Ask the Author: Clive Frayne
Answered Questions (4)
Clive Frayne
I swore I'd never write a book about screenwriting. A view I held largely because I felt a lot of the advice given in those kinds of books was dubious, at best. I didn't want to add to the ranks of writers profiting from the aspirations of early-career screenwriters.
I was persuaded to write my book by two film producers. They really like the way I approach screenwriting. They find my process very producer-friendly. This is largely because I lay out the planning for a film or TV series in one simple to understand document. This makes creative discussion about the project much easier for everyone involved.
My book is about my process and how to adapt that process to suit your own writing style.
I was persuaded to write my book by two film producers. They really like the way I approach screenwriting. They find my process very producer-friendly. This is largely because I lay out the planning for a film or TV series in one simple to understand document. This makes creative discussion about the project much easier for everyone involved.
My book is about my process and how to adapt that process to suit your own writing style.
Clive Frayne
I need to answer this in two different ways. The best thing about being a screenwriter is very different from the best thing about being an author.
The best thing about being a screenwriter is the moment an actor says to you "I really want to play this role." I really feel like I've done my job when that happens. I can walk away from the project knowing that I've inspired another creative person to do what they do best.
The best thing about being a non-fiction author is the opportunity to really dig into a subject. My book is about screenwriting. Although I have spent years screenwriting, it was only when I wrote my book, I realised how coherent my thoughts were on the subject. I had something worth saying. That feeling is priceless and makes it all worthwhile.
The best thing about being a screenwriter is the moment an actor says to you "I really want to play this role." I really feel like I've done my job when that happens. I can walk away from the project knowing that I've inspired another creative person to do what they do best.
The best thing about being a non-fiction author is the opportunity to really dig into a subject. My book is about screenwriting. Although I have spent years screenwriting, it was only when I wrote my book, I realised how coherent my thoughts were on the subject. I had something worth saying. That feeling is priceless and makes it all worthwhile.
Clive Frayne
The first thing I'd say to an aspiring writer is stop calling yourself an aspiring writer. Just call yourself a writer. Providing you are writing and your words are available for someone to read, then you are a writer. Take what you do seriously.
I'd also advise any writer to concentrate on writing for themselves. Don't try to write for the market. The most important aspect of any writer isn't their ability to spell or their command of grammar. What makes us special is our unique view of the world. In particular, the things we find fascinating. If you find something fascinating and you write about it passionately, that's enough. There is a good chance other people will share your fascination and passion. Those are the kinds of readers you want. It doesn't matter whether you write professionally or just for the pleasure of sharing. The number of readers is irrelevant. Being a writer is about communicating the things you care about to other people. It's as simple as that.
I'd also advise any writer to concentrate on writing for themselves. Don't try to write for the market. The most important aspect of any writer isn't their ability to spell or their command of grammar. What makes us special is our unique view of the world. In particular, the things we find fascinating. If you find something fascinating and you write about it passionately, that's enough. There is a good chance other people will share your fascination and passion. Those are the kinds of readers you want. It doesn't matter whether you write professionally or just for the pleasure of sharing. The number of readers is irrelevant. Being a writer is about communicating the things you care about to other people. It's as simple as that.
Clive Frayne
The short answer to how I deal with writer's block is I use the process I outline in my book, The Process (of Screenwriting).
One of the main causes of writer's block for screenwriters is task overload. When many screenwriters sit down to write their script, they often only have a concept and an outline of their story (a plot). They then try to solve all the other issues involved in screenwriting on-the-page. This means they are visualising and creating a fictional world, finding a theme, creating characters, creating drama, writing dialogue and visual-storytelling... all at the same time. These are too many plates for the human mind to spin without going blank. This can cause writer's block. The screenwriter doesn't have enough information to write the next line of the script.
The standard solution to this problem has been to let go of any expectations of doing the job well. Writers will create a vomit draft. It's much easier to get a draft done if you take the attitude "I'll fix the dialogue on the next pass" or "I'll make the scenes more dramatic on the next pass." This is why, in screenwriting, the phrase "writing is rewriting" is a truism.
The main reason I wrote my book was because I knew, from my own experiences as a screenwriter, that task overload and the need for vomit drafts is avoidable. The actual solution to the most common cause of writer's block is to develop a writing process that moves many of the tasks traditionally done on-the-page to the preparation process. This is something we can do regardless of whether our natural style of writing is to be a planner or someone who needs to work things out on-the-page.
Basically, the answer to how I deal with writer's block is I use the process I outline in my book.
One of the main causes of writer's block for screenwriters is task overload. When many screenwriters sit down to write their script, they often only have a concept and an outline of their story (a plot). They then try to solve all the other issues involved in screenwriting on-the-page. This means they are visualising and creating a fictional world, finding a theme, creating characters, creating drama, writing dialogue and visual-storytelling... all at the same time. These are too many plates for the human mind to spin without going blank. This can cause writer's block. The screenwriter doesn't have enough information to write the next line of the script.
The standard solution to this problem has been to let go of any expectations of doing the job well. Writers will create a vomit draft. It's much easier to get a draft done if you take the attitude "I'll fix the dialogue on the next pass" or "I'll make the scenes more dramatic on the next pass." This is why, in screenwriting, the phrase "writing is rewriting" is a truism.
The main reason I wrote my book was because I knew, from my own experiences as a screenwriter, that task overload and the need for vomit drafts is avoidable. The actual solution to the most common cause of writer's block is to develop a writing process that moves many of the tasks traditionally done on-the-page to the preparation process. This is something we can do regardless of whether our natural style of writing is to be a planner or someone who needs to work things out on-the-page.
Basically, the answer to how I deal with writer's block is I use the process I outline in my book.
About Goodreads Q&A
Ask and answer questions about books!
You can pose questions to the Goodreads community with Reader Q&A, or ask your favorite author a question with Ask the Author.
See Featured Authors Answering Questions
Learn more