So hard to separate out writing as a love affair and writing as a job, especially now we all live in a gig economy - not ideal for creative thinkers...
I’m a graphic designer, and I find myself in the same boat. There’s a drought of quality films around me, and I’m exhausted by Hollywood constantly recycling classics. It feels like we’re running out of things to watch, so I’ve started writing my own stories just to keep myself sane. 😅
It’s an impossible battle between financial stability and creative fulfillment. I think it’s why so many of the best novelists were desperately poor (McCarthy, Musil) or worked dull day jobs (Kafka, Faulkner). The money at first feels so rewarding on the nonoriginal gigs, but you quickly realize that it’s not your soul you’re being paid to bare, it’s someone else’s. If they can’t see into their own souls clearly, they may become upset with you for asking them do so. And even if you have the most sensitive intelligent producers, many of them run on anxiety, let alone the network people, who like all of us live harried, insecure lives.
I’ve been a fan of yours ever since the Olympian. Thank you for always being so honest. Godspeed on the new novel. Oddly several screenwriter friends have been approaching the form again, perhaps for the reasons you describe.
As usual, there are many lessons to take from the post, but I think the main one is that even when you're a showrunner, you can still be in a situation where you have to write in somebody else's voice.
You are hired for a job and you simply have to do that job. Your own projects are for your own voice.
If you want to make a living doing this, you will be writing in somebody else's voice for quite some time while you're on your way up to being the person that has the voice everyone has to write for.
I write fiction, and I consistently look forward to your posts. Someone turned me on to Practical Screenwriting because they said it may be sporadic but some of the best writing advice out there, which I've found to be true. So thanks for writing these when you do. I always look forward to reading them and I look forward to hear how fiction treats to you!
This is great. Write what you want to write. It has to be more personally fulfilling than essentially speechwriting.
As for a novel, as a book editor I'd suggest you be careful to avoid the usual problem screenwriters have when writing them: scrimping on description and not delving into characters' interiority outside of actions and dialogue. In fact, as an exercise, you might try to avoid dialogue entirely so that you must bring readers inside your characters. Also avoid "camera point of view."
Hope things go well! I enjoyed Americana, and Rebel Ridge was one of the most exciting things I've seen in years, so you working with the director sounds amazing!
Very sensible post-hoc rationalisation. I’ve worked with writers for 50 years. Few have such clear self-awareness. Important thoughts. Thank you.
Even A list showrunners say the same things
So hard to separate out writing as a love affair and writing as a job, especially now we all live in a gig economy - not ideal for creative thinkers...
I’m a graphic designer, and I find myself in the same boat. There’s a drought of quality films around me, and I’m exhausted by Hollywood constantly recycling classics. It feels like we’re running out of things to watch, so I’ve started writing my own stories just to keep myself sane. 😅
It’s an impossible battle between financial stability and creative fulfillment. I think it’s why so many of the best novelists were desperately poor (McCarthy, Musil) or worked dull day jobs (Kafka, Faulkner). The money at first feels so rewarding on the nonoriginal gigs, but you quickly realize that it’s not your soul you’re being paid to bare, it’s someone else’s. If they can’t see into their own souls clearly, they may become upset with you for asking them do so. And even if you have the most sensitive intelligent producers, many of them run on anxiety, let alone the network people, who like all of us live harried, insecure lives.
I’ve been a fan of yours ever since the Olympian. Thank you for always being so honest. Godspeed on the new novel. Oddly several screenwriter friends have been approaching the form again, perhaps for the reasons you describe.
Always a pleasure to see James Crumley referenced in the wild. The Last Good Kiss will forever haunt me.
Just watched Americana, which led to your Substack. Thank you.
As usual, there are many lessons to take from the post, but I think the main one is that even when you're a showrunner, you can still be in a situation where you have to write in somebody else's voice.
You are hired for a job and you simply have to do that job. Your own projects are for your own voice.
If you want to make a living doing this, you will be writing in somebody else's voice for quite some time while you're on your way up to being the person that has the voice everyone has to write for.
I write fiction, and I consistently look forward to your posts. Someone turned me on to Practical Screenwriting because they said it may be sporadic but some of the best writing advice out there, which I've found to be true. So thanks for writing these when you do. I always look forward to reading them and I look forward to hear how fiction treats to you!
Good shit as always, Tony
This reflection time I think of as part of the process as an artist -- stretching, bending, then re-establishing a center. We're never done.
This is great. Write what you want to write. It has to be more personally fulfilling than essentially speechwriting.
As for a novel, as a book editor I'd suggest you be careful to avoid the usual problem screenwriters have when writing them: scrimping on description and not delving into characters' interiority outside of actions and dialogue. In fact, as an exercise, you might try to avoid dialogue entirely so that you must bring readers inside your characters. Also avoid "camera point of view."
Hope things go well! I enjoyed Americana, and Rebel Ridge was one of the most exciting things I've seen in years, so you working with the director sounds amazing!
The novel is a beautiful piece of technology for keeping yourself alive.
Fantastic post Tony, thank you!!
He's back! What if you pieced out your novel, serial-style, to all us plebs here on Substack? I would happily read every bit.
Fascinating insights. Thanks!