So as writers, writing is our focus. But as we know, things in life will get in the way to see if we're serious about our craft. I realized this in the morning today, as my dog, adorable dog, crawled into my lap for endless cuddles, just as I was about to workout. Cuddling him was so much more enticing than the thought of working out. But in the end, I know that this wouldn't get me the results I was looking for. As much as I'd like for cuddling a dog to burn calories and build muscles, it's just not going to have that effect. Same goes for writing.
We know that we need to get pages written, dialogue down, characters in good shape, all to move forward on the stories we wish to tell. But for some reason there are so many distractions to get in the way! So in order not to let something "unimportant" take over our lives, I think it's important to limit how many and how often we let these distractions take precedence. So here are some suggestions:
1. Social media like Facebook and Twitter - give yourself a set amount of time that you let yourself search or post on a given day. Or only let yourself browse and post ONCE you've finished your goal pages for the day.
2. Socializing - If you're an extroverted/introverted writer, like me, seeing friends can easily eat into your writing. I tend to lean on the introverted side a lot. But sometimes when I'm missing friends, they can seem to add up all on the same weekend. So limit how many per week you let interrupt your writing days. Or make time for other writers that you need to catch up with, so you can be doing some writing time and see friends at the same time. Or again, if you've had a productive week of writing, then maybe you can let it slide a little more than usual.
3. TV shows - We all know it's the era of TV and so it's easy to binge watch, constantly! This is an easy time-suck, especially if you're writing in the TV genre. So for me, I only try to watch shows that are in my genre and I also only watch TV when I'm falling asleep. That way it doesn't interrupt my writing time. It does mean I'm behind on most shows. But I think writing needs to come before watching shows. Maybe you disagree. But if you're not reaching your writing goals, then perhaps you need to revisit how you watch your TV shows too.
4. Family. This can be immediate family like spouses and kids, or extended family like siblings and in-laws. No matter what you consider family, it's important not to ignore them, but it's also important to make time for your writing. It can be a tricky balancing game. For me, this one takes precedence over all the others. But I'm also sure to try and balance my family and writing to be sure I give each one adequate time. At least I try! No one in the family's complained yet!
5. Writing goals - If you don't have them, then perhaps it's time to get some. I personally have very limited time to write, so instead of having a page count I write every day, mine is a time amount. Every night it can change, so I really don't stick to a set time, but when I know I have the time, then that's my writing time. I make time to write every night of the week. I used to have more free time on the weekend, but alas, that's not as consistent any more. But stick to what works for you. If page count gets your butt in the chair, so be it. If an amount of hours works for you, great. If getting up at 5 a.m. every day works, great. The important thing is to be sure you're writing on a consistent basis. If not, then it's time you reevaluate your life and distractions.
6. Working out - This is an important one that I almost forgot about. I workout every day. But I don't spend my life at the gym like many of my gym friends. When I used to workout at the gym, I'd go an hour, max. Now I even workout with intense video workouts every morning at 6 am and walk every day at lunch for an hour. But when friends want to hike for several hours on the weekends, that's precious writing time. An hour, sure, but more than that, all I can think about is how much writing I could be doing instead!
7. Etc There can be a lot of other distractions of course, and only you know what's sucking up your writing time. The important thing is there shouldn't be any excuses for not writing. So find out what's really important and try to limit time for the things that aren't as important. Happy writing! And now, done with this distraction for the day!
Showing posts with label TV writing. Show all posts
Showing posts with label TV writing. Show all posts
Tuesday, October 24, 2017
Tuesday, March 27, 2012
What's all the drama?
Of course we always hear we need drama in our movie scripts. That there always has to be conflict. But try as we might, screenwriters don't always get that. I have what I feel is a really strong group of writers in my group, and we still sometimes forget that drama and conflict are what people want to see. Keep that goal far away from the protagonist. Make him try and try and try, and still not be able to get it. Well, a fellow writer sent this latest blurb from David Mamet's Master Class on a memo he wrote to the Writers of the show The Unit. It really hit home. Really made sense about how to get that conflict in our stories and why it's needed there. He is talking to TV writers, but of course, this applies to all writing. So here you go. I hope you enjoy it as much as I did. I think it might be my new Bible.
CBS's drama The Unit, about the lives of the highly trained members of a top-secret military division, was canceled last year, but a memo to its writing staff from its executive producer David Mamet has just surfaced online. (The source appears to be the online writing collective Ink Canada.) If you think you know where this is heading, you might be wrong:
Besides the fact that it's written in all-caps, there's nothing particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet lays down an extremely sensible case for what makes good television, imploring them to avoid expository writing for what he characterizes as authentic "drama." Along the way, he refers repeatedly to the "blue-suited penguins" (probably the copious-note-givers at the network), while passing along some very useful advice ("any time two characters are talking about a third, the scene is a crock of shit") and helpful writing exercises ("pretend the characters can't speak and write a silent movie"). Screenwriters, take note: You may think you knew this already, but there's nothing like Mamet for a good kick-in-the-ass reminder.
"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST. IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE - THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE (THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY, BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.
HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED, OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
CBS's drama The Unit, about the lives of the highly trained members of a top-secret military division, was canceled last year, but a memo to its writing staff from its executive producer David Mamet has just surfaced online. (The source appears to be the online writing collective Ink Canada.) If you think you know where this is heading, you might be wrong:
Besides the fact that it's written in all-caps, there's nothing particularly ranty, pejorative or potty-mouthed about it. Rather, Mamet lays down an extremely sensible case for what makes good television, imploring them to avoid expository writing for what he characterizes as authentic "drama." Along the way, he refers repeatedly to the "blue-suited penguins" (probably the copious-note-givers at the network), while passing along some very useful advice ("any time two characters are talking about a third, the scene is a crock of shit") and helpful writing exercises ("pretend the characters can't speak and write a silent movie"). Screenwriters, take note: You may think you knew this already, but there's nothing like Mamet for a good kick-in-the-ass reminder.
"TO THE WRITERS OF THE UNIT
GREETINGS.
AS WE LEARN HOW TO WRITE THIS SHOW, A RECURRING PROBLEM BECOMES CLEAR.
THE PROBLEM IS THIS: TO DIFFERENTIATE BETWEEN DRAMA AND NON-DRAMA. LET ME BREAK-IT-DOWN-NOW.
EVERYONE IN CREATION IS SCREAMING AT US TO MAKE THE SHOW CLEAR. WE ARE TASKED WITH, IT SEEMS, CRAMMING A SHITLOAD OF INFORMATION INTO A LITTLE BIT OF TIME.
OUR FRIENDS. THE PENGUINS, THINK THAT WE, THEREFORE, ARE EMPLOYED TO COMMUNICATE INFORMATION -- AND, SO, AT TIMES, IT SEEMS TO US.
BUT NOTE:THE AUDIENCE WILL NOT TUNE IN TO WATCH INFORMATION. YOU WOULDN'T, I WOULDN'T. NO ONE WOULD OR WILL. THE AUDIENCE WILL ONLY TUNE IN AND STAY TUNED TO WATCH DRAMA.
QUESTION:WHAT IS DRAMA? DRAMA, AGAIN, IS THE QUEST OF THE HERO TO OVERCOME THOSE THINGS WHICH PREVENT HIM FROM ACHIEVING A SPECIFIC, ACUTE GOAL.
SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.
1) WHO WANTS WHAT?
2) WHAT HAPPENS IF HER DON'T GET IT?
3) WHY NOW?
THE ANSWERS TO THESE QUESTIONS ARE LITMUS PAPER. APPLY THEM, AND THEIR ANSWER WILL TELL YOU IF THE SCENE IS DRAMATIC OR NOT.
IF THE SCENE IS NOT DRAMATICALLY WRITTEN, IT WILL NOT BE DRAMATICALLY ACTED.
THERE IS NO MAGIC FAIRY DUST WHICH WILL MAKE A BORING, USELESS, REDUNDANT, OR MERELY INFORMATIVE SCENE AFTER IT LEAVES YOUR TYPEWRITER. YOU THE WRITERS, ARE IN CHARGE OF MAKING SURE EVERY SCENE IS DRAMATIC.
THIS MEANS ALL THE "LITTLE" EXPOSITIONAL SCENES OF TWO PEOPLE TALKING ABOUT A THIRD. THIS BUSHWAH (AND WE ALL TEND TO WRITE IT ON THE FIRST DRAFT) IS LESS THAN USELESS, SHOULD IT FINALLY, GOD FORBID, GET FILMED.
IF THE SCENE BORES YOU WHEN YOU READ IT, REST ASSURED IT WILL BORE THE ACTORS, AND WILL, THEN, BORE THE AUDIENCE, AND WE'RE ALL GOING TO BE BACK IN THE BREADLINE.
SOMEONE HAS TO MAKE THE SCENE DRAMATIC. IT IS NOT THE ACTORS JOB (THE ACTORS JOB IS TO BE TRUTHFUL). IT IS NOT THE DIRECTORS JOB. HIS OR HER JOB IS TO FILM IT STRAIGHTFORWARDLY AND REMIND THE ACTORS TO TALK FAST. IT IS YOUR JOB.
EVERY SCENE MUST BE DRAMATIC. THAT MEANS: THE MAIN CHARACTER MUST HAVE A SIMPLE, STRAIGHTFORWARD, PRESSING NEED WHICH IMPELS HIM OR HER TO SHOW UP IN THE SCENE.
THIS NEED IS WHY THEY CAME. IT IS WHAT THE SCENE IS ABOUT. THEIR ATTEMPT TO GET THIS NEED MET WILL LEAD, AT THE END OF THE SCENE,TO FAILURE - THIS IS HOW THE SCENE IS OVER. IT, THIS FAILURE, WILL, THEN, OF NECESSITY, PROPEL US INTO THE NEXT SCENE.
ALL THESE ATTEMPTS, TAKEN TOGETHER, WILL, OVER THE COURSE OF THE EPISODE, CONSTITUTE THE PLOT.
ANY SCENE, THUS, WHICH DOES NOT BOTH ADVANCE THE PLOT, AND STANDALONE (THAT IS, DRAMATICALLY, BY ITSELF, ON ITS OWN MERITS) IS EITHER SUPERFLUOUS, OR INCORRECTLY WRITTEN.
YES BUT YES BUT YES BUT, YOU SAY: WHAT ABOUT THE NECESSITY OF WRITING IN ALL THAT "INFORMATION?"
AND I RESPOND "FIGURE IT OUT" ANY DICKHEAD WITH A BLUESUIT CAN BE (AND IS) TAUGHT TO SAY "MAKE IT CLEARER", AND "I WANT TO KNOW MORE ABOUT HIM".
WHEN YOU'VE MADE IT SO CLEAR THAT EVEN THIS BLUESUITED PENGUIN IS HAPPY, BOTH YOU AND HE OR SHE WILL BE OUT OF A JOB.
THE JOB OF THE DRAMATIST IS TO MAKE THE AUDIENCE WONDER WHAT HAPPENS NEXT. NOT TO EXPLAIN TO THEM WHAT JUST HAPPENED, OR TO*SUGGEST* TO THEM WHAT HAPPENS NEXT.
ANY DICKHEAD, AS ABOVE, CAN WRITE, "BUT, JIM, IF WE DON'T ASSASSINATE THE PRIME MINISTER IN THE NEXT SCENE, ALL EUROPE WILL BE ENGULFED IN FLAME"
WE ARE NOT GETTING PAID TO REALIZE THAT THE AUDIENCE NEEDS THIS INFORMATION TO UNDERSTAND THE NEXT SCENE, BUT TO FIGURE OUT HOW TO WRITE THE SCENE BEFORE US SUCH THAT THE AUDIENCE WILL BE INTERESTED IN WHAT HAPPENS NEXT.
YES BUT, YES BUT YES BUT YOU REITERATE.
AND I RESPOND FIGURE IT OUT.
HOW DOES ONE STRIKE THE BALANCE BETWEEN WITHHOLDING AND VOUCHSAFING INFORMATION? THAT IS THE ESSENTIAL TASK OF THE DRAMATIST. AND THE ABILITY TO DO THAT IS WHAT SEPARATES YOU FROM THE LESSER SPECIES IN THEIR BLUE SUITS.
FIGURE IT OUT.
START, EVERY TIME, WITH THIS INVIOLABLE RULE: THE SCENE MUST BE DRAMATIC. it must start because the hero HAS A PROBLEM, AND IT MUST CULMINATE WITH THE HERO FINDING HIM OR HERSELF EITHER THWARTED OR EDUCATED THAT ANOTHER WAY EXISTS.
LOOK AT YOUR LOG LINES. ANY LOGLINE READING "BOB AND SUE DISCUSS..." IS NOT DESCRIBING A DRAMATIC SCENE.
PLEASE NOTE THAT OUR OUTLINES ARE, GENERALLY, SPECTACULAR. THE DRAMA FLOWS OUT BETWEEN THE OUTLINE AND THE FIRST DRAFT.
THINK LIKE A FILMMAKER RATHER THAN A FUNCTIONARY, BECAUSE, IN TRUTH, YOU ARE MAKING THE FILM. WHAT YOU WRITE, THEY WILL SHOOT.
HERE ARE THE DANGER SIGNALS. ANY TIME TWO CHARACTERS ARE TALKING ABOUT A THIRD, THE SCENE IS A CROCK OF SHIT.
ANY TIME ANY CHARACTER IS SAYING TO ANOTHER "AS YOU KNOW", THAT IS, TELLING ANOTHER CHARACTER WHAT YOU, THE WRITER, NEED THE AUDIENCE TO KNOW, THE SCENE IS A CROCK OF SHIT.
DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.
REMEMBER YOU ARE WRITING FOR A VISUAL MEDIUM. MOST TELEVISION WRITING, OURS INCLUDED, SOUNDS LIKE RADIO. THE CAMERA CAN DO THE EXPLAINING FOR YOU. LET IT. WHAT ARE THE CHARACTERS DOING -*LITERALLY*. WHAT ARE THEY HANDLING, WHAT ARE THEY READING. WHAT ARE THEY WATCHING ON TELEVISION, WHAT ARE THEY SEEING.
IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.
IF YOU DEPRIVE YOURSELF OF THE CRUTCH OF NARRATION, EXPOSITION,INDEED, OF SPEECH. YOU WILL BE FORGED TO WORK IN A NEW MEDIUM - TELLING THE STORY IN PICTURES (ALSO KNOWN AS SCREENWRITING)
THIS IS A NEW SKILL. NO ONE DOES IT NATURALLY. YOU CAN TRAIN YOURSELVES TO DO IT, BUT YOU NEED TO START.
I CLOSE WITH THE ONE THOUGHT: LOOK AT THE SCENE AND ASK YOURSELF "IS IT DRAMATIC? IS IT ESSENTIAL? DOES IT ADVANCE THE PLOT?
ANSWER TRUTHFULLY.
IF THE ANSWER IS "NO" WRITE IT AGAIN OR THROW IT OUT. IF YOU'VE GOT ANY QUESTIONS, CALL ME UP.
LOVE, DAVE MAMET
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