Credits: December 2005 Archives

Oh, me…I’ve talked before about an apparently intractable schism in the professional writing community—one on side you’ve got so-called “first writer advocates”, and on the other side, you have so-called “rewriters”.

Putting aside the relative sloppiness of those names, I’ve decided to lower my lance and tilt firmly at one of the most persistent and inaccurate myths of screenwriting.

The “first writer” does not necessarily do anything special or more difficult than subsequent writers on a project.

Going first isn’t harder. Going first isn’t special. Going first doesn’t earn you a halo or a special place in writer heaven for your sacrifice.

Going first is just…going first.

The martyrous argument sounds a bit like this. “Nothing is harder than the initial act of creation. The first writer faces a blank page, and the first writer creates a world out of nothing. Any writer brought in to revise the first writer is working from a head start. They’re standing on the shoulders of the first writer. Rewriting isn’t real writing…it’s something lesser and derivative.”

Bullshit.

I say this as a writer who has done both. I’ve written originals and I’ve rewritten other writers. There is no correlation between chronology and difficulty or effort.

There are many instances in which a company commissions or purchases an original screenplay and then determines that little beyond the basic idea is worth saving. At that point, a subsequent writer may be brought in to do a “page one rewrite”, in which everything is reimagined. Having done a few of those, I will argue that page one rewrites are more difficult than writing originals. Why?

First, consider the nature of the first writer’s generous grant to the subsequent writer—the idea.

Having an idea doesn’t take effort, nor does it earn you any spiritual or professional regard. Ideas are worthless. Literally. They are not intellectual property. They are not possessable. They are not creditable.

The process of creating a fictional narrative from an idea is writing.

The original writer “has” an idea (and it’s not really original…seriously…find me an idea that no one’s already used in some form or another, and I’ll buy you a car) and then writes a narrative. The owner of the narrative says “this is bad” and hires someone else to fashion a new narrative.

That writer faces the exact same task as the first writer, with one slightly daunting difference: he has less creative freedom. He’s not free to make some of the bad choices that the first writer made. In fact, unlike the first writer, the second writer is aware that there are certain mine fields to be avoided at all costs.

Think that makes writing easier? Nope. It’s harder. It’s useful information, but the task becomes more difficult when you can’t take one or more of the readily apparent or easy paths the first writer was free to wander down.

Still, the first writers will say that the second writer has the subconscious gift…the advantage…of the first writer’s work. The first writer’s work necessarily spawns some kind of narrative “rolling start” that the second writer can use.

That would be a very convincing argument…if the first writer hasn’t read any books or seen any movies or television shows in his life.

We all have a rolling start when we write. The very nature of screenplay is grounded in the collective story sense we all carry in our heads, be it by instruction or genetic code. We constantly crib from mythology, from the Bible, from movies, from plays. My approach to writing an “original” draft is absolutely no different than my approach to a page-one rewrite.

Same process. Same effort.

Entirely different reward.

Ted and I had lunch today, and he told me a funny story that revolved around the phrase “post hoc ergo propter hoc”.

Yes, we have odd lunches.

Anyway, when it comes to screenplays, it seems that many people hold the fallacy of post scriptum ergo scriptum deterioris.

“After the screenplay…therefore a lesser screenplay.”

By the by, if anyone knows Latin, let me know if I’ve gotten the syntax correct.

First writer advocates may carry this slogan into their battle with rewriters, but the only writers they’re hurting are themselves, of course. By classifying rewriting as a lesser process, they’re giving away a secret about their own work process, and the news isn’t good. Rewriting can be, and often should be, just as difficult and demanding and important as the first draft. Only writers can be so odd as to think that a page filling process is superior to a page changing process.

If you have problems getting to the end of your screenplay, that might be true…but that’s not my problem. It’s your problem, and I don’t like be punished or discounted because you think filling pages is harder than deleting the whole mess of them and starting again.

Post scriptum ergo scriptum novum.

After the screenplay…therefore a new screenplay.

So climb down from the cross, wouldja, my fellow first writers?