. It made me withdraw even further and made me truly understand the definition of humble, but what was more important, to look myself in the mirror and ask some very genuine, honest questions of myself.

 But it has all served to only strengthen my resolve and succeed where many others would have failed, fled or simply given up.

 My year turned and I met and fell into the most amazing, supportive writing group I have found during my time here, after I was fortunate enough to be accepted into a new writing program I applied for.

 It was the first time I felt ‘home’ among like-minded people. A writing group that despite my repeated searches and hopes, I had never ever found in the two years prior.

 And now this group of people I can call friends. How I have craved that. As I retracted from the outside world, I found my friendship base here shrink. In part due to changing dynamics as others disappeared, while a couple of others put their head down to become more professional themselves but also because I was seeking something deeper from myself, my writing… my heart.

It’s a writing group that’s made up of some talented and successful people where I have seen their valuable input and feedback further enhance, improve and rocket my writing skyward. A group of only seven other people who I get enormous pleasure from in so many ways. I cannot thank them enough.

Somehow I overcame a very tough, emotional year and became not only a greater writer for it but a kinder, more sincere, more authentic and honest me.

It’ll be three years in June since I first made the leap, and it’ll be three years I will celebrate in my own quiet, genuine way as I look back. I’m thankful for how far I’ve come, for what I have achieved, for where I now find the level of my writing, but most important of all, where I now find myself as a man.

So raise a glass and cheer on a man who continues to stare down this town. A man who is not afraid of a single thing. A man who will not make up the numbers. A man who will succeed. Because I have faced hardship, loss, death and yet I continue to smile and write.

Here’s to an even greater year of writing, greater success, greater wealth, and so much more as I continue to pursue dreams, my passion, and love.

– Mark Rasmussen

Mark Rasmussen

Mark Rasmussen has been a professional writer for over 15 years. He has written and produced three short films (two of which have IMDb credits), as well completed four features. One of his films ranked inside the Top 10 for the World Wildlife Fund competition (WWF). He is currently working on three feature scripts, two book adaptations, a TV pilot, and a web-series, as he increases his thirst for great writing and storytelling.

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 Ben Cox

So he’s sprinting through the airport, security chasing after him, he’s going the wrong way on the walkway thing. I’m not gonna lie, it’s your typical clichéd climax scene (except that I want to open the film this way). I don’t need to go on, you can put it together and that’s not really what I want to talk about. What I want to write about is that for whatever reason, whenever I think about this I hear ‘We Belong’ by Pat Benatar.

Pat Benatar?

Thing is, I’m writing a romantic comedy and for whatever reason it’s much easier thinking of funny things when I’m listening to 80’s synth pop/rock. I’m sort of torn between trying to justify it and wearing it as a badge of honour. No one admits to liking stuff like Def Leppard do they? My friends know that I do but, you know when you’ve just met someone and they ask you what music you like, you have to really size the person up before you drop a “yeah I’m a big Phil Collins fan” into the conversation. It’s not really fair but my brain definitely screens that thought before letting it fly. Maybe that’s just me.

I was really struggling to get into this rom-com, it’s hard to feel like you’re doing something original with the genre because, well, you’re not. Ultimately if you decide to write one you’re better off just focusing on making it good. But how do you do that? Comedy is such a personal thing and as soon as I try to make people laugh it instantly stops being funny.

This is sort of what this post is about in a way, finding ways to inspire yourself.

I used to be embarrassed to admit my love of 80’s synth pop to people because, well it’s such a mocked type of music. The fact that it’s really not cool though is kind of perfect for my purposes. Not in a parody way, just that cool isn’t good for comedy. My comedy heroes are Will Ferrell, Ricky Gervais, Trey Parker and Sascha Baron Cohen, and I guess the thing that I want to steal from them is that there’s absolutely no pretense of cool in anything that they do. And it’s because cool isn’t funny, it’s cool. That seems so obvious, but I find it really hard to turn that part of my brain that screens this stuff off and just let it come out.

So right now I’m writing the romantic comedy that I want to see. It’s big, it’s ridiculous, it’s not cool but it has a lot of heart and isn’t ironic, just like 80’s synth pop.

– Ben Cox

After gaining his B.A in English Literature at Loughborough University, Ben Cox spent 4 years as a musician, playing bass in the band Kyte, touring internationally and releasing a top 5 selling album in Japan.
He left the group to pursue a career as a director and writer. Since graduating from the International Film School Sydney in 2012, he has written and directed three music videos.

Photo Credits: Ben Cox

by Mark Rasmussen

Looking back, it’s been six months since I last wrote. Wow, has it really been that long? So what has happened in that time, in the half a year I went missing. Well, lots and even more than that still.

Firstly, I realised a valuable lesson. While my approach was one full of enthusiasm it should have been more about professionalism. So lesson learned after my first submitted script to the companies that showed interest way back in July became silent.

Mark Rasmussen

Mark Rasmussen has been a professional writer for over 15 years. He has written and produced three short films (two of which have IMDb credits), as well completed four features. One of his films ranked inside the Top 10 for the World Wildlife Fund competition (WWF). He is currently working on three feature scripts, two book adaptations, a TV pilot, and a web-series, as he increases his thirst for great writing and storytelling.

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 Karel Segers

Rarely does a memorable movie scene lack the main character; this one does. And Blade Runner lacks a lot more… like a plot that works. Despite all the hype before and after the release, the movie was a commercial disaster, grossing only $14m in 1982.
There is absolutely no shame in loving a movie failure, and Blade Runner is still one of my all-time favourites. As a young boy I was obsessed with sci-fi and Vangelis’ music was prominent in my vinyl collection. No matter how much I love the music though, it has always had a soporific effect on me (Kathryn Bigelow’s brilliant Strange Days is an other one that always puts me to sleep) and as a result I would always struggle with the plot. But when I screen a film with my students, I do it early in the day – and I have an incentive to stay sharp.

I THINK THEREFORE I AM

I have written before about what I believe to be some of the key story flaws, namely the shallow character setup and the resulting 8-mins Act One. The film has a monumental second act with minimal stakes for the main character – and very little empathy; it is more an intellectual discourse on humanity. Some of my students watched the film for the first time and others taught me a few things I didn’t know or had not picked up. Did you realize ‘Deckard’ (Harrison Ford) is a reference to French philosopher René Descartes ? I couldn’t believe I had never figured that one out, as I once hosted a radio show with the tag line “Audio ergo sum” (“I listen therefore I am”). To me, Blade Runner has always been a meditation on free will, one of my favourite mindf***s: the droids are limited in the way they were programmed by their Maker… and perhaps so are we

FUTURE NOIR

Watching the film’s ‘Final Cut’ again on BluRay, it struck me how dark this sci-fi film noir really is. The one scene that stood out above all others was Roy Batty’s scene with Tyrrell, his creator. We are approaching the end of Act Two after a late mid point, in which Deckard and Rachel engage in a long, awkward semi-love scene. In the following ‘threshold sequence,’ Roy Batty (Rutger Hauer) schemes his way into the Tyrrell tower using a game of chess. By the way, skilled screenwriters often introduce important scenes by showing the effort characters make to reach the location. It sharpens our attention and primes us for the scene the come.

THE MOMENT: I WANT MORE LIFE

The scene is about Roy asking Tyrrell to extend his life beyond the programmed 4 years. I find this scene interesting for countless reasons, one being the human kind’s obsession with extending our lives. However, screenwriter Hampton Fancher put the 4-year lifespan in the script simply as a reference to the way car manufacturers keep commerce running by using built-in obsolescence. Interesting to know is that the writer’s intention with Roy’s kiss was no more than a “Good-bye, Pa”. Much has been written about how Roy is in some way more human than Deckard and perhaps this is the very scene where his human side takes over. Ultimately, killing its maker is a bizarre action for a machine – one that perhaps only a human would contemplate…

THE UNICORN

Nope. I’m not talking about the unicorn. You watch it (again) and figure that one out for yourself.

– Karel Segers

Blade Runner screenplay(1981.05.15 draft)
Script Excerpt: I Want More Life

(first published for ScripTips)

Karel Segers is a producer and script consultant who started in movies as a rights buyer for Europe’s largest pay TV group Canal+. Back then it was handy to speak 5 languages. Less so today in Australia.

Karel teaches, consults and lectures on screenwriting and the principles of storytelling to his 7-year old son Baxter and anyone else who listens.
He is also the boss of this blog.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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This is what I’m getting myself into. I spotted this constructive feedback on a music video I wrote and directed last month. Having given this a fair amount of thought, I still haven’t quite figured out what the person who posted this was thinking when they wrote it.

by Ben Cox

“Probably the gayest clip ever made.” Really? The gayest ever? I dunno, perhaps it was meant as a compliment? I mean, the gayest clip ever would be a hell of an achievement. I just wish they hadn’t prefixed it with probably, keeping me in a perpetual cloud of doubt. What do they even mean by “gayest”? I’m so confused, annoyed and hurt.

Ok, that’s not true. I did give this some thought but not because it bothered me. I gave it thought because my reaction was to smile, and I began thinking about how I came to a place where it became such a positive relationship in my life. I think criticism is an essential part of writing, not just because of what can be gained from it, but also because it’s so unavoidable.

criticism is an essential part of writing,
not just because of what can be gained from it,
but also because it’s so unavoidable

You see, my relationship with criticism is an important one, not just with YouTube hate mongers or bloggers, critics or reviewers. It’s also a huge part of being a writer. Meeting with script editors, producers, directors are a part of everyday life, and they all have an opinion. Actually, everyone has an opinion don’t they? Just about every friend or family member with a suggestion on how they would have done it. It’s something that’s unique to writers I think because you’re essentially trading in ideas, and everyone has ideas.

I’m currently a freelance writer/director with 7 short films and 4 music videos in my credits. I specialize in ‘outside the box’ thinking and have yet to meet an idea I didn’t think I could turn into something entertaining. Despite this I’m quite sensitive by nature, so criticism has never been easy for me to deal with. It mixes interestingly with my hypercompetitive nature as well.

It’s easy to take criticism personally. To sulk and dwell on it no matter how many people also tell you they really like something you’ve created. We’ve all been there, and yet so many of us spend our time worrying about the negative feedback whilst brushing off the positive. The whole process can be debilitating. So why do I like it so much? My personality type certainly shouldn’t lead to me being good with criticism, and years of coping with it very badly as a teenager don’t suggest I should enjoy it.

So many of us spend our time worrying about the negative feedback
whilst brushing off the positive

However.

Although criticism can be crippling, it can also be liberating. When I’m sat in front of a notepad or laptop and debating whether I should write that thing which might really annoy/upset someone or their friend might think it’s rubbish, why am I doing that to myself? I have no control over how other people choose to consume something I did, so why worry about it? It’s the same as when I’m on a plane, why worry if something might go wrong? It’s out of my hands. That’s such a great feeling to have. As a writer I spend so much of my life trying to control things, my characters, my plot, my turning point two, that it’s nice to know there are things I can’t control, and don’t have to, so I don’t try to.

If you’re no longer worried about the response from your audience,
what you’re left with is whatever your imagination can come up with

Freedom from criticism is also freedom from expectation. If you’re no longer worried about the response from your audience, what you’re left with is whatever your imagination can come up with. That’s about as exciting a place as you can hope to be in. For me, this is what allows me to write from the heart about whatever I want to.

And as for that comment. It’s quite funny in an ironic way isn’t it?

You can decide for yourself here:

– Ben

After gaining his B.A in English Literature at Loughborough University, Ben Cox spent 4 years as a musician, playing bass in the band Kyte, touring internationally and releasing a top 5 selling album in Japan.

He left the group to pursue a career as a director and writer.

Since graduating from the International Film School Sydney in 2012, he has written and directed three music videos.

Photo Credits: Ben Cox

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)

by Karel Segers

This ‘new look’ thing seems a bit out of character for me. I mustered the courage before going into a 10-day meditation retreat – where I didn’t expect anyone would know me. I expected wrong. After the experiment with super-short hairdo and lack of facial hair, I’m now back to (fairly) normal. Other changes have stayed, like getting up before sunrise every morning. You should try it – it is totally awesome.

So here I am with a rare, more personal kind of article. I’ve tried to start a regular thing like this before – but was too shy, too much of a perfectionist – or probably just not good enough a writer to stick to it on a weekly basis.

But after a few inspiring chats with my team members last week, we have a plan for a regular Saturday post.

And lots more.

The Future And The Past

My Facebook friends witnessed how last year was quite amazing in that I had tons of fun teaching and consulting. I’ve worked on my biggest projects ever, with wonderful people. One project involves the director of Australia’s most successful film of recent years.

So not much blogging in there.

Now I’m staring 2013 in the face… and suddenly last year pales in comparison, both in terms of work volume and scope. I’ll be teaching at 5 different places in Sydney and after trips to Asia and the Middle East, this year for the first time I’m going back to my European roots to lecture in Sweden. And I’m working on some very exciting projects.

Still, I’ll try to update you here every month.

I do want to get back into writing about the craft of screenwriting again, too. My study of movie structure and screenplays and the work with my clients have given me a some insights I have not read about anywhere else and I would love to share them with you.

One Hundred Articles – One Great Team

Behind the scenes of this blog, 100 draft posts are waiting to be developed and published. For some other bloggers this may not seem so much but for me, who has only posted a handful of articles over the past year, it’s pretty intimidating. I’ve made a commitment to ship more often this year.

The most exciting thing of all is that I have an amazing team behind me to start this year, and I would like to introduce the five members of the core team to you:

Jamie Campbell: She is a novelist, blogger and screenwriter from sunny Queensland, who has taken the role of Co-Editor. Jamie has been helping me for quite a while to make The Story Department the best website on screenwriting in the Southern Hemisphere. Jamie runs Tuesday’s Guest Posts as well as Sunday’s Best Of The Web.

Jamie Wynen: This young man has talents coming out of his ears. He is an excellent writer and equally gifted behind the camera. Jamie collects the best videos on screenwriting, storytelling for the screen or filmmaking in general and presents them to you on Wednesdays. If only he would write more posts himself as his insight and style are both terrific.

James Michael: Like Jamie, I met James during a screenwriting course in which he excelled in terms of story originality and scriptwriting and I was thrilled when he accepted my invitation to join the team. He bridges the gap between The Story Department and “Logline It!“, the website on loglining that I started last year. James posts the Thursday logline reviews and often adds his own incisive feedback.

Marie Setiawan: I’ve know this screenwriter, filmmaker and blogger for a few years and was over the moon when at the end of 2012 she agreed to become one of the contributors to this web site. Marie graduated from the International Film School Sydney, where I consulted to the students on their projects. Marie will be tweeting on screenwriting and monthly on a Saturday, Marie reports on her path to becoming a professional screenwriter.

Cameron Pattison: Also a graduate from the IFSS, Cameron blew me away with the feature treatment he presented before graduating. Not only is he a promising screenwriter, Cameron is very much au fait on what is happening in the industry. His calm appearance disguises a burning passion for the craft. Cameron is keeping an eye on what’s reeling in the blogosphere and tweets it to @ozzywood.

Become One Of Us!

In addition to the core team, I’m hoping to present regular articles by Steven Fernandez, Mark Rasmussen, Ben Lenzo and other great regular contributors I am dying to read more of. We also have a fantastic monthly series coming up by JT Velikovsky, which will start next month.

If you have a screenwriting blog or would like to try your hand at writing a piece, drop us a note! We’d love to (re-)publish your stuff here.

Alongside all these collaborative efforts, I’ll make a superhuman effort to bring back the popular Structural Analyses.

If it weren’t for those wonderful people who have been helping me over the past few years, this blog would have virtually disappeared off the radar some time mid 2010. That’s when I dropped the ball due to real-life developments. But my volunteers have always stayed around – and so have you, my dear readers.

I thank you humbly for this.

– Karel

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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